Stairs (DETAIL Practice)

Stairs
Christian Peter
Christine Peter
Daniel Reisch
Katinka Temme
∂ Practice
Authors
Christian Peter
Christine Peter
Daniel Reisch
Katinka Temme
Publisher
Editing (German Edition):

Steffi Lenzen (Project head)
Eva Schönbrunner, Sophie Karst
Editorial team (German edition):

Jana Rackwitz, Katrin Pollems-Braunfels,
Michaela Linder, Duy Mac
Cover Design:
Kai Meyer, Munich
Drawings:
Marion Griese
Translation into English:

Julian Jain, Berlin
Copy-editing (English edition):

Stefan Widdess, Berlin
Proofreading (English edition):

Meriel Clemett, Bromborough, UK
© 2018 DETAIL Business Information GmbH, Munich

An Edition DETAIL book
ISBN 978-3-95553-397-7 (Print)

ISBN 978-3-95553-398-4 (E-Book)
ISBN 978-3-95553-399-1 (Bundle)
Printed on acid-free paper made from cellulose bleached without the use of chlorine.
This work is copyright-protected. The rights arising from this copyright are reserved, especial-
ly the rights of translation, reprinting, presentation, extraction of illustrations and tables,
broadcasting, microfilming, or reproduction by any other means, and storage in data-
processing systems, in whole or part. Reproduction of this work, or of parts thereof, even on
an individual basis, is permitted only under the provisions of the copyright law in its current
version. It is categorically liable for payment. Infringements are subject to the legal sanctions
of the copyright law.
This reference book takes into consideration the terms valid at the time of the editorial
deadline and the state of the art at this point in time. Legal claims cannot be derived from
the content of this book.
Typesetting & production:

Simone Soesters
Printed by:
Grafisches Centrum Cuno GmbH & Co. KG, Calbe
1st edition, 2018
This book is also available in a German language edition

(ISBN 978-3-95553-372-4).
Bibliographical information of the German National Library

The German National Library lists this publication in the German National Bibliography;
detailed bibliographical data are available on the internet under http://dnb.d-nb.de.
DETAIL Business Information GmbH

Messerschmittstr. 4, 80992 Munich, Germany
Tel: +49 89 381620-0
www.detail-online.com
Contents
5 Preface
Design typology
7 Methodology
8 Jacob’s ladder and Sculpture
18 Stage and Landscape
26 Aesthetics of technology vs Longing for the archetype
34 Volume vs Continuity
40 Furniture and Addition
48 Construction typology
Project examples
56 Navigator
58 Jacob’s ladder: Stepped house in Brugg (CH)
62 Sculpture: Winery in Bargino (IT)
65 Stage: Store conversion in New York (USA)
68 Landscape: City library in Seinäjoki (FI)
71 Aesthetics of technology: Gallery and bar in Kyoto (JP)
74 Longing for the archetype: School building in St. Peter (CH)
77 Volume: Church and community centre in Cologne (DE)
80 Continuity: Hotel in Obanazawa (JP)
82 Furniture: Residential building in Vrhovlje (SI)
85 Addition:
Exhibition and event centre, Franzensfeste (IT)
88 Matrix
Planning guide
95 Stair types
96 Stair parts
99 Dimensioning basics
103 Geometry and mounts
104 Types of construction
107 Materials for stair construction
109 Regulatory framework /standardisation
110 Accessibility
111 Fire safety
113 Sound insulation
114 Step by step: Defining stair geometry
Appendix
117 Authors, Standards / Regulations, References
118 Photo credits
119 Subject index
120 Index of persons
4
Preface
A new book on stairs? The section on theory is followed by a

collection of ten projects, presenting in
Books on stairs play an important part in detail one stair of every category, respec-
the reference libraries of many architec- tively. A matrix summarises the five pairs,
tural practices. Every year, many new pointing out further references in a user-
publications appear on this topic, includ- friendly manner.
ing collections of current and/or historical
project examples, combined with a rap- The stair as space-defining element
idly growing flood of images. makes a substantial contribution to the
perceived atmosphere or spatial impres-
Providing an alternative to “picture books” sion.
of this sort, this book demonstrates a new
approach to the subject of stairs, highly For the selection of projects, it was im-
fascinating in symbolic, spatial and con- portant that the respective stair harmo-
structional terms: nises with its surrounding space, jointly
conveying this atmosphere. Deliberately,
When a new building with a stair is con- it was not the most topical examples that
ceived, the question which arises in the were selected, but rather those where the
first instance is about the stair’s spatial stair and the building sensibly and quali-
and aesthetic expression. The type of tatively collaborate coherently.
construction and the material initially take
a backseat. When considering reference The book concludes with a planning
objects, the first step thus focuses on guide that explains the different parts of
design principles and spatial aspects, stairs, construction elements, the types of
including questions such as: How is the construction, as well as the materials for
stair placed in the space? Is the stair a the load-bearing part of a stair, including
work unto itself, or does it humbly recede materials for coverings and handrails, in a
into the background to avoid impairing logical step-by-step manner.
the spatial impression and harmony?
Does the stair, in its material and form, The result is a handbook in step with
continue the concept of the building, or actual practice, which outlines the plan-
dominate the space as a “foreign object” ning procedure incrementally, with refer-
or an autonomous body? ence to aesthetic and constructional
questions, thus closing a didactic gap.
These and further questions directly lead
to a “typology of the stair” according to
categories that initially focus on the Christian Peter, Christine Peter, Katinka
design. What is new in doing so is the Temme, Daniel Reisch
classification into five pairs of terms that
develop dialectically, and help to more Munich, August 2017
distinctly distinguish the typologies from
each other, to allow for clear-cut classifi-
cation. At the outset, the design and
construction typologies are more pre-
cisely differentiated and their develop-
ment historically elucidated in individual
chapters.
5
6
Design typology
Methodology
Methodology
1 2
The planning of stairs normally sets Due to its potentially highly dominant
wide-ranging and partly highly complex spatial effect, as well as the direct bodily
requirements. Alongside functional, experience for every user, a stair is
structural and building physics-related decisive for the conception of spaces.
prerequisites (see “Planning guide”, In order to allow planners to classify
p. 94ff.), the design-based and aesthetic stairs in the design and construction pro-
aspects in particular are paramount cess, a categorisation into different types
here. is presented in this publication.
The position and conception of a stair A stair as part of a building design is

have diverse effects on space. Therefore, subject to numerous dependencies.
one can justifiably speak of a stair as The project examples selected for the
being a significant as well as decisive book correspondingly demonstrate that
space-defining element. Moreover, for stairs can achieve different effects and
stairs, more than for all other spatially can create a variety of spatial impres-
effective elements, basic mathematical sions. For the sake of orientation, this
rules also play a role, i.e. the rise / run variety can essentially be categorised
ratio underlying a stair, which determines into five dialectic conceptual pairs:
its appearance, and hence the surround- “Jacob’s ladder and Sculpture” (p. 8ff.);
ing space. “Stage and Landscape” (p. 18ff.);
“Aesthetics of technology vs Longing
Due to their three-dimensional structure, for the archetype” (p. 26ff.); “Volume
stairs dominate space. Though doors and vs Continuity” (p. 34ff.); as well as “Furni-
windows exhibit a depth effect, they are ture and Addition” (p. 40ff.), with these
less space-containing since they are basic types often also appearing and
arranged on the outer contours, and being applied in a combined manner in
hence act as part of the spatial shell. practice.
Stairs – especially in a central arrange-
ment – more emphatically determine the
overall impression. Constructed in a
usually orthogonal arrangement, they
shape the atmosphere on account of
their diagonally effective corporeality.
By way of a so-called Laurin stair (a

stair whose rise increases with height),
visitors to the 2014 Venice Biennale of
Architecture were able experience how
individual proportions affect one’s own
perception: depending on the gradient
of the steps, combined with different
degrees of bodily strain, different ways
of walking automatically ensue (fig. 1).
This clearly shows that a stair is an
architectural element which the user 1 Laurin stair, Venice Biennale (IT) 2014, Institut für
Scalalogie OTH Regensburg
directly experiences via his/her own 2 Stair typology, Venice Biennale (IT) 2014, Institut
body. für Scalalogie OTH Regensburg
7
Design typology
Jacob’s ladder and Sculpture
1 Jacob’s ladder, Morocco 1984, Hansjörg Voth

2 Jacob’s ladder, mine tip Norddeutschland,
Neukirchen-Vluyn (DE) 2009
3 Jacob’s ladder, mine tip Beckstraße, Bottrop (DE)
1995, Wolfgang Christ
4 The stair as stair by itself. Endless Stair, London
Design Festival 2013, London (GB) 2013, dRMM
Architects
5 Kukulcán pyramid, Chichén Itzá (MX) 8th – 11th
century
6 Bridge, stair, viewing platform: Stair sculpture,
Rotterdam (NL) 2013, Next architects
Viewed historically, stairs initially served Building Exhibition (IBA) Emscher Park
the purpose of providing a purely func- (1989 – 99) by the architect Wolfgang
tional vertical link between two or more Christ from Darmstadt, in close collabor-
floors. The “stair per se” was primarily ation with the structural engineer Klaus
always about simple constructional Bollinger.
requirements (see also “Longing for
the archetype”, p. 29ff. as well as However, these “Jacob’s ladders” are,
“Construction typology”, p. 48ff.). Just in fact, anything but ladders: the stairs
as important was an “economy of become independent artistic objects,
space”, i.e. to give up as little space as walkable sculptures, and hence “land-
possible for a stair. Rapidly, however, marks” of an entire region.
the function of a stair was symbolically
inflated. In church construction, the stair At this point, at the latest, it becomes
was henceforth considered as a meta- apparent that the architectural element
1 phor for the connection between the of the stair can transcend the purely func-
earthly, secular, and the celestial, tional role of access, and can stand in a
sacred. In secular building, it represents dialogue of art – architecture – metaphys-
wealth and power. In conjunction with ics. The stair has the function of connec-
this upgrading, an abundance of tion, it is an “object” to be detailed inde-
forms as well as decorative design pendently as well as a spatial body,
details established themselves in stair though it also serves as a place of long-
construction. ing to reach the light or a higher level
(figs. 4, 6).
Numerous art works show the transcen-
dental power inherent in stairs even Linguistically, you ‘step up the game’ and
today, and how congenial the catego- climb a ‘career ladder’; in popular music,
ries “Jacob’s ladder” and “Sculpture” titles such as “Stairway to Heaven” char-
are with each other. The German art- acterise these age-old yearnings.
ist Hansjörg Voth takes up these topics
in his Jacob’s ladder sculptures in Jacob’s ladder
2 the desert of Morocco, translating them In various cultural circles, Jacob’s lad-
into an impressive artistic expression ders have a long tradition, especially
(fig. 1). shaped by faith. In spite of the different
religious backgrounds, they are, however,
Applying the motif of the stair as an ele- employed in basically similar ways. In
ment of suspense between two levels doing so, they usually represent the orien-
also, however, works particularly well in tation towards the divine on account of
landscape architecture, such as on the their elongated and rising linearity. For
Rheinelbe and Norddeutschland mine this reason, these orchestrated step for-
tips (fig. 2). The tetrahedron “Halden- mations often terminate in a place special
ereignis Emscherblick”, too, on the to faith, which is usually consecrated, or
Beckstrasse mine tip (fig. 3) success- in the “embodiment of the divine”, the sky.
fully symbolises the desire of the people In addition, in many cases, the physical
to reach the holy of holies in heaven, effort expended when walking up these
or at least come closer to the clouds. flights of steps is also meant to express a
This scenic outpost was conceived as gesture of humility and cleansing by the
3 a landmark during the International climber.
8
Design typology
4 5
The step pyramids of the Maya stair. This shows the mathematical by the trigram in “The Book of Changes”
The pyramids of the Maya are stepped calculation basis of a stair since the [1]. The Chinese term for pilgrimage,
multiple times and contain a temple demonstrable objective is, in particular, “cháobài shèngshān”, literally means “to
space inside. With the pyramids, the to generate harmony between the num- pay one’s respects to a sacred moun-
Maya celebrated their affinity to the gods. ber of steps and the gradient, having tain”. The ascent thus is a conscious
The forecourt was used for ceremonies both a structural as well as an aesthetic religious act, with the stair, in this sense,
and games. In the design of the Maya effect. embodying a human being’s approach to
pyramids, the impact of the stair as the the heavenly. Some of these sacred
measure of all things in space, as Jacob’s ladders in the Asian region mountains can even only be climbed by
mentioned at the beginning, is also The sacred mountains in China are one steep ladders or stairs (fig. 7), emphasis-
recognisable (fig. 5). There is much of the main constituents of the religious ing the distance between the earthly and
speculation about the number of steps tradition of Taoism and Buddhism: the the divine.
and the ratio of the rise to the stair run; mountain is a basic cosmic element, In Buddhism, on the other hand, the stair
frequent interpretations see a calendrical and represents the connection between represents the threshold of a boundary, to
relationship to the proportions of the heaven and earth, which is also shown be passed over consciously, between the
9
Design typology
real and the divine world. This makes it during his escape from his brother Esau, ing the biblical story is probably based
an important symbolic part of “o-mairi” on the way to Haran, sees a ladder in his on the temple stair of an ancient Near
(“going to the shrine or visiting the tem- dream, which stands on the Earth and Eastern ziggurat, which leads up from
ple”). All parts of a shrine complex are reaches to the heavens, and on which the Earth to the holy of holies [2] (fig. 9).
ritual. The stairs, like the gates, serve to God’s angels ascend and descend. At
mark this threshold (fig. 8). the very top, he sees God the Lord him- Numerous Jacob’s ladders can be found
self standing there, who introduces him- in sacred buildings, where the biblical
The sacred stair – Jacob’s ladder in the self as God of Abraham and Isaac, prom- text was realised as built form. Due to its
Christian tradition ising him land and offspring. Even though special importance, the Scala Regia must
Jacob’s ladder is the origin of the meta- the image of the ladder prevails in the be mentioned here (fig. 10). It connects
physical stair in the Christian world. It is occidental pictorial tradition, the Hebrew St. Peter’s Basilica in Rome with the
the symbol for the ascent and descent word “sullām” can also be translated as Raphael Rooms and the Sistine Chapel.
between Earth and the heavens. The Old stair, steps or ramp, thus providing Built in the 16th century by Antonio da
Testament, in the Book of Genesis, chap- diverse interpretations of the term Jacob’s Sangallo the Younger, it was rebuilt by
ter 28, narrates the story of Jacob who, ladder. The pictorial imagination underly- Gian Lorenzo Bernini in 1663 –1666.
a Gate (torii)
b Stone stair (kaidan)
c Path to the main shrine (sandō)
d Water basin for washing the
hands and mouth (chōzuya or
temizusha)
e Lanterns (tōrō) m
f Stage for Kagura performances
(kagura-den)
g Administration office (shamusho)
h Prayer plaques (ema)
i Auxiliary shrine (setsumatsusha
sessha / massha) l
j Lion-dogs (komainu)
k Hall of worship (haiden)
l Fence / enclosure of the shrine
(tamagaki) i k
m Main shrine (honden)
7 h
j
g
f
d
e
c
a
8a 8b
10
Design typology
7 Hua Shan – Sacred mountain, Shaanxi (CN)

8 The stair in Buddhism
a Engaku-Ji Temple, Kita-Kamakura (JP) 1282
b Exemplary structure of a Shinto shrine
complex
9 Jacob sees Jacob’s ladder in a dream, woodcut
by Julius Schnorr von Carolsfeld (1860), Berlin,
Sammlung Archiv für Kunst und Geschichte
10 Historical photo of the Scala Regia, Rome (IT)
1663 –1666, Gian Lorenzo Bernini 9
Bernini had the stair taper down towards perspective, which is created by a for special building tasks. Steven Holl
the rear, in order to optically elongate the sequence of vertical elements such as very deliberately uses this motif for the
space. This topic of the manipulation of columns. Likewise, the gradient (i.e. step stair extension of the Department of
spatial perception repeatedly appears height) is often exaggerated, so that one Philosophy at New York University: the
in the Christian-religious context of the has to make a physically demanding and light breaks spectrally and through
Vatican: the trapezoidal complex of St. conscious effort to negotiate them. As in perforated handrails, which adds a meta-
Peter’s Square, with its fourfold row of Rome, the already mentioned pyramids physical layer to the space and epito-
columns in the colonnade (1656 –1667) of the Maya elevated the deities, not only mises the constructional philosophy.
by Bernini, likewise emphasises the in an imaginary sense, by means of an The stair winds up in a marginally offset
funnel-shaped effect of the square extremely steep stair with a large step manner, so that a positional change
towards St. Peter’s Basilica. height. always brings about an interesting
change of perspective. In doing so, in
Another outstanding example of imple- Contemporary Jacob’s ladders a generic sense, the different positions
menting the biblical template are the Though our age is largely secularised, in philosophy are metaphorically imple-
Holy Stairs (Scala Sancta) by the master Jacob’s ladders continue to be employed mented (fig. 11).
builder Domenico Fontana, which are also
located in Rome. They lead up to the
Sancta Sanctorum chapel on the site of
the Lateran, and supposedly come from
the palace of Pontius Pilate. Jesus is said
to have set foot on them in the trial prior to
his crucifixion. According to tradition, they
were brought from Jerusalem to Rome
by Constantine’s mother, St. Helena, in
326. In remembrance of the sufferings of
Christ, the stair is only supposed to be
stepped on in a kneeling posture. Wooden
cladding has protected the marble steps
from wear and tear since 1723. In order to
obtain an indulgence, pilgrims must
ascend the steps on their knees saying
the Lord’s Prayer on each step [3].
The symbolism of historical stairs

In summary, it can be said that these his-
torical stairs were especially applied sym-
bolically in order to consciously address
the distance between two levels, and
hence create an atmosphere of distance,
deference and power. At the same time, a
stair stands for the connection of two lev-
els, which is accompanied by the desire
to overcome a “threshold”. The spatial
impact of these hierarchy-generating
stairs is underpinned by compositional
tricks, such as the already mentioned
enhanced taper, as well as a “false” 10
11
Design typology
12
Continuity and orientation towards the

light are the outstanding features of
Jacob’s ladders in a contemporary con-
text, too. In the residential building by
Hiroyuki Arima (fig. 12), a continuous
stair runs through the entire building.
Alongside the living, dining and sleeping
area, it refers to the outside – and even
to the sky – on account of its large open-
ings. The stair itself is a white, monolithic
body which terminates exactly at the
ceiling level, followed by a few glass
steps, which provide access to the
music pavilion located on the roof of the
building. As such, a clear distinction is
made between the white space and the
glazed sky, i.e. between the earth-linked
(living) and the dematerialised (music).
In the residential building in Estrela by

Aires Mateus, the stair spans the space
in a linear fashion, thus referring to the
two longitudinal facades in order to draw
on the light there. In doing so, the space
to be accessed takes a back seat, the
moment of suspense lies in the move-
ment from bottom to top. The light of the
opposite facade openings directs users
aloft (fig. 13).
In the building in Fontinha, also by
Mateus, light is also the elementary
design medium. The stair is flooded with
light in such a manner that it has the
effect of being a logical consequence of
the spatial thoroughfare. The stair and its
associated space seem as if they have
been extracted from the overall volume,
creating an exceedingly suspenseful
spatial impression (fig. 14).
The stair as Jacob’s ladder illustrates the

relationship of the stair to space particu-
larly well: the play between the stair as
positive (being an additive) spatial ele-
ment, and the hence negative stairwell,
can inspire in design. Similar to the
11 designs by Aires Mateus, which are
12
Design typology
11 “Jacob’s ladder” at the Department of Philosophy

at New York University (NYU), New York (US)
2007, Steven Holl Architects
12 “Jacob’s ladder”, residential building, Dazaifu
(JP) 1995, Hiroyuki Arima
13 Residential building, Estrela (PT) 2016, Aires
Mateus
a Section, scale 1:400
b Stair in its spatial context
14 Residential building, Fontinha (PT) 2013, Aires
Mateus
b Stair in its spatial context
15 Stone house, Brione (CH) 2005, Wespi /de Meuron
b Lighting via the skylight
16 Haus mit einer Wand [House with one wall],
Zurich (CH) 2007, Christian Kerez
a Floor plans (ground floor and upper floor),
scale 1:400
b Hierarchy in space 13 a b
determined by the sectional figure, an

impressive, funnel-shaped space is
created in the stone house in Brione by
Wespi de Meuron, which is, above all,
defined by the form and the culmination
towards the skylight (fig. 15). The stair
and the building are so archaic in their
materials that the space seems as if it is
hewn in stone.
The stair in the “House with one wall” by

Christian Kerez belongs to the category
of Jacob’s ladders since it runs through
the entire house in a cascade, and
“organises” the house together with the 14 a b
wall that gives its name to the building.
The stair dominates the otherwise loft-
like free space. However, it is so closely
linked to the wall that one cannot speak
of an independent quality and hence
classification as a sculpture (fig. 16). In
fact, however, the stair, here forms an
important guide and spatial ordering prin-
ciple, leading straight to the light.
The stair as Jacob’s ladder thus demon-

strates continuity and an upwards orienta-
tion, often also towards a band of light or
skylight. In the residential building by
Buchner Bründler Architekten, the stair is
already recognisable in the outer volume 15 a b
(fig. 17 a). Its orientation towards the
light is enhanced by the curvature of the
space at the upper pedestal (fig. 17);
due to this, the light seems celestial and
mysterious and the stair itself captivates
on account of its graceful soberness
(fig. 18 b).
Sculpture
Stairs can be categorised as sculpture
when they exhibit strong individuality with
regard to their form, materials, construc-
tion and conception, i.e. when they stand
in clearly perceivable contrast to the rest
of the spatial concept. In doing so, the
stair seems like a single body, without, 16 a b
13
Design typology
17
however, dividing the space (see “Vol- trate the spectacle, with the journey spatial geometry, and in connection with
ume vs Continuity”, p. 34ff.). simultaneously representing the destina- the painted ceiling, the impression of an
tion. These approaches are implemented endless expanse is created, which clearly
The staging of power in an almost ideal-typical manner in the reveals a connection with the characteris-
Historically, the category of sculpture stairs of the baroque period. tics of the sacred Jacob’s ladders. For
can be traced back to the development Balthasar Neumann, the model for the
of the stair in secular buildings, which is Stairs of the baroque period conception of the stair at the Residence
closely linked to the continuation of the In contrast to the spiral stairs of medieval in Würzburg was Schloss Weißenstein in
simple stair to the metaphysically castles and the more elaborate but spa- Pommersfelden, which was built by
charged Jacob’s ladder in sacred build- tially still restricted stairs of Renaissance Johann Dientzenhofer as a private sum-
ings. In place of the deities, there are palaces, stairwells in the baroque period mer residence for the Prince-Bishop of
now, however, omnipotent rulers. They were increasingly designed as ostenta- Bamberg and Elector of Mainz, between
use the stair to demonstrate power and tious reception rooms. The Residence in 1711 and 1718. The stairwell is decorated
status, and for this purpose, implement Würzburg, with its stairwell, can be seen with a ceiling fresco by Johann Rudolf
pompous and sweeping stairs in their as the architectural culmination of this Byss. As in the Residence in Würzburg,
residences. Opulent and magnificent development (fig. 3, p. 49). The court the stairs are characterised by a succes-
stairs require a large amount of free architect Balthasar Neumann placed sion of step sequences, while both stairs
space in order to be effective and a three-flight stair with an ambulatory are not located directly at the facade, but
to unfold. As such, due to their wasteful underneath an impressive vaulted ceiling are separated from the window openings
handling of resources, these sculptural decorated with a huge fresco from by an ambulatory. In Pommersfelden, the
step compositions are primarily reserved 1752 /53, painted by the Venetian ambulatory takes the form of a loggia gal-
for wealthy clients. They serve to orches- Giovanni Battista Tiepolo. Owing to the lery, while in Würzburg, it is – together
18 a b
14
Design typology
17 Floor plan, scale 1:200, Residential building

Chienbergreben, Gelterkinden (CH) 2012,
Buchner Bründler Architekten
18 Residential building Chienbergreben
a Exterior view
b Interior
19 Interior view of the stair of the Palazzo De Sinno,
Naples (IT) 18th century, Fernando Sanfelice
20 Palazzo Sanfelice, Naples (IT) 18th century,
Fernando Sanfelice
a Four-flight stair
b Twin spiral stair 19
with the stair – part of a gigantic hall [4]. a twin circular stair (fig. 20 b). Due to the
While the two above-mentioned examples sequence of darker, tunnel-like sections
are housed inside, in specially designed and lighter, open-top parts, users experi-
stairwells, the stairs of many baroque ence a diversified and impressive walk
Neapolitan palazzi, by contrast, mark the through the building [5].
transition between indoor and outdoor
areas. Due to a dense road network in The stair halls of the 19th century
Naples, building development took the In the course of the 19th century, func-
form of rising blocks and contracting tional aspects again assumed greater
courtyards, where stairwells, with arches importance, alongside the task of repre-
open to the outer side, were arranged in sentation in the planning of stairs. In the
the form of courtyard loggias. These take large-format stairs of theatre buildings
on an important role for communication which were constructed in this period,
and exchange within the urban society, such as at the Paris Opera, designed by
while they are also popular among the Charles Garnier (fig. 21, p. 16), the exem-
citizen class, and not just reserved for plary focus was on the practical question
absolute rulers. In a comparatively of how a large number of visitors could be
confined space, spatially complex forma- guided through the building in a short
tions such as reciprocally running, inter- time. There were, moreover, deliberations
locking, and multi-flight stairs were built. on how individual building parts could be
The wealth of forms of these structures is logically linked with each other through
impressively comprehensive. the positioning of a stair. In spite of the
functional aspects, the representative a
As an example, the works of Fernando and festive character of the implemented

Sanfelice (1675 –1748) are to be men- stairs was not neglected. This is demon-
tioned here. He initially trained as a strated by the sculptural form of the stair
painter and then worked as an architect. in Paris, but also by the attention to the
He designed the stair of the Palazzo De design of the numerous decorative ele-
Sinno in the Via Roma (fig. 19) whose ments in the area of the flight of stairs and
stairwell lies at the end of a narrow court- the balustrade elements.
yard and is hardly visible from the out-
side. Inside, however, a fascinating verti- The sculptural stair in a contemporary
cal path develops, which is marked by context
two dramatically alternating flights of In spite of limited resources, sculpturally
stairs, the relationship between the stairs, formed stairs continue to be of great
but also by its suspenseful connection to importance today, even if their formula-
the outside. Sanfelice’s main work, how- tion nowadays usually turns out to be
ever, is considered to be the two stairs in less opulent. For this reason, too, it is no
his own residence. One of them consists longer the volume alone which is para-
of two four-flight stairs that move inversely mount in this category as is, for example,
to each other and take up the entire wing the case with Stefan Giers’ walkable
of a palace block (fig. 20 a). Spatially stair sculpture in the Lusatian lakeland
almost even more exciting, however, is (fig. 22, p.17). In contrast to the “sculp-
the concealed and more modest-looking tural” stairs described above, it does
stair in the flanking part of the palace. not fulfill an access function in the sense
It is accessed via a single-flight curtail of connecting or reaching other levels
step, which transitions into the shape of or spaces, but exclusively serves an 20 b
15
Design typology
21 Stair of the Palais Garnier opera house, Paris centre of the BTU Cottbus (DE) 2003, Herzog &
(FR) 1862 –1874, Charles Garnier de Meuron
22 Stair sculpture Landmarke Lausitzer Seen- 25 Mumuth musical theatre, Graz (AT) 2009,
landschaft [Landmark Lusatian Lake District], UN Studio
Senftenberg (DE) 2008, Stefan 26 Use of traditional materials in digital design,
Giers detail of stair, opera house, Harbin (CN) 2015,
23 Interior stair XXS House, Ljubljana (SI) 2004, MAD Architects
dekleva gregorič arhitekti 27 Design Collective furniture shop, Qingpu (CN)
21 24 IKMZ information, communication, and media 2012, Neri & Hu
(artistic) end in itself: towards Sedlitz tration of stairs in space requires artisanal
Lake, its imposing building structure with skills in order to realise the desired
its closed surfaces appears as a simple appearance in the first place. In the
stele; towards the land side, on the other Museum Küppersmühle in Duisburg, by
hand, it opens up and shows its sculp- Herzog & de Meuron, the stair is housed
tural flights of stairs. in a self-contained stairwell, similar to the
baroque constructions described above,
Dekleva gregorič arhitekti demonstrate in order to be free from constraints and
in the XXS House in Ljubljana that a dependencies. Only then can it have the
complex yet at the same time extremely envisaged impact: on account of the
delicate construction can be effective sculptural appearance of the stair, it now
as a sculpture, too (fig. 23). In the 43 m2 blends into the sequence of exhibition
holiday home in the centre of Ljubljana, rooms of the converted old building
the building dimensions were predeter- almost like an exhibition object (fig. 38,
mined by an existing building. Never- p. 107).
theless, all residential functions for two
persons were to be integrated. The In the buildings of Herzog & de Meuron,
materials orient themselves in character such as the Laban Dance Centre in Lon-
towards the traditional house next door, don, or the library at BTU Cottbus, the
which is distinguished by rough, unadul- stair often plays a significant role, and is
terated surfaces. For this reason, accordingly worked out, often by sculp-
concrete, terrazzo, plywood, iron and tural craftsmanship. In doing so, the stairs
felt dominate the interiors. The stair does of the library, in particular, are interesting
not require special material elevation, it since the interior presents itself as highly
takes up little space and seems almost complex due to the curving facade.
like a ladder. In spite of the spatial limita- Here, vertical air spaces and colourfully
tion, however, it manages to appear free designed bookshelf zones create a sense
and sculptural, thus making the space of order. Solid cores, but especially also
appear surprisingly large. the freely winding spiral stairs, connect all
floors with each other. These areas are
As defined at the outset, the stairs in the highly remarkable, both in colour-related
category of “sculpture” are usually inde- and formal terms, and have a distinct
pendent volumes. As a result, the bound- signalling effect (fig. 24).
ary to the artistic object is fluid. In doing
so, the sculptural stair has to act as a Likewise striking in its colour scheme is
strong element; correspondingly, all con- the stair in the Mumuth Musiktheater in
stituent parts are subordinated to this Graz. Here, the “black box” of the theatre
idea: the “handrail” is usually a closed is combined with a series of public move-
wall; the construction of the steps and ment spaces (foyer and access spaces).
wall connection is invisible, while the With a view to emphasising the movement
structure is not recognisable from the flow taking place here, the design of the
outside. stair follows the fluid moment and, owing
to its winding shape, develops along
The stair usually has the effect of a total the upper floors in a downright dramatic
work of art, with the result that the individ- fashion. At the same time, visitors can
ual parts often strongly recede into also orient themselves by the bright red
the background. Frequently, the orches- colour (fig. 25), and are guided to the
16
Design typology
22 23 24
rehearsal rooms and the music hall. Ben the stair creates a setting. One example the sacred to refer only to itself. In doing
van Berkel describes the new building as for the application of this category in so, however, the sculpture does not have
“a classical relationship between music other areas is the store designed by to seem like a foreign body in space. The
and architecture – classical but with a Neri & Hu for the avant-garde furniture stair as sculpture is in itself already a total
twist” [6]. shop Design Collective in a suburb of work of art, thus emancipating itself
Shanghai. The building is accessed by a almost automatically from the rest of the
The works of MAD Architects are repre- steel funnel, symbolising the transition spatial occurrences.
sentative of an entire generation of young from the urban space to the exhibition
architects, for whom digital media are space. This stair, too, seems like a part of
not only implementation tools but can also the exhibition since its colour scheme,
be applied in design generation. At the materials and form strongly contrast
same time, the dedication to detailing with the white interior (fig. 27). The stair
and artisanal development is extraordi- creates an extremely suspenseful space:
nary, such as in the stair in the opera the gaze is directed upwards or down-
house of the northern Chinese city of wards, and due to this changed view-
Harbin, displaying high appreciation of point, new perspectives are experienced.
traditional materials and construction Such a dramatic “sculpture” attracts and
techniques, in spite of a “modern” design almost automatically arouses curiosity.
vocabulary (fig. 26). This shows once Who and, above all, what is up there?
again how digital tools make it possible to
rethink traditional materials: the sculpture The examples show how stairs can free
in the opera house in Harbin gives cause themselves from the supposed spatial,
Notes
to pause, raises questions and generates formal or organisational constraints of the [1] I Ching: The Book of Changes, translation by
new viewing habits. It can thus bring building. Their colour scheme, form and Richard Wilhelm. Düsseldorf 1999
[2] https://de.wikipedia.org/wiki/Jakobsleiter_(Bibel),
about a conscious involvement with the materials, as well as their construction, as on 02.05.2017
space and the viewer – just as every artis- can be independent of the building struc- [3] https://de.wikipedia.org/wiki/Heilige_Stiege, as
tic work would claim to do. ture as a whole. In this way, such stairs on 05.05.2017
[4] Mielke, Friedrich: Handbuch der Treppenkunde.
usually seem highly autonomous or “self- Hanover 1993, p. 64
In programmatic terms, the sculpture-stair confident”. Though they developed from [5] Daidalos, No. 9 Treppen, September 1983
[6] www.baunetz.de/meldungen/Meldungen-Musik-
occurs especially frequently – though not the tradition of the metaphysical Jacob’s theater_in_Graz_von_UN_Studio_fertig_742494.
exclusively – in cultural institutions. Here, ladder, this type of sculpture departs from html, as on 05.05.2017
25 26 27
17
Stage and Landscape
Similar to the conceptual pair of the towards the urban landscape can take
Jacob’s ladder and sculpture, the place. Schinkel consciously quoted
categories of the stage and landscape elements of the architecture of ancient
exhibit a large number of commonalities. Greece which – owing to the agora, in
They are mostly used to describe stairs particular – symbolised the life of an
which serve to orchestrate daily life in enlightened society.
exterior but also interior spaces. In doing
so, the social and spatial interaction The orchestrated stair
1 Culture for the bourgeoisie, Altes Museum, Berlin
(DE) 1825 – 30, Karl Friedrich Schinkel
always plays a major role. While in the The broad spectrum of the stair’s design
2 The stair as a stage in “Die Verachtung – Le stairs in the category of the stage, the potential as a stage can be analysed
Mépris”, Jean-Luc Godard, STUDIOCANAL / focus is on the entry and exit of users, by considering films and stage works,
COMPAGNIA 1963
3 A “stairwell” inspired by M.C. Escher in “Die Reise those in the category of landscape focus as stairs often display an elevated image
ins Labyrinth”, Jim Henson, TriStar Pictures 1986 on addressing, further developing or of reality here, due to their dramaturgic
4 The dizziness is symbolised by the stair in
“Vertigo”, Alfred Hitchcock, Paramount Pictures
newly defining existing topographies into application. When comparing the two
1958 space-determining atmospheres. media, film in particular represents an
interesting object of study since it fulfils
The stair as a stage the expectations of broad sections of
Historically, divine and feudal represen- society, on account of its usually more
tation still played a major role in the case realistic and less abstract quality, thus
of Jacob’s ladder and sculpture, while more closely corresponding to the
the category of the stage stood for the basic understanding of the stair as a
democratisation of the stair in public stage for all.
space, since with the demise of the Whether it is Scarlett O’Hara in “Gone
Ancien Régime, the opulently formed with the Wind” (1939), who glides
stair also became a real, accessible towards Rhett Buttler, or Brigitte Bardot,
place for ordinary citizens. who strides down the stair of the Casa
One example is Karl Friedrich Schinkel’s Malaparte, made famous by Jean-Luc
Altes Museum in Berlin. When the notion Godard’s “Contempt” (1963) (fig. 2), the
of cultural education of broad sections stair symbolically continues to have an
of society in the sense of Humboldt’s impact as a stage for the original link
1 educational ideal gained currency, the between two contrary poles. In both
Prussian king Frederick William III films, the drama dominates the power of
implemented a series of new buildings, love. In doing so, the stair emphasises
which were intended to lift the feudal the ups and downs in the relationships
boundaries of the institutions in favour between the protagonists (Scarlett vs.
of a public offering. The classicist out- Rhett and Ashley, or Camille vs. Paul
side stair emphasises the opening of and Jeremy), while the growing inde-
the educational institutions for a compre- pendence of women also finds a sym-
hensive group of people, and thus bolic analogy.
forms a stage for the invigorated Apart from being a symbol for the am-
bourgeoisie (fig. 1). In the Altes Museum, bivalence of human relationships, the
the opening of the facade, and the rela- stair in film not only finds application as
tionship of the stairwell to the outside a metaphor for pursued, or already
space, ensures continuation of this new achieved, social advancement, but also
bourgeois life, thus leading to the con- as a motif in thrillers or horror films. It is
struction of a publicly accessible space employed as a mystical element, as in
2 where cultural exchange with a view Jim Henson’s fantasy film “Labyrinth”
18
Design typology
Stage and Landscape
(1986), where David Bowie, as a goblin

king, makes trouble on a stair, which is
similar to a construction by M. C. Escher
(fig. 3), or in the film version of Umberto
Eco’s “The Name of the Rose”, where the
stair resembles a claustrophobic laby-
rinth. In Alfred Hitchcock’s thriller “Ver-
tigo” (1958), the fear of heights is already
eponymous. The tower stair dramatically
illustrates the associated panic (fig. 4).
What all film stairs have in common is that

they make a strong contextual reference
to their surroundings and the story to be
told. This reference is always subtly put in 3
the spotlight to avoid deviating from the
actual story. Moreover, the stairs usually
have oversized widths and lengths, in
order to be effective as stages. Skilful
light guidance and choice of perspective
additionally charge the scenery in a
dramaturgical manner.
The stair as a stage for social interaction

The motif of orchestration also takes
effect in many interior spaces of actually
existing buildings. The stair becomes a
stage for social interaction, such as in the
Apollo schools by Herman Hertzberger
(fig. 5, p. 20). With his building from the
late 1970s, the architect demonstrated
the implementation of a new understand-
ing of education. The school was not to
be a disciplinary custodial and educa-
tional institution anymore, but was to
accompany pupils on the path to becom-
ing mature, self-critical and political
human beings. Not only the curricula
were reformed, but also the school build-
ings: many concepts for “freer” schools,
with open, interactive and integrative
spaces were created. In the Apollo
schools in Amsterdam, this free exchange
takes place in the stairwell. This is not a
closed-off space, but rather a spacious
atrium, which is viewable from several
levels, and where gatherings take place. 4
19
Design typology
Stage and Landscape
5 6
Benches are integrated into the fall pro- 5 Apollo schools, Amsterdam (NL) 1980 – 83, Rojkind Arquitectos + Cadena y Asociados
Herman Hertzberger 9 Inhabited stair, orchestration of space, residential
tection, while concrete balustrades alter- 6 Spontaneous social meeting place, Alice Hall / building, Tokyo (JP) 2008,
nate with wooden elements, inviting users Juilliard School, New York (US) 2009, Atelier Bow-Wow
to lean on or against them. The stair is Diller Scofidio + Renfro / FXFowle 10 The monolithic stair requires the user as orches-
7 A stage as is, Chapel in Qinhuangdao (CN) trator. Haus Fabrizzi, Conthey (CH) 2014,
bipartite: a narrow, briskly walkable stair 2015, Vector Architects savioz fabrizzi architectes
with an appropriate tread line, on the one 8 The stair as a lounge. Showroom of the Síclo 11 The stair as a stage. Vals thermal bath (CH)
company, Mexico City (MX) 2015, 1996, Peter Zumthor
hand, and a podium stair, which leaves
out every other step, and instead offers
greater depth for sitting. The agora as a
place of assembly, which Schinkel had
already brought into the museum, estab-
lished itself in school and administration
buildings.
The stair by Diller Scofidio + Renfro /

FXFOWLE in the renowned Juilliard
School, the music conservatory and
drama school in New York City, likewise
corresponds to this understanding of
education and space. It is a meeting
place, but also a place to linger, ena-
bling – more or less casually – important
exchange among the musicians and
actors. In order to spatially support the
stage character of the stair, the balus-
trades have a wall-like form, and connect
the lower with the upper floor in a spatially
dynamic trapezoidal shape. Together with
the steps, they form a colour contrast to
the surrounding space (fig. 6).
As in the Villa Malaparte, Vector

Architects, in their “Seaside Chapel”,
draw attention to a special landscape
context in an exceptional manner. The
spectacular location on the beach is
almost theatrically orchestrated through
an unusual, formally elevated building
and a large outside stair (fig. 7). The
building stands as a logical continuation
of the stair, which extends through the
building and up to the terrace with its
open view of the sea. Visitors to the
chapel can stride up or down the stair,
or simply use it as a seating surface.
Indirectly incident light atmospherically
charges the interior of the chapel. 7
20
Design typology
Stage and Landscape
Apart from the stated public buildings, What all these stage stairs have in com-
the stage-like “event stair” as a place of mon is that the surrounding space has
social exchange, is also found in numer- to very openly orient itself towards these
ous offices, shops and concepts for stairs. The stair is visible in full view, and
catering. Here, the desire for an urban usually lies along a wall, while the space
meeting place merges with a clever eco- orients itself in this direction. At the same
nomic concept (fig. 8). time, in construction terms, it can be
observed that the stairs, with their homo-
A stage on a small scale can be found genous materials, hold back very deliber-
in the residential project Machiya by ately, as in films, in order to leave the
Atelier Bow-Wow. Here, the stair is an entire attention to the user, or to highlight
internal meeting place for the residents, the (supposed) simplicity of the building.
and thus extends the confined living It is only through the user that the spaces
area of a former teahouse. Objects are orchestrated; otherwise, they remain
can be put down or consciously placed in an abstract, sober condition, almost as 9
on the steps; moreover, the stair offers an “objet d’art”.
inviting seating options, and in this way –
alongside the connection it provides The outside stair as a stage
between two levels – simultaneously The motif of the stair as a stage also
also functions as space-saving furniture appears in outdoor space, especially
(fig. 9). in outside stairs, such as the Spanish
Steps by Francesco De Sanctis in Rome.
In the residential building by savioz Though they primarily serve as a link
fabrizzi architectes, the monolithic- between the Piazza di Spagna and the
sculptural formulation of the stair can church of Santa Trinità dei Monti, they
likewise be associated with a stage. It offer tremendous qualities for lingering,
separates the more intimate sleeping and thus are an important part of urban
areas from the collectively used living life: the urban (open) space becomes a
hall. Walking down and walking up from “place to be” and a “place to meet”. This
one area to another can be appealingly is further suggested by the orchestra-
observed from the cooking, dining and tion of this stair in numerous films, such 10
living area, linked by split levels (fig. 10). as “La Dolce Vita” by Federico Fellini
(1960), “The Talented Mr. Ripley” (1999),
The Swiss architect Peter Zumthor, in right up to “To Rome with Love” (2012)
the thermal bath at Vals, created a by Woody Allen. As regards urban devel-
continuous transition from the inside opment, the connection of the two visual
to the outside by the consistent and axes is an aesthetic challenge here,
almost exclusive use of one material: which De Sanctis overcame with a cen-
local Vals gneiss. The shallow steps, tral stair and two parallel sideward flights
leading from the access and changing of stairs. As a symbol of the Holy Trinity
room level to the thermal landscape, (Trinità), the stairs merge and part three
seem as if hewn from a mountain. The times before reaching the church.
long treads create the illusion of a land-
scape, so that entering the thermal bath However, it is not only stairs in urban
feels almost like stepping onto a stage squares which are highly popular, but
set. Bathing is staged as a sensual also those by the water. While paying
pleasure (fig. 11). homage to nature, i.e. the view of the 11
21
Design typology
Stage and Landscape
12 13
water and, where applicable, of the sur- which were actually the first stairs The stair as a landscape
rounding (urban) landscape, as well as planned for open spaces with an The typology of the “stair as a landscape”
the view of an attractive panorama on the added value for the user or the audi- doesn’t refer to stairs which merely
other side of a river, as in Basel, Cologne ence. Many of these buildings, such stand in a landscape. Rather, it is about
or Dresden, for example (fig. 12), the as the amphitheatres in Taormina or the conception of the stair itself as
open space extension of the city is, how- Delphi, are picturesquely situated in landscape. This can, on the one hand,
ever, just as important, as is the formula- the landscape, offering both a clean mean that the landscape is continued
tion of a platform for the urban bustle. view of the theatre stage and an impres- or highlighted, or that the landscape is
Moreover, these gradations extending sive vista of the surrounding landscape artificially created by a stair in the first
towards the water fulfil functional aspects (fig. 13). In conclusion, it is precisely place. Reiulf Ramstad orchestrated a
and serve, for example, as a protective in this typological category that the stair and visitor platform made of pre-
measure against flooding. boundaries are highly fluid: the amphi- patinated steel in the fantastic fjord
theatre shows how a landscape can turn landscape of the Trollstigen Plateau in
Thanks to their features, all these facili- into a stage and a stage into a land- Norway, which may, however, be viewed
ties often evoke ancient amphitheatres, scape. more as a sculpture in an impressive
14
22
Design typology
Stage and Landscape
12 Evening mood in the extended public space in

Cologne (DE)
13 Orchestrated landscape at the amphitheatre in
Delphi (GR) 4th or 3rd century BC
14 Sketch illustrating the topographical design,
Casa Tóló, Ribeira da Pena (PT) 2005, Álvaro
Leite Siza Vieira
15 The stair “architecturalises” the slope. Casa Tóló
16 The stair merges with the landscape before the
sea starts. International Passenger Terminal,
Yokohama (JP) 2002, Foreign Office Architects
(FOA)
17 The landscape floe turns into a public stage.
Norwegian National Opera, Oslo (NO) 2007,
Snøhetta 15
landscape setting (see “Jacob’s ladder

and Sculpture”, p. 8ff.).
Orchestration of topography
The stair as landscape often takes up
the surrounding topography as the main
motif. With the Casa Tóló in Portugal,
Álvaro Leite Siza designed a building
which – in the shape of a stair – is inte-
grated into the slope and merges with the
topography (fig. 14). At the same time,
the stair shapes the entire building, which
almost completely recedes behind this
built topography (fig. 15).
16
In the ferry terminal in Yokohama by
Foreign Office Architects, by contrast, a
topography is artificially formed by the
building in the first place. With its stairs,
the entire building appears like an exten-
sive hilly landscape by the water, which
one can wander through; gradients are
transformed into step formations. To
access the building, openings are
embedded in the “landscape” through
which users can dip into the interior of
the structure (fig. 16).
In a similar manner, the opera house in

Oslo by Snøhetta demonstrates that the
stair – apart from connecting two or more
levels – can also serve to overcome
urban developmental or landscape-
related level differences (fig. 17). More-
over, it illustrates that the design concept
of what initially appears to be a very
abstract idea of convoluted ice floes can
successfully structure and shape the
open area of the opera.
In the works of Carlo Scarpa, the network

of relationships consisting of natural land-
scape, water and the artificially stepped
stair likewise assumes an important role.
He usually uses the stair to create a con-
nection between the place and the over-
riding design concept. As such, the 17
23
Design typology
Stage and Landscape
18
bright marble stair in the Fondazione new with the old, but once again inte-
Olivetti metaphorically epitomises grates the museum meaningfully into the
Venice’s connection with the water: the urban context by creating several new
steps float on the mosaic of the floor, approaches and public outdoor terraces.
shifting in a floe-like fashion, and finally Moreover, Beel incorporates a pedestrian
piling up to the upper floor level (fig. 18). walkway through the museum and the
The glass mosaic of the floor follows a garden, so that the site connects with the
deliberate irregularity, thus creating the everyday life of the city. In doing so, the
“effect of a moving surface [...], as if the stairs are gentle mediators between the
floor was always flooded” [1]. urban spaces and the museum spaces.
The shallow gradient permits combination
The Dutch architecture firm OMA, with with a handicapped accessible ramp,
its extension of the site of the Illinois Insti- making this extension of the city accessi-
tute of Technology in Chicago, originally ble for all residents (fig. 20).
19 created by Ludwig Mies van der Rohe,
expresses the democratic and particu- Zaha Hadid also demonstrates in the
larly North American ideal of an open Heydar Aliyev Cultural Center, how the
campus which, similar to a marketplace, stair can function as a continuation of the
is intended to be a central meeting place urban landscape. The building is shaped
for all students. Rem Koolhaas conceived by softly curved forms. It takes up the nat-
the building as a city within a city, which ural difference in terrain level, and fluidly
differentiates itself – only by small differ- carries it forward inside. For this reason,
ences in levels – into various, always the stair is a deliberately shallow thresh-
publicly accessible areas, such as a can- old: instead of displaying a steep rise, the
teen, a copy shop, a bookstore, social stair as landscape is also a mediator of
services, etc. Though the motif of the content (fig. 21).
outside stair is a landscape planning
element to begin with, it offers diverse The buildings of Sou Fujimoto prove
visual axes and openings, resulting in how the stair can be almost the sole
relationships and points of contact space-defining element. His “Final
20 otherwise known from an urban context Wooden House”, for example, a square
(fig. 19). The stair supports the quality of holiday home with an edge length of 4 m,
stay and communication of students on consists of stacked cedar wood beams
account of the shallow gradient and elon- with identical cross sections. The build-
gated steps. The slowed pace of ascent ing itself becomes a stair, and the stair
takes up Heidegger’s motif of a “philo- is space and furniture, construction,
sophical walk”. In the process, the physi- landscape and a stage rolled into one
cal activity supports the mental activity. (fig. 22).
The campus becomes a knowledge land-
scape with an “urban environment”. Also constructed out of wood, the
Hakusui nursery school in Sakura impres-
The Belgian architect Stéphane Beel sively shows how the exterior landscape
takes up the idea of a connecting stair can be continued inside as a play and
landscape within an urban network in recreation space for the children. Here,
his project for the M – Museum Leuven. the elongated, shallow stair is not a stage,
With the extension comprising two new but offers spatial, educational and playful
21 buildings, he not only combines the potential (fig. 23).
24
Design typology
Stage and Landscape
22 23 24
Reading landscapes
Similar to the “study stage” in the Apollo
schools by Hertzberger, reading land-
scapes are also multifunctional stairs. On
the one hand, they serve as a conven-
tional stair, and on the other, offer addi-
tional space for seating surfaces, while 18 The stair floats on the water in Venice. Fonda- furniture, construction, landscape and
also being observation posts and meeting zione Olivetti, Venice (IT) 1958, Carlo Scarpa stage, Kumamoto (JP) 2006, Sou Fujimoto
19 Campus - Landscape, IIT McCormick Tribune 23 Stepped play landscape in the Sakura nurs-
places. Many of these stairs combine two Campus Center, Chicago (US) 2003, OMA / Rem ery, Sakura (JP) 2014, Yamazaki Kentaro
different gradients and thus take up the Koolhaas Design Workshop
motif of an auditorium. In contrast to a 20 Stair and ramp merge into an abstract work of 24 Library on the beach (Seashore Library),
art. Barrier-free access, “M Museum” Leuven Qinhuangdao Shi (CN) 2015, Vector Archi-
stage, however, the seating surface is (NL) 2009, Stéphane Beel tects
not meant for an audience attending an 21 The stair becomes a landscape, the building 25 The stair as a multifunctional stage, reading
becomes an urban landscape. Heydar Aliyev landscape and structuring element. Liyuan
event, for example, but provides room for Center, Baku (AZ) 2012, Zaha Hadid Architects Library, Huairou near Beijing (CN) 2011,
a user’s own activities – reading, in this 22 House of wooden modules, stair as space, Li Xiaodong’s Atelier
case (fig. 24).
The library in Liyuan by Li Xiadong Atelier

only comprises a stair and a shell. The
dialogue between the stair, shaped into a
reading landscape and the user creates a
very special spatial atmosphere. The
choice of natural materials for the facade,
the cladding of the steel support structure
and the stair itself, with its volumetric
presence, evokes a pleasantly warm and
inviting spatial impression (fig. 25). As
such, the reading landscapes in particu-
lar reveal the diverse possibilities which
stairs as a spatial element imply, and
demonstrate the potential added value
which they can provide.
Note
[1] Los, Sergio: Carlo Scarpa. Cologne 1994, p. 96 25
25
Aesthetics of technology vs Longing
for the archetype
Technical developments steadily drove the atmosphere (fig. 1). With its detailed
the evolution of the stair in the past. In opulence and aesthetic diversity, the
doing so, novel construction methods stair elevates the space. The construc-
also increasingly became the central tion is breathtaking, viewers marvel at its
design theme of stairs. The display of audacious structure. The red stair carpet
the aesthetics of technology had its hey- additionally crowns the centrally placed
day at the end of the 1990s, especially in element. As such, the bookstore doesn’t
the high-tech buildings of British archi- seem like a mundane shop but fasci-
tects such as Norman Foster or Richard nates as a “book palace”.
Rogers. At the same time, a contrary Victor Horta, too, in the Hôtel Tassel in
movement set in, which once again strove Bruges imbued the access space with
for a rawer and more archaic expression. special significance owing to the atten-
This was linked to the longing for easily tion to detail of his curved flights of
comprehensible constructions – the stairs (fig. 13, p. 51). In both historical
longing for the archetype of the stair. This examples, the stair thus is a means to
new approach clearly shows how a upgrade the space and to shape it using
1 The stair dominates the space and upgrades the
change of values in society can even be ornamentation.
mundane use. Livraria Lello e Irmao, Porto (PT) reflected in the design of stairs. When
1906, Xavier Exteves a society is in a positively optimistic The audacity of the technical revolutions
2 Floor plan of mezzanine, residential building
Moller, Vienna (AT) 1927, Adolf Loos mood, this is usually accompanied by a not only spurred on the designers, but
3 The cool rationalism of Walter Gropius. Bauhaus forward-looking, bold and progressive accompanied the political mood from
Dessau (DE) 1926
4 Crown Hall IIT, Chicago, IL (US) 1956, Ludwig
architectural language. In times of the First World War to the global eco-
Mies van der Rohe uncertainty, however, what has been nomic crisis, and to the Second World
historically handed down and proven War. With the need to focus on pragmat-
assumes greater importance. ics in times of war and reconstruction,
the degree of detailing in stairs also
Aesthetics of technology declined. This approach, however, was
For centuries, it was the constructions not seen as deficient, but was perceived
and technical means that allowed the as being part of a new aesthetic which
stair volumes to appear almost weightless highlighted the simplicity of craftsman-
which attracted particular interest. This ship. In this way, the interplay between
endeavour was supported by new mate- light, space, form and colour took place
rials and production technologies with the in a concentrated manner, artistically
onset of industrialisation. Highly delicate reaching new dimensions.
steel constructions shaped the stair archi-
tecture of the fin de siècle and the emer- In the works of Adolf Loos, stairs and
ging Art Nouveau styles. In the Benelux landings, though largely unadorned and
countries and France in particular, this free of ornamentation, play a key role.
led to the development of a new space- They were fundamental prerequisites for
impacting stair aesthetics. his Raumplan [spatial plan]. In this archi-
tectural concept, Loos strove for both
Boldness versus pragmatism utmost rationality and elegant furnish-
The Livraria Lello e Irmao in Porto serves ings at the same time. The design prin-
as a good example for the way in which a ciple involves constructing individual
boldly constructed stair can dominate a spaces at various heights depending
design as a space-defining element, and on their significance, and arranging
1 as a feature which significantly shapes them on top of and next to each other
26
Design typology
Aesthetics of technology vs Longing for the archetype
2 3
“in space”. As such, he “composed” the The finesse of floating mounted in a very gentle and delicate
spaces within the volume specified by In line with the Bauhaus teaching and manner in their appearance. Similar to
the external walls and located around the its discourse between craftsmanship and Schinkel (fig. 1, p. 18), a spatial flow is set
central chimney axis. The resulting levels industrial series production, the pursuit in motion here, owing to the technical
at different heights inevitably entail a of a technical aesthetic highlighting the possibilities of steel (fig. 4).
variety of stairs, which define the space construction is also discernible in the
and rhythm (fig. 2). work of Ludwig Mies van der Rohe. In The stair as a means of transparency
the case of Mies van der Rohe, however, In postmodernism, as with Art Nouveau,
The stairwells of the Bauhaus in Dessau the space is not anymore understood as form and colour are once again applied
and Weimar likewise impress on account a volume, as with Adolf Loos, but as a more playfully. While drawing from
of their meticulous composition and their sequence of dissolved discs, layered classicism, one also takes the chance to
technical aesthetic. Materials and colour, vertically or horizontally, subtly delimiting experiment in the fields of space and
reduction of ornamentation, clear con- the space. In doing so, Mies van der material. New composite materials and
structional details and generous spatial Rohe dissolved fixed spatial borders, adhesives as well as modern, sophisti-
arrangements define the circulation areas thus freeing the tectonic structure. This cated methods for glass production
here, which are used as assembly and effect also determines the design of the enrich the market and hence also the
meeting places for different disciplines stairs. In the Crown Hall at the IIT in diversity of stair constructions. Due to
(fig. 3). The social component elucidated Chicago, his place of activity after the the social desire for “transparency”,
by the Bauhaus philosophy, but also the Bauhaus, the campus grounds are liter- glass as a material especially gains
design-related artistic level, likewise ally drawn into the building. In doing so, increasing importance. However, skilful
becomes clear, both in the paintings of the stair serves as an almost indistin- application of non-transparent materials
Oskar Schlemmer and the photographs guishable link between the inside and the can also create permeability. The stair
of Lux Feininger. outside, where the individual steps are at the Institute of Molecular Genetics in
27
Design typology
5 6a b
Prague, for example, appears dissolved innovative enterprise constantly reinvents The stair minimised by technology
in its constructional detailing even without itself with the aid of architecture and Technical innovations and the increas-
the use of glass (fig. 5). design. Made entirely out of glass, the ing acceptance of metal as a material
stair at the Apple Store in Regent Street also make possible new forms of stairs in
With rising growth and affluence, more in London, with its constructional ele- residential areas. In Toru Murakami’s
and more companies are taking the gance and technical finesse, corre- residential building in Imabari, the load-
chance to represent their entrepreneurial sponds to the philosophy of the brand bearing stringer of the steel stair visually
visions in structural form. However, this prevalent during the time of its creation recedes significantly to its central place-
does not necessarily mean a return to (2004) (fig. 6 a). In 2015, it was replaced ment, thus considerably reducing the
ornamentation and décor, but rather by a closed stair made of natural materi- perceived thickness of the material. The
results in a newly discovered audacity als with ergonomically formed wooden intrinsically archaic material of the darker
of form, appearance and construction. handrails. The showcasing of technical teakwood steps anticipates the residential
Companies continually adapt their possibilities was replaced by current use of the upper floors on account of the
market strategies. For example, Apple issues, such as ergonomics and sustain- warm character of the wood, and with its
Stores demonstrate how a contemporary, ability (fig. 6 b). filigree detailing, blends into the modern
5 Transparent yet no glass, Institute for Molecular

Genetics, Prague (CZ) 2008, Deyl-Sešták-
architekti
6 Apple Store Regent Street, London (GB)
a Old stair, 2004, Bohlin Cywinski Jackson
b The new spirit in the Apple Store, 2016, Foster
& Partners
7 The folded steel stair becomes an independent
design feature. Residential building, Tokyo (JP)
2007, Claus en Kaan Architecten
8 Like an art object, the stair refers to the hitherto
unused potential of the high spaces in the histori-
cal house. House C, Milan (IT) 2010, Francesco
Librizzi studio
9 Restraint in a memorial. Memorial & Museum,
Judenplatz Vienna (AT) 2000, Jabornegg & Palffy
10 Plastic as facade, stair and louvre, a new translu-
cency. Plastic House, Tokyo (JP) 2002, Kengo
7 Kuma & Associates
28
Design typology
aesthetic of the house (fig. 33, p. 106). to detail, they are perhaps meant to
In the case of Claus en Kaan, the techni- resemble a sophisticated display case –
cal aestheticisation is explained by the in terms of their appearance, degree of
desire for simplicity in appearance which constructional detail and impact. In other
in reality, however, possesses a high culture-related fields, however, such
degree of constructional complexity. stairs are spatially effective as models of
The apparent simplicity stands vis-à- an overall design idea. This is demon-
vis elaborately produced construction strated by, for example, the stair in the
details and complex manufacturing pro- Museum Judenplatz in Vienna (fig. 9), or
cesses of the folded steel stair. Since the one in the “Plastic House” for a pho-
the handrails are likewise exceedingly tographer in Tokyo (fig. 10).
reduced and designed to be almost
invisible, the architectural language pre- Even in minimalist architecture, technical
sents itself entirely free from any decor. achievements still reveal new design
The link between the wall and the stair potentials: handrails are reduced to thin
is negated in such a way that the stair pipes while ornamentation soberly and
merges into an almost artistic abstraction coolly takes a back seat. The guiding
(fig. 7). idea of the Bauhaus – planning by apply-
ing high-quality craftsmanship while
Many stairs in the category of “Aesthetics maintaining an appropriateness to the
of technology” are defined by a sophisti- material and resource efficiency – con-
cated reduction of material thickness, tinues to assert itself up to the present
combined with a complex treatment of day. Having primarily been an economic
architectural details in handrails, steps or decision during the Bauhaus period, it
landings. Due to the gentle handling of has today become a question of ecology
these details, these architectures are and sustainability. Consideration of pru-
ideologically very close to the design dent, seemingly simple concepts and
vocabulary of Carlo Scarpa (fig. 18, p. 24). constructions will surely continue to
remain expedient and hence sustainable.
Francesco Librizzi studio carried out an
intervention in a historic town house in Longing for the archetype 9
Milan from the year 1900, as Scarpa had The element of the originally simple lad-
similarly done in many of his buildings. der is also significant in contemporary
The available area in the floor plan is architecture. While “Jacob’s ladder” was
small, while instead, the room height is extensively detailed not only symbolically
imposing. The architects responded to but also aesthetically, contemporary lad-
this particularity in the spatial proportions ders are predominantly designed in a
with a minimal yet distinct intervention. restrained manner and committed to an
The new stair emphasises the potential of “economy of space”, i.e. to the demand
the space, though it leaves it untouched of using as little space as possible. In
in itself (fig. 8). Japan in particular, where building plots
are rare and therefore expensive, archi-
In fact, these technically apparently sim- tects often fall back on simple and
ple and visually minimalist stairs are often extremely steep stair forms or even the
applied in a museum-related context; with archetype of the stair – the ladder – as
their artistic restraint, combined with a a method for efficient space utilisation
craftsmanship displaying a great attention (fig. 11, p. 30). In the English-speaking 10
29
Design typology
11 12 13
and Benelux countries, the tradition of the to reach deep into the space from the
steep stair lives on to this day. It leads skylight (fig. 15; fig. 11, p. 51).
the visitor to the upper floors almost
immediately after entering a flat. The primeval stair in traditional architecture
In their archaic appearance, many con-
The narrow residential building in the temporary stairs refer to historical ex-
centre of the city of Ghent, with a width of amples in vernacular architecture. The
only 3.50 m, exemplifies this application. simplicity of the stair as a constructional
Due to the staggered arrangement of the element is demonstrated particularly by
building structure, the architects never- the Dogon stairs in Mali: carved from a
theless ensure sufficient lighting, with a plain tree trunk with a forked branch at
split-level layout positioning the floors the upper end to find sufficient support
spaciously and open to each other. The along the mud walls (fig. 12). Further
likewise open wooden stair ensures com- interesting examples are early settle-
munication across levels and allows light ments in what is today Mesa Verde
11 A simple stair links the living and roof levels. Roof

House, Kanagawa (JP) 2009, Tezuka Architects
12 Songo granary with a stair made of deadwood,
Dogon (ML), without date
13 Elaborately built cave dwellings with simple
wooden ladders. Cliff dwellings of the Anasazi.
Mesa Verde, Colorado (US) ca. 1190 –1270
14 The banister made of black steel takes up the
movement of steps in a self-evident manner.
Mud house Rauch, Schlins (AT) 2008, Roger
Boltshauer and Martin Rauch
15 Single-family house, Ghent (BE) 2010,
Dierendonckblancke architecten
b The simple wooden stair links the split levels in
the extremely narrow townhouse.
16 The archaic stair as a modern classic. Casa
Barragán, Mexico City (MX) 1948, Luis Barragán
17 A three-storey house with a spectacular view of
the ocean, the delicate stair elegantly links the
floors. Casa 11 Mujeres, Zapallar (CL) 2007,
Mathias Klotz
18 The concrete floor is hand-polished silky-soft.
Belavali House, Kalyan Dombivli /Alibaug (IN)
14 2012, Studio Mumbai
30
Design typology
15 a b
National Park in Colorado. Here, approxi- related philosophy also determines the
mately 600 partly well-preserved cliff conceptual approach for planning stairs
dwellings of the Anasazi tribes were in this context.
found. Cliff Palace is one of the largest of One of the pioneers of this development
these settlements in the Mesa Verde area. is undoubtedly the Mexican architect Luis
An overhanging niche in the rock had al- Barragán. The plain wooden stair at Casa
ready been used in 1200 AD to construct Barragán initially seems traditional. The
accommodations there, using available surrounding space, however, is distinc-
materials, such as soil, water, ash and tively modern in its form, proportion, guid-
sandstone. Wooden ladders connect all ance of light and colour. By linking tradi-
levels with each other. The simplicity and tion and modernity, a fascinating and
constructional clarity of these historical timeless spatial atmosphere is thus cre-
examples are still meaningful and contin- ated (fig. 16).
uously influence contemporary architec- The Chilean architect Mathias Klotz fol-
ture (fig. 13). lows the leads of Luis Baragán by trans- 16
ferring traditional materials into a modern
Analogue and archaic: longing for the design vocabulary (fig. 17).
archetype
Roger Boltshauer and Martin Rauch dem- Studio Mumbai from India, with its
onstrate the potential elegance of a mod- founder Bijoy Jain, also stands for this
ern archaic stair in their mud house in approach. The studio is more a workshop
Schlins, Austria (fig. 14). The steps “grow” than an office: in an open-air hall, where
out of the rammed earth wall while the dozens of material samples and building
balustrade logically results from the spiral components are stored and processed,
moment. Due to its shape and arrange- architects cooperate with craftspeople in
ment in the floor plan, it refers to the his- planning and execution. The buildings
torical derivation of a tower stair. Holes created in this context are convincing due
in the steps create an impressive play to a clear design vocabulary and contem-
of light. In this way, the raw feel of the porary, generous spaces. The selected
mud is accentuated at the same time, so materials, which partly come from histori-
that the stair supports the space and its cal building stock, display a clear con- 17
atmosphere, instead of being purely self- nection to traditional building typologies,
sufficient. Therefore, it is more easily and underline the significance of crafts-
assigned to the beauty of the craftsman- manship for architecture. With regard to
ship and the poetic simplicity of the mate- stairs, this is demonstrated at the Belavali
rial than to a sculpture, which would more House. The elegant banister made of
strongly challenge the concept of the tropical wood deliberately contrasts with
building. The sharp edges and clarity of the homogeneously designed wall and
the shapes are, however, accentuated in the smooth, grey-plastered steps. Here, a
such a manner that a departure from refined aesthetic is generated, particu-
traditional mud architecture in the service larly due to a sensitive use of materials
of a contemporary aesthetic clearly (fig. 18).
becomes discernible.
In the Alpine region, a similar approach
Planning strategies which very confidently has developed for several years now: by
handle regional building materials and means of a reduction of material and
traditions are gaining in importance. The form, buildings are created which act 18
31
Design typology
19 20 21
through relationships (to the context, the precisely in this sense of scale and formal ness and sensitivity with respect to the
applied material, the construction), and humility where its strength lies: like a regional context. For one thing, the local
are thus “ingrained”. This approach con- primeval hut, this architecture protects connection is taken seriously as the stern
nects with an architectural tradition which without isolating itself. The building cor- inner walls, made of tamped concrete,
also had an impact in Scandinavia, as responds to human beings without exag- take up the motif of the old stone walls of
with Alvar Aalto, for example: restriction gerating. The suitability for daily use the village. For another thing, the materi-
to often only a single material which is harbours alluring beauty (fig. 20). This als used reflect the surrounding building
detailed and processed with extraordi- applies to architecture in general, but is stock: untreated solid oak wood, tamped
nary refinement. The form is reduced and particularly reflected in the formulation concrete and welded steel are applied on
the entire building refrains from making of stairs. site with skilled craftsmanship and utmost
a dramatic gesture (fig. 19). Everything precision. What is impressive here is that
seems unassuming at first, but the accu- The conversion of an unused stable into a due to the modern detailing and refine-
racy in the spatial disposition and materi- residential building in the village centre of ment of traditional craftsmanship, a con-
alisation appears highly poetic and Soglio, Switzerland, planned by Ruinelli temporary and timely architectural lan-
deeply human in its scale. Perhaps it is Associati, demonstrates this meticulous- guage with a strong identity has been
22 a b
32
Design typology
created, which also shapes the construc- a clear design vocabulary. Through this
tion of the vertical spatial access (fig. 22). measure, the building stock is accepted
while the interior follows its own order and
Since the 1990s, Gion Caminada has philosophy. Hollowing out allows the
taken over various construction tasks space with the gabled roof to create a
in his hometown of Vrin (fig. 21). Preserv- stronger impact, and the archaic image of
ing the cultural landscape of the Alpine the solid house is elevated to an aesthetic
region, and hence also the compact with an artistic feel.
townscape, has become possible within
the framework of a foundation: the inhab- The buildings of Thomas Kröger symbol-
itants can purchase building land, and ise the longing for a withdrawal from the
thus withdraw it from speculation. “The urban world. The revival of regionalism
Alpine region combines unique natural is driven by the fear of social upheaval
and cultural landscapes with distinctive and a desire for deceleration in one’s
building forms, which have developed own daily life. As such, the notion of home 23
from a centuries-old adaptation to the has a positive connotation, similar to the
geographical and climatic conditions,” previous examples.
says Caminada. In the process, contem-
porary parameters are added by all The stairs in the category of “Longing for
means which, however, enrich the histor- the archetype” are, therefore, mostly
ical cultural heritage with exciting new found in holiday homes, where city dwell-
designs and techniques. ers return to after years of global and
urban nomadism, in seemingly close
The works of the two last-mentioned contact with nature. This is insofar a gain
architects are shaped by the fact that the for architecture as the largely organic,
design approach runs throughout the durable materials then actually react sen-
entire building and all construction ele- sitively and responsibly to the context,
ments follow an overriding objective. This and thus demonstrate an appreciation for
particularly applies to the stairs. Perhaps the built form per se (fig. 24, 25).
the success of buildings such as those
by Gion Caminada or Armando Ruinelli 24
makes it clear that most construction 19 All one material and yet highly differentiated in
tasks are not about the extreme or about its detailing. Town hall, Säynätsalo (FI) 1952,
Alvar Aalto
showcasing but about intimacy and 20 Simplicity in materials and form. Residential
retreat, home and longing. The buildings building “Creek House”, Skåne (SE) 2014, Tham
& Videgård
in Vrin and Soglio are examples of the 21 New and yet having been there all along.
return to tradition, craftsmanship, regional Butcher’s shop, Vrin (CH), Gion Caminada
materials and manufacturing techniques. 22 Casa RM, Soglio (CH) 2009, Ruinelli Associati
a The idea of the former stable is reflected in the
materials used.
Buchner Bründler also play with the pri- b Tamped concrete and untreated solid oak
wood steps define the open stair.
meval image of the house in their holiday 23 Casa d’Estate, Linescio (CH) 2008, Buchner
home in Linescio, Ticino (fig. 23). While Bründler Architekten
externally appearing like a prototypical 24 A contemporary design vocabulary and respect
for the location, landscape and tradition. Country
200-year-old stone house using the log house, Uckermark (DE) 2014, Thomas Kröger
building method in granite, it is com- 25 Peace and strength on the raw poured asphalt
floor which links the living area with the sleeping
pletely hollowed out inside and spa- areas. Werkhaus, Gerswalde (DE) 2013, Thomas
ciously designed in concrete, displaying Kröger 25
33
Volume vs Continuity
A stair can appear as an independent The body of the stair as a space-dividing

body and hence initiate a new or further element
spatial experience or can recede almost In order to strengthen the corporeality
bodilessly vis-à-vis the character of a and power of spatial segmentation, stairs
building, its materials and clear spatial of this category can be provided with
order. This clearly shows how differently solid constructions, thick in material
stairs can influence the perception and strength, as well as with opaque and
overall impact of space. floor-high balustrades. In doing so, the
stair especially lends itself to being an
Volume element for the separation and delimita-
In the theory of perception, a lot of tion of various usage zones: for example,
research is conducted on the psycho- Katsutoshi Sasaki, in his multigenera-
logical effect of spatial proportions and tional house in Okazaki, divides the
materials in interior spaces. In doing so, lounge from the kitchen. Moreover, the
1 it has emerged that a well-proportioned, thick stair wall accommodates sliding
clearly structured and precisely framed doors, permitting complete separation
space has a positive impact, since it nei- of the rooms (fig. 1).
ther overwhelms nor is aloof [1]. Due to
its optical weight, the stair as a volume In the now demolished building of the
can therefore make an important contri- clothing store “hh style” in Tokyo, SANAA
bution to structuring space in a pleasant positioned the stair as a shaft leading
way. When designing stairwells as inde- upwards in space, and in this way
pendent volumes, two basic types are to divided the entrance area on one side
be assumed: on the one hand, stairs from the high racks on the other. Though
which are arranged laterally, accompany- the transparent fall protection underlined
ing the space, and seem concealed due the shaft’s character and emphasised
to mostly opaque design. Here, space the independent body of the stair, the
usage more or less remains unaffected glazing provided exciting visual refer-
by the stair; on the other hand, stairs ences across the individual zones (fig. 2).
which – due to the positioning of their vol-
2 umes – segment the space into several savioz fabrizzi architectes, too, use the
parts. Here, the stair is a means for zon- stair volume to structure the interior in a
ing, thus replacing a partition wall. By chalet in Val d’Hérens, Switzerland. Here,
shifting it to one side of a space and pos- the stair stands in the middle of the
sibly having an additional vertical division building as a defining element, zoning
in the form of a wall, the space is volumet- two levels into individual functional areas.
rically downsized, while a central position Additional partition walls can therefore
divides the space. The clear conception largely be dispensed with. Due to the
of the space is, however, preserved in material selected, the body of the stair
both cases. What needs to be empha- makes for a strong contrast. The rough
sised in this context is that a stair as a concrete clearly distinguishes itself from
volume does not have the formal and the remaining, entirely wood-clad walls
material independence that a stair as (fig. 3).
sculpture has. The body of the stair still
blends into the overall concept of the Embaixada arquitectura take the volumet-
building, while a sculpture as an object ric appearance of the stair even further:
3 seems more detached and free. the volume of the double-flight stair in the
34
Design typology
1 The stair acts as a hybrid wall section which does

not inhibit the material concept of the space.
Multigenerational house, Okazaki (JP) 2013,
Katsutoshi Sasaki + Associates
2 hh style, Tokyo (JP) 2000, SANAA
3 The stair as a volume of concrete structures the
interior. Chalet, Val d’Hérens (CH) 2013, savioz
fabrizzi architectes
4 House on the Moor, Krumbach (AT) 2013,
Bernardo Bader
5 Casa dos Cubos, Tomar (PT) 2007, Embaixada
arquitectura
a The volume of the stair develops into the
upper floor.
b The stair as a volume divides the space. 4
Casa dos Cubos in Tomar develops stair. The ground floor has been designed RAAAF Architekten show an entirely
sculpturally and freely in the two-storey in grey exposed concrete, the interior of different form of stair as a dividing
air space towards the upper floor. Its the stairwell, however, in silver fir, making element. They cut up one of the over
material being distinct from the surround- it seem strongly introverted. On the upper 700 bunkers constructed between
ing walls, the stair and the upper volume floor, the wood accentuating the interior 1815 and 1940 at the military line of
form an independent “box in a box”. As of the stairwell is continued as a surface defence in the Netherlands into two parts.
a result, the spatial division not only has on the walls. The stair thus deliberately “Bunker 599” recedes in its appearance
a vertical impact but also a horizontal one serves the purpose of functionally and in favour of the one-metre wide axis
(fig. 5). vertically separating the more private leading from the path through the land-
upper floor and the more public ground scape to the lake. The stair which leads
The example of the residential building floor, forming a subtle threshold due to down to this sculpture and on to the water
in Krumbach by Bernardo Bader shows the change of material between the two becomes one with the generated visual
how it is possible to architecturally elabo- zones. In the process, the space-defining axis towards the sea and thus merges
rate different usage areas on two levels elements and the material interact very with the surrounding landscape (fig. 7,
through the structuring function of the closely (fig. 4). p. 36).
5a b
35
Design typology
6a b
The stair body as space-accompanying clearly distinguishes itself from the verti-
element cal order of the space-defining columns
The Benedictine monk and architect (fig. 6 a). By contrast, the monolithic stair
Dom Hans van der Laan used a system in Roosenberg Abbey only edges into the
of proportion based on his theoretical foreground from out of its niche to such
writings on architectural space as the an extent that the order is just sufficiently
basis for design in his plans for the broken up to allow a sense of suspense,
abbeys Roosenberg in Waasmunster combined with an orientation possibility,
and St. Benedictusberg in Vaals. [2] to emerge in the spatial order. This effect
The buildings seem almost abstract in is enhanced by the sophisticated lighting
their rational order, consisting of walls (fig. 6 b).
and rows of columns, while their funda- In the volume typology, too, echoes of
mental clarity and regularity ensure Jacob’s ladder can often be found, espe-
suspenseful spaces whose impact is cially when a roof window lights a stair-
particularly owed to the rough, haptic well. The stairs in this category, however,
surfaces. Van der Laan wanted to are more strongly interwoven with the
achieve a “nobilis simplicitas”, a noble surroundings and logically develop out of
simplicity, and therefore reverted to them. In the house in Ajuda by Aires
elementary forms of design. Comparable Mateus, one can see how a stair leading
to a fugue by Johann Sebastian Bach, to the light takes effect as a volume
the applied mathematical composition (fig. 11 c). The chasm formed by the stair
comprising simple elements allows har- along a wall between two buildings
mony and beauty to unfold. The stairs in creates a volumetric suspense in space.
these two abbeys seem very corporeal, The volume of the upper floor results in a
not only due to their monolithic forma- triangular banister whose tip meets the
tion. They hardly impair the prevailing ground floor (fig. 11 b). These bottlenecks
spatial impact as they lie laterally are deliberately orchestrated in a sus-
against the space. The solid, sloped bal- penseful manner. A section through the
ustrade of St. Benedictusberg Abbey building shows how much the space
7 8 9
36
Design typology
10 11a 11b
has been developed from a sculptural

understanding using a positive-to-negative
motif (fig. 11 a). The model works for the
Belem Bom Sucesso project in Lisbon
demonstrate this sculptural design attitude
in the works of Aires Mateus (fig. 10).
As in the house in Krumbach, the design
principle of having the stair articulate
two different floors is reflected in the
House W in Martinzell. From the ground
floor, constructed in the form of a con-
crete base, one reaches a superimposed
wooden building with a saddle roof. The
architects take up this dialogue by like-
wise bisecting the stair, allowing the
upper wooden part to freely float above
the concrete bottom step, while maintain-
ing a distance of one step between the
two parts (fig. 8).
The frequently used, ceiling-high, and

closed wall elements which are mostly
even continued in the form of railings on
the upper floor, visually and volumetrically
carry forward the stair onto the upper
floor.
The independence of its volume is further
underlined if the stair, as in the example
of the Black House by SoHo Architekten,
6 Abbeys by Dom Hans van der Laan

a St. Benedictusberg Abbey, Vaals (NL) 1968
b Roosenberg Abbey, Waasmunster (BE) 1974
7 The stair and the path “dissect” the space.
Bunker 599, Zijderveld (NL) 2013, RAAAF /
Atelier de Lyon
8 Analogy to the traditional way of construction of
rural slope houses in the region: timber construc-
tion on a concrete base, House W, Martinzell
(DE) 2001, Becker Architekten
9 Black House, Memmingen (DE) 2008, SoHo
Architekten
10 Belem Bom Sucesso, Lisbon (PT) 2015, Aires
Mateus
11 House in Ajuda (PT) 2014, Aires Mateus
a The section shows the play with the volumes.
b The stair as diagonal volume.
c The stair leading to the light appears to
optically narrow. 11 c
37
Design typology
12 a b
does not rest on the floor, but seems to its design. The dissolved stair exclusively delicately leading to the next level in a
float (fig. 9). acts between two levels. Accompanied seemingly threshold-free manner. In most
All stairs in the volume category usually by highly reduced (if at all available) rail- of the presented examples, the floor cov-
have in common that their design, first ings and handrails, this type of stair ering is continued on the steps, so that
and foremost, requires a development in merely extends from the floor of the lower in the overview also all individual parts
section, in order to allow articulation of level to that of the upper one, and does become one and the boundaries are
the interlinkage between the usable not take shape on the floor of its destina- blurred. The steps are often designed to
space and the stairwell. tion. If one attempts to make the stair be as thin as possible, resting on a highly
structurally as delicate as possible, it reduced structure or projecting out freely.
Continuity loses its above-mentioned corporeality.
While a stair as volume is about an inde- The diagonally positioned volume dis- Lina Bo Bardi, an Italian-born Brazilian
pendent body which self-assertively solves into the horizontal steps and the architect, built a technically refined stair
claims space, the objective of the incor- vertical fall protection. Thus, the sur- in 1951, which still looks modern today,
poreal stair is to let the actual space take rounding space seems to continue underneath the actual building, the Casa
effect, thus appearing rather restrained in unwaveringly, while the steps float up, de Vidro in Brazil, underlining the prevail-
ing impression of lightness in this way.
The glazed house seems to float above
the tropically vegetated site on a slope. A
tree within the house protrudes through
another cutout in the ceiling. As such, the
stair – like the tree – establishes a rooted-
ness with the earth, and hence a kind of
link to nature. Positioned in front of the
narrow ground floor block, the delicate
steel structure and wooden steps of the
stair lead from the lower, almost
untouched level to the actual residential
floor of the house (fig. 12). The individual
step supports are permeable, while the
fall protection and handrail appear like a
subdued and thus elegantly reduced line.
How extremely delicate detailing can

reverse the actual spatial impression into
its opposite, is demonstrated in Jesús
Aparicio’s sublime conversion of a former
metro station into exhibition and lecture
spaces in Madrid (fig. 13). The formerly
barren transport facility acquires an ele-
gance all of its own, due to the carefully
detailed stair, while the strong character
of the building is retained, and the space
appears like one unit, despite the cen-
trally positioned stair. The suspen-
sion, which doubles as fall protection, is
worked out so fragilely that it optically
13 recedes into the background. The stair is
38
Design typology
12 Casa de Vidro, São Paulo (BR) 1951, Lina

Bo Bardi
b Like a tree, the stair too grows into the house
from below.
13 The stair dissolves in its treads and suspension /
fall protection. Documentation centre for archi-
tecture in Madrid (ES) 2016, Aparicio + Fernán-
dez-Elorza
14 “Dissolved” fall protection. Flat /office building,
Tienen (BE) 2007, Office AST 77
15 The space level stands out and extends up-
wards. Residential building, Neusäß (DE) 2012,
Manfred Lux
16 Transparency and elegance. Casalgrande Old
House, Casalgrande, Venice (IT) 2011, Kengo
Kuma & Associates
17 A mesh as fall protection and a folded steel stair
in the Steel House, Tokyo (JP) 2007, Kengo
Kuma & Associates 14
“incorporeal” as it supports the spatial truding, seemingly floating steps, it

impression in a restrained manner. upends the original use of tiles, which
as a rule only serve as a cover layer on a
A narrow building in Tienen houses both substrate. Due to technological innova-
the office of the Belgian architects AST 77 tions, tiles can now be manufactured to
and a flat. Inside, a perforated black steel have much higher performance and in
stair connects the office area with the larger formats. The power of the material,
residential spaces. In doing so, the stair which simultaneously has a thin, elegant
supports the desire for transparency appearance, is demonstrated here. The
and openness, while still taking up the bottom step develops out of a ceramic
high-contrast design concept. The deli- fill, the raw material of the tile; a glazed
cate steel cables, as well as the selected transparent banister completely recedes
colour scheme, attempt to impair the into the background (fig. 16).
spatial flow from one level to the next as
little as possible (fig. 14). The subject of lightness is implemented 15
in an entirely different manner in the
Manfred Lux also structurally dissolves Steel House in Tokyo. An extremely thin
the volume of the stair in a residential steel stair, stiffened by folding, is pro-
building in Neusäß so that it loses its tected only by a fine, hardly visible metal
corporeality and converts itself into a fabric (fig. 17). Though in both stairs,
layer of individual reclined steps. In the technical aestheticisation of the applied
centrally positioned open stairwell, the materials is significant, they impress on
wooden steps project out from the wall, account of their delicate, incorporeal
and in terms of material, take up the wood appearance, which allows them to seem-
of the floor covering. The vertical con- ingly effortlessly develop up into the
struction components, built in roughly space. As such, their profile almost
stacked exposed concrete, stand out corresponds to an abstract pictogram,
from them in a contrasting manner. The while their radicalness places them in
seemingly static material of steel as well strong contrast to the bulky stairs of the
as the required substructure in the wall volume category.
are, however, not visible. A handrail or 16
railing is deliberately dispensed with in
order to support the intended impact
(fig. 15).
Kengo Kuma, in two of his buildings,

demonstrates how special material prop-
erties can be used for an incorporeal
appearance. The Japanese architectural
practice transformed an old brick house
into a gallery for the tile manufacturer
Casalgrande Padana. The design con-
cept of the stair particularly emphasises
the special features of a ceramic tile, Notes
thereby especially demonstrating a novel [1] Loidl, Hans; Bernard, Stefan: Freiräume. Entwer-
fen als Landschaftsarchitektur. Basel 2003
lightness, which is achieved with the aid [2] van der Laan, Hans: Der architectonische Raum.
of thin but load-bearing tiles. With its pro- Leiden, New York, Cologne 1992 17
39
Furniture and Addition
Stairs in this category are distinguished carpenter, the painter and the smith,
by the fact that they either serve an while the main responsibility lies with
additional function or, subsequently and the carpenter who is, importantly, in
complementarily, enable uses in an charge of selecting the wood: for the
existing stock. The stair as a furniture production of furniture in Japanese
item as well as stock supplement does interior design, this includes wood types
1 Japanese cupboard “kaidan tansu”, stand-alone
2 House in a forest with a wooden furniture stair. not seem abstract and object-like as a such as paulownia (kiri), Japanese
“Casa in una pineta”, Marina di Castagneto sculpture, but is a multifaceted building cedar (sugi), and zelkova (keyaki). The
Carducci (IT) 2011, Massimo Fiorido Associati
and sundaymorning
element: this stair does not only serve cupboards have a clear varnish finish on
3 Layer House, Kobe (JP) 2003, Hiroaki Ohtani the purpose of connecting two levels the outside and are complemented by
a Space-saving concrete louvres but offers further spatial, conceptual wrought-iron fittings which, alongside
b Concrete louvres filter the light and organise
the house. and especially functional potential. In their purely functional significance, also
4 Itami House, Itami (JP) 2012, Tato Architects the context of complementing an exist- serve as decorative elements. Viewed
a The stair choreographs the space.
b The furniture is integrated as part of the stair.
ing stock, the applied material often historically, the tansu manifested the
c The dining table projects into the stairwell. contrasts with the surroundings, with economic status of its user. They were,
the result that the stair appears like an however, also used to store important
inlay inserted into the existing space. documents in the drawers, and are pres-
ently still very common pieces of furni-
Furniture ture in Japan.
Parameters which constrain spatial vol-
umes, such as confined plots, limited Even today, due to space constraints,
financial budgets, topographical par- hybrids comprising spatial elements
ticularities or minimalist spatial con- and furniture are widely employed in the
cepts, increasingly result in a merger country, since even in Japanese sub-
and optimisation of installations into urbs, land prices continue to be exorbi-
“hybrid” staircase furniture, i.e. a combi- tantly high. Near Osaka, Tato Architects
nation of stairs, cupboards and/or have developed a residential building
shelves, due to the intended reduction for a family, on a nearly 60 m2 plot, with
in applied resources. 95 m2 living area on a 35 m2 footprint.
On such an optimised area, there is no
1 Hybrid stairs in Japan space for storerooms. Space-defining
Japan in particular, due to the limited elements therefore turn into pieces of
area available and the high real estate furniture and vice-versa. In doing so, the
prices, is a pioneer in the tradition of drawer of a cabinet, for example, serves
these hybrid stairs. Every space is used, as a stair step while the stairwell is
and there are various tools available crossed by a table top. Furniture and
in the market with which clothes, for architecture become one (fig. 4).
example, can be pressed together to be
stored in different cupboards (tansu) in The Layer House by Hiroaki Ohtani also
a space-saving way. Kaidan tansu, so- stands on a very small, 33 m2 plot in
called stair cupboards, are widespread, Kobe, a city known for its high property
serving as both a storage space and a prices. The limited surface area radically
climbing aid for the roof, as they already defines the lifestyle of a young family:
have in traditional Japanese houses individual, closed rooms and space
(fig. 1). Seen from the perspective of for extra storage space are not imple-
workmanship, these cupboards repre- mentable. In spite of constrained space
2 sent a collaborative effort between the conditions, an efficiently designed floor
40
Design typology
3a b
plan and the innovative layout provide They are the dominant design element are alternately arranged at the height of
high housing quality. Additionally, the and simultaneously form the load-bearing the footsteps. Thanks to the change, they
walls consist of a prefabricated compo- system, a space-bounding wall and an take up the geometry of the stair as a
nent system where the residents can anchor point for various shelves, seating topic, emphasising the vertical, rising
simply pocket or “plug in” various ob- accommodation and particularly the gesture of the stair. Due to the rear wall,
jects in a versatile manner and as mounts for the stairs (fig. 3). likewise designed as a shelf while also
needed. The skylight admits natural serving as a banister, the entire installa-
light into the space, which is filtered The stair as furniture tion appears very homogenous, and
onto the facade by concrete louvres. In the “House in a pine forest” in Marina highly compact and cohesive. Fall protec-
The motif of the louvre defines the di Castagneto Carducci, Italy, the interior tion is deliberately dispensed with.
space, due to its use on the external stair was extended into a shelf, similar
and internal wall. For this purpose, over to a Japanese kaidan tansu, where the In the Slovenian residential building by
1,800 prefabricated concrete elements risers continue as shelf panels in a close dekleva gregorič arhitekti, the area avail-
were threaded by hand onto taut steel rhythm, transmitting down the occurring able is relatively limited. The ground floor
rods and stacked on top of each other. vertical forces (fig. 2). The shelf panels primarily functions as a space designed
4a c
41
Design typology
to be open, offering many grand views of can be accessed. The stair on the inside
the surrounding landscape. By contrast, then leads to the upper sleeping level
the upper floor is very private, only per- (fig. 7). Due to the selected motifs of the
mitting views of the sky through roof win- door, the window and the stair, as well as
dows. The stair of the building reinter- the dual level, the furniture appears like a
prets the ‘samba’ stair type with offset “house within a house”.
treads, and consists of two components:
on the one hand, of box-shaped steps, Addition
which can additionally be used as stor- Due to the regressive number of new
age space, and on the other, of vertically buildings, construction in existing build-
lined up metal rods, which serve as ing stock is assuming an ever increasing
mounts for the box elements and simulta- role. It is here, in particular, that new or
neously as fall protection. Their additional additional stairs are often an indispens-
function, however, is somewhat con- able supplement and, for example, in the
6 cealed: appearing completely closed in form of emergency escape routes. The
side elevation and designed simply, the need for a stair is often due to a change
additional space for books or similar of use. Even if the stair may result in
items is only revealed on the rear side representing a different element, using
(fig. 5; see also “Residential building in another material or speaking a different
Vrhovlje”, p. 82ff.). The combination of the language from the rest of the building, it
function of the stair and the storage area must always be developed out of an
results in novel space furniture, which engagement with the building stock in
impresses on account of its original order to be successfully integrated.
approach.
The dialogue between the old and the new
Amir Zinaburg, with his Square Staircase, Meeting the urgent need for further exhib-
presents a delicate steel frame that is a ition spaces of the Art Museum in Saxony-
stair, shelf and art work in one. While the Anhalt, Nieto Sobejano Arquitectos
dissolved, thin tubular stair frame slightly designed a roof during the renovation
extends the limited living area by a repre- of the Moritzburg in Halle, which they
7a sentative utility space, it is above all, how- placed on top of a hitherto unused,
ever, an art object in an otherwise very ruinous part of the historical building
sober space (fig. 6). stock. Suspended from the roof, addi-
tional galleries and access elements
The furniture for playing and sleeping by organise the space in an entirely new
h2o architectes in an old Paris building way. In terms of their materials and
shows how a hybrid stair expands into an design, the installations clearly contrast
encompassing piece of furniture. It dem- with the historical building stock. This
onstrates the attempt to leave behind a dialogue between the old and the new is
tidy children’s room by employing inte- conducted in a very deliberate manner:
grated storage, working and play areas. the new elements for museum use stand
In this furniture, use as stairs equally out against the natural stone walls due to
stands alongside the other functional pro- the white paint. Likewise, the stairs pur-
visions. The compact corporeality and posely accentuate the stock (fig. 8).
the colourful paint highlight the volume Supplemented emergency stairs and
placed in the space. Three steps lead to elevators in the core of the building,
b a door through which the built-in furniture as well as new window mounts in the
42
Design typology
5 Compact house, compact stair furniture. Resi-

dential building “Compact Karst House”, Vrhovlje
(SI) 2014, dekleva gregorič arhitekti
6 Square Staircase, Islington House, London (GB)
2015, Amir Zinaburg
7 Play and sleeping furniture, Paris (FR) 2009,
h2o architectes
a The stair links several play levels.
b The piece of furniture as built-in object in an
old building.
8 Building stock vs contemporary intervention:
The black steel strongly contrasts with the build-
ing stock. Moritzburg, Halle (DE) 2008, Nieto
Sobejano Arquitectos
9 Visitor centre Castillo de la Luz, Las Palmas Gran
Canaria (ES) 2004, Nieto Sobejano Arquitectos
10 Cultural centre on the Azores (Arquipélago –
Centro de Artes Contemporâneas), Ribera
Grande (PT) 2014, Menos é Mais Arquitectos
a Monolithic stair
b Wooden stair 8 9
exhibition spaces, once again allow con- ina, intrinsic to the material, displays a natural stone from the region due to their
temporary use of the historical spaces. temporal element, just as the building anthracite-coloured concrete surface.
itself does. The existing buildings from the late 19th
Addition, as the term already suggests, century, by contrast, were hollowed out
means sensitively handling what already In the art and cultural centre Arquipélago, and extensively renovated, in order that
exists. Even in the case of stairs that on the island of São Miguel in the Azores, their cubature and materials allow the
appear much more object-like, as at the Menos é Mais Arquitectos complemented developmental history and the site to still
visitor centre in Las Palmas, by the same the former alcohol and tobacco factory by remain readable. The stairs inside reflect
Spanish architect team (fig. 9), the stair is two further buildings, which serve as art this interplay of contrasts (old – new,
always subject to the atmosphere of the and cultural centre, store, multifunction raw – smooth, light – dark, etc.): in the
space. Here, Nieto Sobejano place a new space and workshops. The new mono- spaces which appear cool, stairs differen-
visitor axis through the building, with the lithic buildings, in their volume and exter- tiated on account of their workmanship
aid of the stair and the walkways. In the nal shape, are guided by the existing are a clear and pleasant contrast, while
historical context in particular, corroded building stock, and blend into the sur- seeming rather object-like as compact,
steel as a material stands out, as its pat- rounding buildings made of dark grey unadorned volumes in the historical
10 a b
43
Design typology
11
industrial buildings. The installations thus white prefabricated concrete elements,

react to the spatial situation in a highly it presents, indeed, a modern-abstract
individual manner. There is no common contrast, positioning itself equivalently
language; instead, the architects use alongside the exposed brick walls of
the stairs to respectively reinterpret the the existing building stock, leaving the
surroundings, employing, for example, a historical space around the central stair
spiral staircase with an elegant railing with room to unfold (fig. 11).
made of brass or a fanned out wooden
stair whose constructively clearly struc- Markus Scherer and Walter Angonese,
tured banister continues into the upper for the renovation of the South Tyrol-
floor (fig. 10 b). ean Museum of Culture and Provincial
History – Tyrol Castle, demonstrate how
David Chipperfield’s stair for the renova- the stair can become a recurrent theme –
tion of the Neues Museum in Berlin, by constructed in corroded steel, in this case
contrast, follows the historical original by – and represent a didactic path through
Friedrich August Stüler in form, course an exhibition. Alongside the objects pre-
and volume. In its monolithic, almost sented in the castle, it is also the existing
seamless construction, consisting of building stock, the historical reference
12
44
Design typology
11 Neues Museum Berlin (DE) 2009, David

Chipperfield Architects
12 Watertower, De Weerribben-Wieden National
Park, Sint Jansklooster (NL) 2014,
Zecc Architecten
13 Stair, lighting and display case in the South
Tyrolean Museum of Culture and Provincial
History, Tyrol Castle (IT) 2003, Walter Angonese
and Markus Scherer with Klaus Hellweger
14 Coal washing plant, Zeche Zollverein Essen (DE)
2010, hg merz
15 Townhouse “Black Pearl”, Rotterdam (NL) 2010,
Studio Rolf.fr 13 14
and the landscape context which form a glowing strings, reminiscent of embers, The category of addition shows how sen-
part of the exhibition. The stair connects as well as the additional lighting under- sitively and wisely planned stairs can
all parts with each other and, due to its neath the steps and in the handrail, the allow existing buildings or surrounding
space-consuming extensions, it itself stair clearly contrasts with the heritage- spaces to have a suspenseful impact
becomes a presentation site. For the protected building stock. or even be set centre stage. In doing so,
purpose of showing multimedia content, stairs can, by all means, self-confidently
displays, niches with audio installations, In the residential building “Black Pearl” stand on their own. All the examples
cabinets and the like, are additionally by Studio Rolf.fr, the stair and the entire shown here illustrate that the new and
integrated into the stair, which has been addition that provides the spaces the old enrich each other positively, and
extended into an item of exhibition furni- desired by the client clearly contrast with that the dialogue and the use of an effec-
ture (fig. 13). the building stock (fig. 15). Due to the tively orchestrated break or gap as an
design of an indirectly lit interstice, this accent, can result in a new, lively spatial
Located in the midst of De Weerribben- addition is structurally separated, its impression.
Wieden National Park in the Netherlands, white volume also setting itself apart opti-
Zecc Architecten have transformed a for- cally from the exposed brick walls. The Craftsmanship and detail: the stairs in Carlo
mer water tower into a viewing tower. The actual habitable rooms are located in the Scarpa’s oeuvre
wooden steps of the new stair create an gap between the existing stock and the In spatial-atmospheric terms, stairs are
alternative route to the existing one, which extension. successful when their relationship to the
consists of a narrow, steep wooden stair-
case nestling up against the inner wall.
By contrast, the new, more comfortably
walkable stair frees itself from the space
in multiple ways, running through the high
concrete tower in a zigzag fashion. Both
stairs are usable while the new installation
is an extension to allow the spatial volume
to be experienced in a more dramatic
manner. In this way, the new stair not only
materially but also geometrically exhibits
a clearly visible distance to the existing
building stock. Similar to the project by
Markus Scherer and Walter Angonese,
the stair contains several additional func-
tions, its seating accommodation provid-
ing space for relaxation (fig. 12).
This illustrates once again that a new stair
in an existing building stock can offer
added value alongside purely functional
complementation.
With its artistic ambition, the stair in the

coal washing plant of the former Zoll-
verein coal mine, designed by hg merz,
represents the necessary content-related
link with history: red and yellow serve as
a visual symbol for mining and iron ore
production (fig. 14). Due to the orange- 15
45
Design typology
16 Fondazione Querini Stampalia, Venice (IT) 1963,

Carlo Scarpa
a Access bridge over a canal
b Detail of handrail
17 ‘Samba’ stair, Castelvecchio, Verona (IT)
1975, Carlo Scarpa
18 Stair of corroded steel strips, Castelvecchio,
Verona (IT) 1975, Carlo Scarpa
existing building stock has been worked each other. Scarpa created total works
out in an aesthetically coherent manner. of art that impress due to the dedica-
An outstanding architect who always tion to their workmanship. Every niche,
applied his design philosophy to the every drain and every joint is well
smallest detail and the design of stairs thought out. Every construction element
in particular is Carlo Scarpa. In general, has been coherently worked through in
Scarpa’s conception of architecture is itself and placed in context in a sophis-
determined by the exchange between ticated manner.
the place and craftsmanship in the con-
struction of buildings. In their conception In the Castelvecchio in Verona, Carlo
and construction, his buildings always Scarpa was able to very intensively
display detailing with many variants. The dwell on the historical building stock
position of each step is carefully con- from 1957 to 1975. The various stairs
ceived, and every stair has been devel- demonstrate how sensitively he
16 a oped from a sensitive understanding of responded to the respective location
the site. and always attempted to find the right
dialogue between the old and the new,
This is demonstrated at several loca- the material and the construction. As
tions in the Palazzo Querini in Venice: such, the ‘samba’ stairs along a narrow
the bridge, which spans the canal like chasm between the site and the build-
a light arch (fig. 16 a); the protective ing are ideal for overcoming a height
measures against the dreaded floods; difference (fig. 17). At another location
the garden; and the pòrtego (Venetian in today’s museum, a corroded steel
for “portico”), the typical entrance hall. stair, appearing as an autonomous
As an example, the handrail of the object, contrasts with the brick-lined
access stair may be mentioned here. space (fig. 18). On the ground floor in
Scarpa designed the mounts of the verti- particular, the spaces which are linked
cal steel struts such that he recessed by only two or three steps are visually
the metal in the zones where the hand united by minor level differences, while
touches the railing, complementing it by also being separately perceivable.
b a horizontal wooden strut (fig. 16 b). As Scarpa isolated the components of
such, the handrail can be ergonomically individual elements and reshaped
used and has a pleasant haptic feel, them – always in close relation to the
with Scarpa having taken references existing building stock. Using the
from shipbuilding in its conception. example of the stair, this means that
The steps start out in stone, thus estab- doorknobs, steps, handrails etc. were
lishing a clear connection to the paving separately, individually designed and
material of the square; above the water, detailed, applying elaborate workman-
however, a separate construction made ship in their implementation. On the
of wood and steel is placed on top, whole, this results in a kind of collage
referring to the bridges of Venice. This that serves as a constant reminder of
emphasis on the individual elements the historical context.
and their detailed treatment is even
more evident in the garden, which
Scarpa developed like a microcosm by
placing the landscape with the water
17 and the architecture in dialogue with
46
Design typology
Epilogue
Epilogue
The above-mentioned stairs show the
wide range of possibilities for the hand-
ling of space. All the preliminary concep-
tual questions on the overall design of a
building always also refer to a stair:
should it contrast with the existing context
(location, function or programme, or the
building in itself)? Are relationships
between various spatial zones created
that go beyond a purely access-providing
role? Does the stair continue an aesthetic
motif or does it transform it? Are local
materials and/or regional production
techniques being applied?
For all the typology, however, exceptions
often confirm the rule: every stair cannot
always be unambiguously categorised.
Yet, stairs are such an important feature
of every building that it seems necessary
also to conceptually design them in a
sensible manner in the design process,
for it is often via a stair that the first and
most direct approach to a space takes
place. Stairs can take up and develop
aesthetic motifs, thus not only linking
spaces physically but also conceptually.
What all the presented stairs have in com-
mon is that they cannot be categorised
separately from the building or space but
always within their context. This approach
is necessary since the primary concern
is the continuity of a spatial idea, which
ideally is then clearly reflected in the con-
ception, the structural details and the
materialisation of the stair.
Stairs can be the heart of a building, the
points where spatial openness leads to
communicative meeting places. The
upgrading of access zones from a purely
function-oriented element to open space
structures presents huge aesthetic and
spatial potential.
18
47
Construction typology
As already described in the preceding from the associated technical options

section on design typology, the stair is for processing and working the building
indeed dependent on the space to be material.
accessed, but at the same time also
always defines the space. The individual Stairs first developed from purely practi-
design idea in the context of a building cal items into “objets d’art” in historical
influences the type of construction of a buildings of a representative character.
stair. Alongside the functional criterion, the
stair received an additional level of
A stair serves the purpose of overcoming meaning. The applied materials and
level differences caused by stacking hori- techniques, however, were the same
zontal planes. In doing so, alongside the as in the stairs which had been purely
design-related demands, and viewed reduced to a functional role. Balthasar
historically, it is the geographical and cul- Neumann, in the mid-18th century,
tural context in particular that represents applied common brickwork techniques,
the resources used in house building, such as arched brick constructions, in
and hence in associated stair construc- the Würzburg Residence, to construct
tion. The availability of construction mater- the three-flight, dog-leg stair for the repre-
ials and the development of craft skills, sentative access to the primary reception
to begin with, form the decisive boundary floor (see p. 14f.). The construction is
conditions for these tasks. So, for ex- entirely plastered and decorated with
ample, in Ticino, the stone slabs naturally ornaments. Stair steps, railings and
1 occurring in the immediate spatial envi- balustrades are made of natural stone.
ronment in layered natural stone walls The basic construction merely serves as
also constitute the principal building a shell for accommodating secondary
material for houses and stairs (fig. 1); in materials for the decoratively designed
Norway, due to the abundance of wood, surfaces. The underlying type of con-
the step-like carving of logs combined struction is no longer discernible when
with methods of solid wood construction viewing the completed stair (fig. 3).
resulted in an obvious principle of stair The stairs at Goethe’s house on Frauen-
design (fig. 2). These two examples, plan in Weimar have a similar design; the
albeit displaying different types of con- wooden construction was clad, partly
struction, represent the primeval stair plastered and adorned with decoratively
type, which is intrinsic to the archaic designed surfaces – only the step and
handling of locally available material landing coverings made of wood allow a
(see “Longing for the archetype”, p. 29ff.): conclusion to be drawn about the applied
the material primarily used for the load- construction material (fig. 4).
bearing structure of a house determines
the appearance of the stair. Alongside the traditional materials of stone
and wood, the Industrial Revolution
Until the mid-19th century, mainly wood resulted in the addition of iron from the
and stone were available as construction mid-19th century onwards, as well as con-
materials, the latter in the form of natural crete or reinforced concrete, from the start
stone or bricks made of fired or dried of the 20th century, as materials for stair
mud. This guided the technical param- construction. The cast-iron stair represents
eters for stair construction, while the often the advent of metal materials in stair con-
2 highly mature craft skills were derived struction, enabling delicately constructed
48
1 Projecting stone steps in Ticino

2 Worked tree trunk, Norway
3 Stairwell, Würzburg Residence (DE) 1720 –1744,
Balthasar Neumann
4 Stairwell, residential building on Frauenplan, Wei-
mar (DE) 1792
5 Cast-iron stair in Prince Charles’ palace
[Ordenspalais], Berlin (DE) 1827–1829,
Karl Friedrich Schinkel
6 Spiral stair, Itamaraty Palace, Brasilia (BR) 1970,
Oscar Niemeyer 3
elements to be created (fig. 5). As with Stone stairs

every new material, it takes a certain The prototype stone stair results from the
time until a unique design vocabulary stacking of stone slabs naturally occur-
which is typical for the material develops. ring in the surroundings. In the next
Cast-iron constructions at first replaced development step, dressed stone follows,
wood as a material; the design vocabulary out of which steps are carved. While
and type of construction initially corre- the stacking of stone slabs usually only
sponded to replicas of wooden structures. permits very small spans of stair con-
The new material of concrete, however, structions, if at all, dressed stone can be
made it possible to create volumetrically used to bridge larger spans, depending
and sculpturally formed structures in stair on the size of the raw material, and follow-
construction (fig. 6). ing the processing of individual stones
into arched supporting structures. The
Design and construction based on material stairs in the Italian community of Salemi,
The classification into construction types designed by Álvaro Siza Vieira in 1999 for 4
provokes a discussion on designing and the urban regeneration in the area of a
constructing in ways that are typical for cathedral which had been destroyed by
a respective material. How is this to be an earthquake, are a good example of
understood? Can limitation to preferably constructions made of layered stone. The
one material, which decisively shapes substructure consists of quarry stone,
appearance, be considered typical for and the block steps on top are made of
a material? How does one evaluate the precisely cut natural stone of the Pietra
development of hybrid constructions in bianca di Trapani type (fig. 8, p. 50).
this context? By applying different mater- In the residential buildng in Morcote,
ials acting in combination for basic struc- brick – as an artificially produced substi-
tures, new formal design possibilities tute for stone – is laid on top of a concrete
emerge. In the process, the recognisabil- sub-stair. Here, the substructure of con-
ity of a typology-defining material no crete represents the “modern” variant,
longer has priority. while traditional stone stairs made of
Recent technical developments of mater- bricks were normally supported by walled
ials, means of combination and process- vaults (fig. 9, p. 50). 5
ing technology open up new design-
related scopes for planners, while making The characteristic tectonics of stone
unambiguous classification or reduction stairs results from the material-based
of built examples into four basic construc- property of predominantly being able to
tion typologies based on the “classic” accommodate compressive stresses for
materials (stone, wood, steel and con- vertical forces or vaulting. Stone, being
crete) more difficult. It is, therefore, nec- a heavy building material with a high
essary to specify further categories. bulk density, is used in stairs for a solid,
The main criteria for defining a construc- monolithic effect and does not develop
tion typology are the available materials the elegance of material-reduced stairs
which are used for the primary load- made of other materials. An exception are
bearing structure of stairs. The attempt at stairs consisting of stone slabs embed-
this classification, for a start, covers the ded into and projecting out from a solid
already mentioned “classic” materials wall, forming self-supporting treads. These
of stone, wood, steel and concrete, and centuries-old stairs create the impression
furthermore, glass and hybrid structures. of high-tech audacity (fig. 7, p. 50). 6
49
Wooden stairs stair is well-developed due to extensive on the period, the simple basic structure
Wooden stairs developed, on the one timber resources. Already in the 19th cen- remained recognisable. Later, the appli-
hand, from the prototype of the sloping tury, these construction techniques were cation of industrially manufactured
tree trunk worked into a step-like shape, presented in textbooks on stair construc- wooden composites became predom-
and on the other, from ladders, which tion for the carpentry and joinery profes- inant. Rod-shaped, aligned beams of
were originally made of grown round bars sion, almost in a catalogue-like manner glued laminated timber or solid structural
with a small diameter. Until the beginning (fig. 10). timber replaced the beams originally
of the 20th century, the anisotropic mater- obtained from grown tree trunks. In add-
ial of wood, in component design and In spite of the highly developed stair ition, undirected slab-shaped materials,
dimensions, was subject to available construction culture, it was the craft- such as wooden fibre boards or lamin-
beam dimensions, which derived directly based, holistic simplicity which domi- ated wood panels for surface-filling
from grown tree trunks (fig. 2, p. 48). nated wooden staircases. Though the applications, became available. The
Rod-shaped, aligned constructions of construction elements were adorned construction of the wooden stair was
closed and open string stairs are derived with embellishments and decoration or largely reduced to a few elements. These
from them. In Central Europe, the wooden had handcrafted surfaces, depending stairs give the impression of an intuitively
9 10
50
7 Stair in Abhaneri (IN) [Stairs for architects, carpenters, and joiners

8 Urban regeneration in Salemi (IT) 2000, Álvaro as well as for craft and trade schools] from
Siza Vieira the year 1873
9 Residential building in Morcote (CH) 2008, 11 Single-family home in Ghent (BE ) 2010,
Markus Wespi + Jérôme de Meuron Architekten Dierendonckblancke Architecten
10 Plate 1 from W. H. Behse: “Treppenwerk 12 Emergency stair in the USA
für Architekten, Zimmerleute und Tischler 13 Art Nouveau stair, Hôtel Tassel, Brussels (BE)
sowie für Baugewerk- und Gewerbeschulen” 1892, Victor Horta 11
comprehensible method, giving layper- stair, with its reduced material use,
sons, too, a sense of constructional became definitive. Analogous to the
understanding, and hence of safety. above-described construction types of
wooden stairs as closed or open string
The example of the stair in the residential constructions, simple structures with
building in Ghent by Dierendonckblancke transparent load-bearing behaviour of
Architecten shows a minimalist closed construction elements were created.
string stair with mortised solid wooden By making full use of the properties of
steps, which rests on timber beam land- the material, stairs could be designed
ings suspended from above on steel rods to be highly transparent and almost
(fig. 11). The basic geometric configur- dematerialised.
ation does not include a well hole. Ascend- Due to the further development of pro-
ing and descending inner closed strings cessing technologies in steel construc-
only have a few millimetres of interstitial tion, two trends manifested themselves
space, through which a tensile structure in architecture with respect to stair con-
runs for fall protection. struction:
Steel stairs Incorporeal, dematerialised and almost

Steel stairs display an industrial character. floating stairs
They recall stair towers, emergency stair- The steel spiral staircase in the house in
cases, or ship stairs. Initially, they didn’t Imabari by Toru Murakami Architect &
have a representational character, thus Associates is a newel stair that almost
being adorned and constructed in a tech- seems to dissolve in space thanks to the 12
nically reduced manner. Familiar images minimised use of material (fig. 14, p. 52).
of buildings from large cities in the USA, As a result, this stair completely subordi-
displaying external emergency staircases, nates itself to the unobstructed space,
demonstrate, however, that these stairs though newel stairs usually appear object-
decisively shape the architecture due to like, due to their basic geometric shape,
their large dimensions. For this reason, and normally rather attract attention. The
decorative elements were developed for impression of dematerialisation achieved
staircase components which went beyond here is only attainable by steel construc-
pure functionality (fig. 12). tion: by the skilful combination of profile
The Jugendstil introduced modern cast- steel, cables and steel rods, resulting in
iron constructions into architecture. The a high-performance load-bearing system,
stairs received style-forming floral orna- making full use of the respective load-
ments and were integrated as objects into bearing capacity.
the buildings (fig. 13).
Corporeal folded stair of flat steel
Steel was the new material of the early The application of flat steel, which is
20th century, with assigned attributes used in steel stair construction in the
such as “high-performance, slender, and form of struts, folded or bent as load-
profiled”. The “Neues Bauen” [“New bearing material and in a surface-bearing
Objectivity”] helped achieve the break- manner, has strongly increased in recent
through for steel stairs. The propagated years, due to the digitally controlled pro-
development of a simple design vocabu- cessing machines available today. In
lary followed the principle of construc- contrast to the steel stairs described
tional economy. The motif of the ship above, these constructions do not require 13
51
14
profile steel as the load-bearing structure, etries in the form of prefabricated rein-
making origami-like forms with high aes- forced concrete components represent
thetic appeal possible in the first place. an economically unrivalled building prod-
uct. These components are often applied
The stair in Skara Cathedral by AIX in situations where aesthetic appeal plays
Architekter is a folded stair where every a subordinate role, such as in emergency
third riser projects as cantilever and is stairs, in commercial building, etc.
structurally fixed to the parallel concrete The architect Peter Böhm, however,
wall, resulting in a seemingly floating proves with reference to the example of
folded structure, with carefully planned the Lanxess Arena (Kölnarena until 2008),
detailing and implementation (fig. 15). that these formally extremely reduced
components can, by all means, have high
In the connecting stair on the upper floor aesthetic appeal when integrated into a
of the Juilliard School in New York by design concept (fig. 18).
15 the architects Diller Scofidio + Renfro /
FXFOWLE, flat steel plates are also Glass stairs
used as the load-bearing structure. The Technological advancement in glass
U-shaped cross section of the stair materials allows glass to become a load-
uses the sideward flat steel railings as bearing material, taking into account spe-
closed strings, which are connected with cific constraints. The entrance stair in the
each other by welded-on tread plates subterranean Apple Store in New York
and include open risers (fig. 16). demonstrates the aesthetic possibilities
which are exhausted to the fullest in this
Concrete stairs example (fig. 19). At first glance, both the
Reinforced concrete is the defining con- staircase and the glass cube protruding
struction material of the 20th century. By from the square and enveloping the stair-
combining the two components concrete case seem to be constructed only of
and steel, constructions with high struc- glass. The glass panes are employed as
tural performance were developed which, two-dimensional load-bearing elements,
due to the plasticity and malleability of but must be structurally connected with
16 reinforced concrete, made great aes- each other using steel connectors. These
thetic freedom in design possible. Owing construction elements or building compo-
to the numerous available techniques for nents, however, visually recede into the
designing concrete surfaces – thanks to background to the extent that they don’t
the variability of concrete, on the one compete with the dominance of the glass.
hand, by using colouring and additive Nevertheless, the structure is a hybrid con-
substances, and on the other, the diverse struction of glass and steel.
modification possibilities with respect
to the surface finish, as in formwork, for CAD and CAM
example – there are almost no design- The entry of digital planning and manu-
related limits for planners (fig. 17). facturing tools into the production pro-
cess enabled individualised planning and
Contrary to these aesthetic possibilities construction procedures, which had been
marked by a high degree of individuality, impossible or uneconomical before. Freely
the concrete stair also developed as developed stair forms are defined by the
an element in industrialised building. sculptural design as well as the appear-
17 Straight-flight stairs with simple geom- ance of surfaces. To begin with, the
52
14 Residential building in Imabari (JP) 1999, Toru

Murakami Architect & Associates
15 Skara Cathedral (SE) 2000, AIX Architekter
16 Juilliard School in New York (US) 2009, Diller
Scofidio + Renfro / FXFOWLE
17 Spiral stair, Neues Museum, Nuremberg (DE)
1999, Staab Architekten
18 Lanxess Arena, Cologne (DE) 1998, Peter Böhm
19 Apple Store on Fifth Avenue, New York (US)
2006/2011, Bohlin Cywinski Jackson
20 Armani flagship store on Fifth Avenue, New York
(US) 2009, Doriana and Massimiliano Fuksas 18 19
materials of the load-bearing construction similar to car body construction in the This object-like stair, like the stair in the
do not play a role in form finding. automotive sector, where, as a rule, a Armani showroom, was built using the
The spiral staircase developed for the relatively inelegant supporting frame respective technical means available
Armani showroom in New York, with its (usually of metal) provides the structure; when it was created. Here too, however,
sculptural appearance, could initially be the body shell, placed over it, is form- the materials of the exposed surfaces
categorised as a free-form concrete stair giving and manufactured from different are form-defining, while encasing a
(fig. 20). However, the construction draw- materials, such as steel sheet, aluminium structural framework.
ing of this stair displays an inner frame- sheet or fibre-reinforced plastic. This In summary, it can be said that the con-
work of steel tubes, which is encased in a shape subsequently receives a freely structional resources available to stair
fibre cement cladding that follows the selectable surface coating. construction can be employed in both
sculptural design. The inner steel tube a form-defining and an ancillary man-
framework serves as a load-bearing struc- The latter examples bring us back to ner, i.e. without an aesthetic appeal of
ture and defines the rough structure, the beginnings of the symbolic stairs, their own. The planner’s design deter-
which is covered by the detailed cladding, as illustrated in the example of the mines how the technological means are
defining the final shape. The principle is Würzburg Residence (fig. 3, p. 49). applied.
20
53
Project examples
58 Jacob’s ladder: Stepped house in Brugg (CH)

Ken Architekten, Zurich
62 Sculpture: Winery in Bargino (IT)

Archea Associati, Florence
65 Stage: Store conversion in New York (US)

OMA /AMO, New York / Rotterdam
68 Landscape: City library in Seinäjoki (FI)

JKMM Arkkitehdit, Helsinki
71 Aesthetics of technology: Gallery and bar in Kyoto (JP)

Florian Busch Architects, Tokyo
74 Longing for the archetype: School building in St. Peter (CH)

Conradin Clavuot, Chur
77 Volume: Church and community centre in Cologne (DE)

Sauerbruch Hutton, Berlin
80 Continuity: Hotel in Obanazawa (JP)

Kengo Kuma & Associates, Tokyo
82 Furniture: Residential building in Vrhovlje (SI)

dekleva gregorič architects, Ljubljana
85 Addition: Exhibition and event centre, Franzensfeste (IT)

Markus Scherer, Meran / Walter Dietl, Schlanders
55
Project examples
Navigator
Jacob’s ladder and Sculpture Stage and Landscape Aesthetics of technology vs Longing
for the archetype
Stepped house in Brugg (CH) Store conversion in New York (US) Gallery and bar in Kyoto (JP)
Ken Architekten, Zurich OMA /AMO, New York / Rotterdam Florian Busch Architects, Tokyo
This Jacob’s ladder provides access to the flats in Inside the store, the stair acts as a stage: for position- The folded steel stair is reduced and elegant. The
the stepped house, accompanied by light and in an ing the mannequins, on the one hand, and as a cat- aesthetics of technology require precise detailing and
uninterrupted manner. walk for the shoppers, on the other. technical understanding.
Winery in Bargino (IT) City library in Seinäjoki (FI) School building in St. Peter (CH)
Archea Associati, Florence JKMM Arkkitehdit, Helsinki Conradin Clavuot, Chur
The sculptural stair of the winery distinguishes itself With the colourful accentuation by the seat cushions, Log construction is one of the traditional building
in a markedly formal manner from the building, and the stair here is the continuation of the reading land- techniques in Grisons. This archaic stair transforms
thus becomes an object displaying a pronounced scape. the context into a modern, contemporary design
uniqueness due to its bold design. vocabulary.
56
Project examples
Navigator
Volume vs Continuity Furniture and Addition
Church and community centre in Cologne (DE) Residential building in Vrhovlje (SI)
Sauerbruch Hutton, Berlin dekleva gregorič arhitekti, Ljubljana
In the nave, the stair leading to the pulpit is articulated The piece of furniture is simultaneously a stair, and,
as a volume, and thus divides the surrounding space. thanks to this hybridity, creates spaciousness even in
a small flat’s floor plan.
Exhibition and event centre, Franzensfeste (IT)

Hotel in Obanazawa (JP) Markus Scherer, Meran
Kengo Kuma & Associates, Tokyo Walter Dietl, Schlanders
The delicate stair subtly continues the space onto the Distinguishing itself formally and in terms of material
upper level without ruining the spatial impression. The from the context, while being constructed in such a
stair seems incorporeal and blends into the holistic restrained manner that respect for the building stock
spatial concept. predominates, the stair avoids appearing object-like.
57
Stepped house in Brugg
Architects: Ken Architekten, Zurich

Contributors: Jürg Kaiser, Lorenz Peter,
Martin Schwager, Gian Andri
Mohr, Friederike Wisler,
Charles Wülser
Structural engineers: Heyer Kaufmann Partner,
Baden
Planning / Site plan
completion: 2008 /2013 Scale 1:4,000
Located on a south-facing slope on the an inclined elevator, provide access to garage, as well as the bathroom and cel-
outskirts of the small Swiss town of Brugg, the eight residential levels. In addition, lar spaces. The stair and the elevator
this stepped house holds its ground in the end of the characteristic stair grants form the central spine of the complex,
the midst of a heterogeneous housing access to a common space and play- which is clearly discernible externally in
development. The circumferential wall of ground on the topmost platform of the the form of a concrete ribbon. On both
varnished exposed concrete condenses building. Simple but robust materials, sides of this, the flats are arranged in
the 16 freehold flats into a self-confident, such as the prefabricated, exposed con- spatial layers running parallel to the
large-scale form. With its irregular bends, crete steps, as well as a colourful, warm slope, directed towards spacious roof
it responds to the topography of the sun-yellow coat of paint define the stair- terraces along the entire breadth. Every
slope. The surfaces of the immediate sur- well. It is lit by a glass door at the end of flat has two access options: an elevator
roundings, a lawn and asphalt, directly the stair and by sideward windows, which entrance in the rear spatial layer, as well
adjoin the building. rhythmise the space in a suspenseful as an entrance from the stair, directly at
On the south-eastern corner, the asphalt manner. Similar openings perforate the the facade. From here, the residential
flows up to the entrance hall. From here, a circumferential walls in an irregular pat- area extends along the wholly glazed
Jacob’s ladder-shaped stair, as well as tern, lighting or ventilating the parking terrace front up to the external wall.
58
13
12
11
4
8 7 6
5
5th floor
1st floor
Ground floor
Scale 1:500
1 Entrance hall
13
2 Car park
3 Shelter
12 4 Entrance to the flat
11 (from the inclined lift)
4
5 Access (from staircase)
8 6 Kitchen
6 7 7 Living / dining room
8 Room
5 9 Roof terrace
10 Roof garden
9 11 Storeroom
(unheated)
12 Laundry
(unheated)
13 Cellar / building services
11
10
a b
3
1
59
Stepped house in Brugg
Sections Scale 1:500
1 Entrance hall
2 Car park
3 Shelter
4 Roof terrace
5 Living / dining room
6 Storeroom
(unheated)
7 Cellar / building services
8 Playground /
community terrace
aa
Section stair Scale 1:50
9 Stairwell ceiling:
Sealant liquid plastic coloured 50 mm 9
Ceiling reinforced concrete 300 mm
Thermal insulation 40 mm
Wooden battens 40 mm
Acoustic panel wood-wool slab 25 mm
10 Stair landing:
Cover PVC 9 mm
Rubber pellet mat 8 mm
Cement screed 30 mm
Reinforced concrete 250 mm
Thermal insulation wood-wool 50 mm
11 Stair flight prefabricated reinforced
concrete element
12 Outside stair landing:
Floor coating plastic,
water-permeable, sound-insulating,
Cover layer of colourful rubber and gravel
granulate coloured 8 mm
Sealant liquid plastic 5 mm
Reinforced concrete on a gradient 100 –170 mm
Thermal insulation wood-wool 50 mm
11
10
60
8
4 5 6 7
2 1 3
bb
12
61
Winery in Bargino
Architects: Archea Associati, Florence-

Laura Andreini, Marco
Casamonti, Silvia Fabi, 1
Giovanni Polazzi
Contributors: Francesco Giordani
Structural engineer: AEI Progetti, Florence
Planning /
completion: 2004/2012
Located south of Florence, the Antinori recessed topmost part of the building race and the restaurant. With its varying
winery seems to merge with the land- accommodates the delivery area and the radii, the stair winds itself around the
scape. The almost 40,000 m2 building filling funnel for the grapes, as well as the “central” column four times, and has a
complex, which is both the production bottling plant and storehouse. On the total length of 100 m. The construction is
site and head office, is almost completely downhill side, three levels with administra- a box girder with complex geometry,
concealed in the hill. All that remains visi- tive and visitors’ areas are adjoined, made from 35 parts that were welded
ble are two facade ribbons between vine- including a shop, a museum, a lecture together on site. The 17 m high steel stair,
planted roof surfaces, a sculptural stair room, a tasting facility and a restaurant. weighing 105 t, is fixed to the column only
made of corroded steel, and supporting Circular, partly glazed openings allow at the bottom, the roof terrace and at
walls of reddish brown exposed concrete. daylight to enter the subterranean areas, three points. As such, and in spite of its
The heart of the wine-making process is creating suspenseful visual relationships. mass, it seems light and sweeping – a
comprised by the lower level, with its wine A distinctive, spiral-shaped circular stair sculptural outside staircase, inviting users
press, stainless steel fermentation tanks is placed in front of the facade, leading to slowly walk up the 118 steps to enjoy
and vaulted cellar, where the barrique visitors from the underground car park to the far-reaching view of the hilly Tuscan
barrels are stored. Above this, the the main entrance, and on to the roof ter- landscape.
62
Site plan
Scale 1:7,500
14
Section
A Floor plans
Building part B
Scale 1:1,500
B
aa
12
13 13 13
11 9
10
7 8
1 Driveway 8 Adminis-
2 Parking spaces tration
6 3 Barrique barrel 9 Shop
cellar 10 Museum
4 Stainless steel 11 Auditorium
Visitor area level tanks 12 Tasting
5 Wine press facility
a 6 Terrace 13 Courtyard
7 Reception 14 Restaurant
4 5
a
Wine cellar level
63
Winery in Bargino
3
2 5
4 6
b b
Spiral stair: 4
Vertical section • Horizontal section with connection
to column
Scale 1:20
All steel parts: corroded steel

1 Banister flat steel ¡ 40/10 mm
2 Lamp
3 Step covering in-situ concrete 60 mm,
reinforced with glass fibre and wire mesh,
surface brushed
4 Box girder steel sheet 30 mm, welded
5 Beam / connection to column
Flat steel ¡ 35 mm
6 Column steel profile Ø 250/20 – 600/10 mm
7 Column mount reinforced concrete
8 Floor construction:
Concrete screed coloured 150 mm,
reinforced with glass fibre and wire mesh
Concrete screed 200 mm reinforced
with glass fibre and wire mesh
6
6
7
bb
64
Store conversion in New York
A B
a
Architects: OMA /AMO, New York /

Rotterdam
Rem Koolhaas, Dan Wood,
Ole Scheeren, Markus
Schaefer
Planning /
completion: 2000 /2001 Floor plan Scale 1:750
The Prada Store in SoHo is the first of

three large stores, prior to those in Los
Angeles and San Francisco, where Rem
Koolhaas has realised new sales ideas
for the fashion company from Milan. The
prestigious object is not a store in the
conventional sense, but an adventure
space, a shopping experiment, as well
as a private and public space at the
same time. At night, the commercial
clothing store turns into a place for
culture, an auditorium with a capacity of
200, for film screenings, lectures, or
performances. The focus of all these
cultural activities is a large, wave-like
wooden stair, which swings down from
the entrance level and also serves as
seating accommodation. Since the visi-
tors represent an important part of the
overall setting, the boundaries between
spectators and performers blur during
the events. The stair represents a stage
for both participating parties in equal
measure. The view, both from and onto
the stage, is similarly highly significant.
During regular sales operations, the
steps turn into a stage for shoes or hand-
bags. On the opposite side, the wave
again splashes upwards in the form of
a smooth wooden surface. A platform
can be folded out from this surface. Via
a narrow stair on the side, visitors can
access further sales areas in the rear part
of the store. Clothes and accessories are
exhibited in differently sized cages of
expanded metal, hanging freely in the
space; digitally controlled, they run on
tracks in the ceiling and can change their
position; and for events, the cages are
collected. The lower turning point of the
wave provides access to additional sales
rooms, a cosmetics section, as well as
changing rooms in the basement.
65
Store conversion in New York
aa
Section
Scale 1:750
Detail sections
Scale 1:10
A 1 1 Aluminium sheet on 2≈ toughened safety glass 10 mm

plywood panel 20 mm glued 18 EPDM 6 mm
2 2 Spacer disc 19 Aluminium sheet on
3 Frame of aluminium tubes | 76/76 mm plywood panel 20 mm glued
3 4 Aluminium rod | 25/25 mm 20 Plywood panel 20 mm
4 5 EPDM 6 mm 21 Soft fibreboard 12 mm
6 Floor construction: 22 Glass mount aluminium profile
Aluminium sheet glued on 23 Equalising pad
plywood panel 20 mm, two-ply 24 Steel angle ∑ 100/75/8 mm
soft fibreboard 12 mm 25 Reinforced concrete ceiling on
7 Steel beam of bridge structure trapezoidal sheet
8 Handrail extruded aluminium sheath 26 Ceiling construction of steel profiles
9 Aluminium angle ∑ 25/25 mm 27 Handrail extruded aluminium sheath 50/30 mm
5 6 10 Tropical wood zebrawood 18 mm 28 Stainless steel tube | 20/20 mm
11 Plywood panel 20 mm 29 Tropical wood zebrawood 18 mm
12 Soft fibreboard 12 mm 30 Plywood panel 20 mm
13 Equalising pad 31 Soft fibreboard 12 mm
14 Inserting strips zinc 3/6 mm 32 Steel sheet 5 mm
15 Steel profile 220 mm 33 Cantilever beam steel profile 320 mm
16 Steel angle ∑ 40/60 mm 34 Steel angle ∑ 40/60 mm
17 Laminated safety glass of 35 Suspended ceiling, aluminium polished
8 7 b
10 11 12
13
14
15
16
9
10
bb
66
17
21 20 19 18
22
23
25 24
19
26
29 30 31 c
32
19 31 30
23
35
23 33
34
28 27
c
17 29 30 31
32
33
35
cc
67
City library in Seinäjoki
7
5
Architects: JKMM Arkkitehdit, Helsinki 3 4

Asmo Jaaksi, Teemu Kurkela,
Samuli Miettinen, Juha Mäki-
Jyllilä
Contributors: Aaro Martikainen, Päivi 1
Meuronen, Teemu Toivio
Structural engineer: Eero Pekkari, Ramboll Finland,
Espoo
Planning /
completion: 2008 /2012
The small town of Seinäjoki in western connected to it by a tunnel. In its scale framework structure, lend the spaces a
Finland has gained a certain popularity and materials, the new library refers to sculptural character, and simultaneously
owing to its city centre designed by Alvar the existing building stock, while self- conceal the long-span wooden support
Aalto. The church, the town hall, the confidently speaking a contemporary structure of the roof. Conceptually, the
library, the community centre, the district architectural language. On the outside, library is not supposed to be just a repos-
administration and the theatre form a the building is divided into three parts, itory of media, but also a meeting place
harmonic ensemble of predominantly which blend into a single whole inside. and lounge for interacting with media.
white, copper-clad buildings. After more Though the individual areas are clearly The heart of the building is undoubtedly
than 40 years, due to population growth differentiated from each other due to the “reading landscape”, a free-standing
on the one hand and new developments their floor plan geometry, the main staircase with colourful seat cushions.
in the media sector on the other, the city spaces seamlessly merge into each This creates a spacious link between
library no longer met current require- other, permitting diverse visual relation- the main level and the basement, which
ments. The new building complements ships. The diversely sloping in-situ houses the youth section and the inter-
the functions of the old building, and is concrete ceilings, with their exposed section with the Aalto library. In addition,
68
Site plan Scale 1:5,000
Sections • Floor plans Scale 1:1,000
1 New library 12 Seating niches

13 Reading steps
Neighbouring building to 14 Exhibition
Alvar Aalto: 15 Information / service
2 Old library (1965) 16 Stacks
3 Official building 17 Café
(1968) 18 Newspapers
4 Local theatre (1987) 19 Foyer
5 Town hall (1962) 20 Multipurpose hall
6 Community centre 21 Administration
(1966) 22 Distribution
7 Church (1960) 23 Mobile library store
8 Intersection with old 24 Play area
library 25 Children’s books
9 Games 26 Reading room
10 Books for young 27 Books
people 28 Conference room
11 Music, films 29 Staff café
it invites users to linger and read on

the seat cushions, which are in various
shades of green. The cushions are
placed on the stair, bridging two steps
aa
each and thus ensuring a pleasant seat
height and seat depth. As such, they
can also be used as seats for spectators
at events. In order not to undermine the
impact of the free-standing stair, it is
accompanied by only one handrail on bb
each side; apart from that, its appearance
is reduced to the homogeneous white
treads and the colourful seat cushions.
28
29
21
21
21
8
Upper floor
b a
9
17
10 11 18
12 27
13 13
19
14 15 14
15
16
20
26
22 24 25 b
21
23
21
Basement Ground floor a
69
City library in Seinäjoki
c
d
Vertical section stair
Scale 1:50
Details banister
Scale 1:5
1 Handrail flat steel 50/20 mm

d
2 Steel rod Ø 8 mm, mounted in reinforced
concrete wall
3 Steel profile grooved 5 mm, embedded in rein-
forced concrete wall, painted on room-facing side
4 Handrail steel tube ¡ 50/30/2.5 mm, welded on
steel profile
5 Laminated safety glass 8 + 8 mm, mounted in
aluminium profile
6 Carpeted floor 6 mm
Reinforced concrete
Thermal insulation 20 mm
Acoustic panel 10 mm
7 Flat steel grooved 3 mm
8 Acoustic panel 10 mm
Flat steel grooved 5 mm
dd
6 7
cc
70
Gallery and bar in Kyoto
Architects: Florian Busch Architects,

Tokyo
Contributors: Sachiko Miyazaki, Suguru
Takahashi (Project head)
Structural engineer: OAK
Masato Araya, Tomonori
Kawata, Tokyo
Planning /
On the outskirts of the famous entertain- meeting place here, owing to enlarge- Axonometric drawing stair
Floor plan • Section
ment quarter Pontocho in the centre of ments in the landings. It embodies the Scale 1:200
Kyoto stands K8, a small building with a concept of the whole building: an almost
bar and a gallery – a continuous interior stoic reduction, right up to the “absence”
extending over eight levels. The building of details. This is made possible by the
shell, a homogeneous yet constantly application of black steel, but also by
changing surface, creates an ambiguity employing numerous refined technical
that is often found in the architecture of solutions with an aesthetic all their own,
Kyoto. Several hundred wooden louvres and which ultimately decisively shape the
create a sense of movement, as if the image of the stair. The access space a a
building were continuously reacting to its becomes a meeting place or a visitors
surroundings. The stair, which dominates to the bar, lending the narrow plot a sur-
the entire interior, develops into a vertical prising spaciousness. 1st floor
aa
71
Gallery and bar in Kyoto
Vertical sections stair Scale 1:20
1 Sealing sodium silicate 2

Screed 35 mm, smoothed
Reinforced composite concrete slab 160 mm
2 Black steel profile ¡ 200/9 mm, PU coated 3
4
3 Black steel profile L 120/120/9 mm, PU coated
4 Steel profile IPE 250
Fire safety cladding mineral wool 30 mm
5 Landing black steel panel 16 mm, PU coated
6 Tread and riser black steel profile
¡ 400/9 mm, PU coated, welded together
7 Steel rods Ø 10.8 mm,
on M12, welded to riser
8 Handrail steel tube Ø 21 mm, PU coated
9 Steel profile ¡ 184/100/9 mm
10 Steel profile IPE 300, fire safety cladding
mineral wool 30 mm
10
7
8
10
72
73
School building in St. Peter
Architects: Conradin Clavuot, Chur

Contributors: Claudia Clavuot-Merz,
Norbert Mathis, Alex Jörg,
Paula Deplazes
Structural engineer: Jürg Conzett, Chur
Planning /
In the Schanfigg, a high valley near Chur,

the traditional rural way of construction
has been continuously preserved ever
since the 16th century, both in terms of
the settlement structure and the types
of log construction. One of the design- aa bb
defining factors of the complex was to

further develop the building stock, con-
sisting of the existing community hall
and the new multipurpose hall, the a
recreational area with a nursery, and the
school building. The log building, virtually c
the prototype of modular construction,
has been translated into a contempo-
rary design vocabulary. The horizontal, b b
11.5 ≈ 20.0 cm thick, shaved and other- 3
wise untreated wooden beams have
retained a residual moisture of approxi- c
mately 12 % despite a long storage
1
period. This dries up over time, leading 4
to shrinkage of the beams, especially Sections
laterally towards the annual rings, while Floor plan
2nd floor
longitudinal shrinkage can be ignored. Scale 1:800
In order to give the movable system, 2 5
which partly comprises large log walls 1 Multipurpose hall
2 All-weather area
(up to 36 m long and 7.50 m high), a 3 School building
high static load capacity, it is fixed to 4 Recreational area
5 Community hall
an immovable system by means of a (building stock)
dynamic connection: the horizontal logs a
can move down along vertical mullion
with screwed-on dovetail profiles; the
internal walls consist of double log walls.
The stairwell is particularly impressive.
With its stacked wooden steps, banisters,
and balustrades, it reflects the materiality
of the surrounding walls. The archaic
treads, corresponding to the dimension
of the log beams, join together at every
step. They are held in place by the
banister in the form of a solid closed
string on the space-facing side and the
accompanying wall, and are attached
to it invisibly.
74
cc
Section cc Scale 1:100

Interior wall detail Scale 1:20 13
d d Stair detail Scale 1:20
6 6 Flat-lying log 115/200 mm
7 Mullion glued laminated timber 70/140 mm 14
8 Hardwood dovetail, glued on and screwed
9 Hardwood dowel 15 16
10 Beam glued laminated timber 200/280 mm
11 Plank 60/200 mm
12 Door frame
9 10 11 of square timber elements
13 Log in the area of the stair opening 155/200 mm 17
14 Wooden guide element 45/50 mm,
6 screwed and glued on log
15 Tread 220/250 mm
7 16 Connecting dowel Ø 20 mm,
between step and log
17 Standing log interior wall 115 mm 19
18 Connection anchor system between wood and 18 20
8
12 reinforced concrete Ø 12 mm,
19 Threshold larch wood 115/50 mm
dd 20 Mortar layer 20 mm
75
School building in St. Peter
76
Church and community centre in
Cologne
Architects: Sauerbruch Hutton, Berlin

Louisa Hutton, Matthias
Sauerbruch, Juan Lucas
Young
Project heads: Jürgen Bartenschlag,
Vera Hartmann
Structural engineers: Horz + Ladewig, Cologne
Planning /
Located on a plot in Cologne-Stammheim,

the new building of the Protestant
Immanuel Church nestles in an old stock
of trees. Owing to the use of diagonal
wooden planking for cladding the
facades of the individual building parts,
the building project gently blends into its
surroundings. A low foyer under the gal-
lery provides access to the church build-
ing, with visitors subsequently experien- aa
cing the nave’s full height of 11 m. The
prefabricated timber panels and columns
are unclad, while the brushed and white
waxed surfaces expose the grain of the
Section • Floor plans
wood; the floor covering consists of a Scale 1:500
light polished screed. The rib structure, 1 Oratory
2 Vestibule
with columns of 7.5 ≈ 30 cm, together 3 Foyer
with the infilled panels, results in a stiff- 4 Nave
ened supporting structure, which includes 5 Altar
6 Organ
the roof and the wall sections. 14 7 Multipurpose
6
The gallery is accessed by a single-flight room
8 Band rehearsal
stair, which is designed as a volume, room
owing to its closed, head-high strings, 9 Multipurpose
and thus optically separates the actual room
of the community
foyer from an access corridor for ancillary 10 Sexton’s room
rooms. To avoid a too massive appear- 11 Sacristy
12 Kitchen
ance of the stair, it is only supported by 13 Columbarium
the floor and ceiling, and is otherwise 14 Gallery
freely load-bearing. The saw tooth-shaped
a
underside of the stair reveals the individ-
ual steps. In this way, the stair takes up 13 1
the form of the stepped beams rising
above the foyer, which serve as seating 9 10 11 9
benches for the gallery. The architects 8
break up the altogether minimalist design
by using a ceiling-high screen, compris-
ing 3,800 colourful wooden louvres in
27 different colours, which rises behind 6
5 4 3
the altar, floating like a curtain in front 2
b b
of the organ. An opening built into the
screen facilitates easy conversion of the
furniture of the altar area. The spaces can
thus be flexibly used by the community. 7 12
77
Church and community centre in Cologne
Vertical section nave

Scale 1:20
1 Beam laminated veneer lumber 75/500 mm

2 Three-layer panel spruce white waxed 19 mm
Substructure square timber 80/40 mm
in between: impact sound insulation 50 mm 2
laminated veneer lumber panel 33 mm
laminated veneer lumber 21 mm
3 Cross laminated timber 63 mm
Three-layer panel spruce white waxed 27 mm
4 Banister round steel Ø 20 mm
5 Laminated veneer lumber panel spruce
white waxed 27 mm
Impact sound insulation 20 mm
Cross laminated timber 93 mm
6 Laminated veneer lumber panel spruce
white waxed 27 mm
Substructure square timber 50/60 mm
Air space 40 mm
Thermal insulation hard foam 40 mm
Sealant
Floor slab reinforced concrete 200 mm
Thermal insulation XPS 60 mm
Blinding layer
bb
78
Section with lighting Scale 1:300
79
Hotel in Obanazawa
Architects: Kengo Kuma & Associates,

Tokyo
Contributors: Makoto Shirahama
Structural engineer: K. Nakata & Associates, Tokyo
Planning /
Located in the snowy north of the Japan’s

main island of Honshu, Obanazawa is
known for its hot springs. Traditional
Japanese hostels are strung along the
Ginzan River. The existing building of the
100-year-old hotel “Ginzan Onsen Fujiya”
was largely dismantled and reconstructed
using both new and old components.
Towards the outside, the facades, with aa
their clear structure of enlarged window
openings and uniform wooden louvres,
reflect a modern interpretation of the a
Japanese guesthouse.
Inside, a spacious two-storey foyer has
been included in the building structure.
Japanese handmade paper adorns many b b
wall surfaces. Panels of sliced bamboo 1
1
canes zone the entrance and access
areas, together with the nearly transpar-
2 3 1
ent wall elements made of etched glass.
The seemingly floating, single-flight stair,
suspended from steel rods and leading a 3
to the second floor, is so minimalist that 1st floor
it almost seems disembodied. Sparingly
distributed, plainly designed pieces of
furniture in the foyer and the guestrooms,
moreover, contribute to the creation of
“modern” contemplative spaces in the
traditional building shell.
bb
80
Section • Floor plan Scale 1:400
Section stairwell Scale 1:100
Section stair Scale 1:20
Details stair Scale 1:5
1 Guestroom
2 Dining area
3 Loggia
9 4 Japanese paper glued, aluminium
hydroxide paper, plasterboard 2≈ 12.5 mm,
Multilayer panel 9 mm
5 Japanese paper glued
6 Acrylic glass translucent
7 Steel sheet bent 1.6 mm
15 8 Illumination unit, magnetically mounted
9 Parquet elm 15 mm, multilayer panel 12 mm,
insulation 60 mm, multilayer panel 18 mm
13 10 Tread elm 36 mm
11 Steel rod treated with phosphoric acid Ø 9 mm
12 Steel sheath treated with phosphoric acid
Ø 14/2 mm
13 Japanese paper glued, aluminium
14 hydroxide paper, plasterboard 2≈ 12.5 mm
14 Suspended ceiling:
Cladding bamboo rods on elm frame
15 Suspension stair steel profile C 75/150 mm
16 Washer treated with phosphoric acid 2 mm
17 Nut welded to washer
11
12
11
10 4
16
9 8 7
12
16 10
6 5
17
81
Residential building in Vrhovlje
Architects: dekleva gregorič arhitekti,

Ljubljana
Contributors: Aljoša Dekleva, Tina Gregorič,
Lea Kovič, Vid Zabel
Structural engineer: Luka Pavlovčič, Ljubljana
Planning /
completion: 2011/2014
The Venetians used the trees around ture of brickwork, with a sloping roof of thereby serving both as furniture and
Trieste to build their city on wooden reinforced concrete. However, in order access. To save space, the access-
poles, leaving behind a barren landscape to lend the structure a monolithic, stone- providing furniture takes up the motif of
with limestone soil. The traditional houses like character, the facade received an a so-called samba stair. Every step is
of the karst region mainly consist of this external layer of stone and concrete, divided into two sections staggered in
stone; their closed cubature, with sloping creating a structure that comes alive. height, permitting comfortable use of
roofs and almost windowless facades, The living areas themselves are housed the stair despite the high gradient. All
protects the residents from the elements. in two wooden cubes, which stand freely installations, including the walls and
This single-family home, which the archi- in the external shell and are connected floors between the levels, consist of
tects call “Compact Karst House”, takes by a bridge. It is to this bridge that the multi-layered spruce wood. Large open-
up this tradition and reinterprets it. Devi- single-flight stair leads from the ground ings on the ground floor of the house
ating from the original and manually floor. The box-shaped wooden steps of provide views of the landscape, while
highly elaborate construction method, the stair, suspended from steel rods, skylights in the two bedrooms offer
they selected a hybrid supporting struc- can be used as shelves on the rear side, glimpses of the sky.
82
Site plan
Scale 1:1,000
Sections
Floor plans
Scale 1:200
1 Entrance
2 Fireplace
3 Bathroom
4 Kitchen / dining room
5 Built-in cupboard
6 Children’s bedroom
7 Play bridge
8 Air space
9 Bedroom
aa bb cc
6 7 9
c b
2 5
a 3 a
4
c b
83
Residential building in Vrhovlje
1 2
dd
Detail sections stair /shelf

Scale 1:20
1 Stair gradient 189/280 mm

Three-layer panel spruce 19 mm
2 Steel rod black Ø 10 mm
3 Steel profile Å 120 mm
4 Sheath with thread
5 Screed smoothed 20 mm
Screed reinforced 60 mm
Underfloor heating in
thermal insulation 30 mm, PE foil
Thermal insulation EPS 70 mm
Polymer bitumen sealant
Reinforced concrete 150 mm 3 1 2
84
Exhibition and event centre,
Franzensfeste
Architects: Markus Scherer, Meran

Walter Dietl, Schlanders
Contributors: Heike Kirnbauer,
Elena Mezzanotte A
Structural engineer: Baubüro Klaus Plattner,
Bolzano
Planning / Site plan middle fortress
completion: 2005 /2009 Scale 1:3,000
Franzensfeste Fortress, dating from 1838

and located at one of the narrowest
points in the Eisack valley near Brixen,
is the size of a small town at 20 hectares.
It consists of three parts: the upper, the
middle, and the lower fortress level.
Following its acquisition by the state of
South Tyrol, the cultural monument was to
become a meeting place and a site for
cultural exchange. The focus of the revi-
talisation of the former defensive fortifica-
tion was on conserving the existing build-
ing stock, and especially the fortress
character, to a large extent, and to utilise
them by means of specific minimalist
interventions. The walls, consisting of
large granite blocks, were renovated,
the roofs were sealed and the windows
repaired. Closed-off wall sections were
reopened and later additions removed.
A small number of carefully selected
elements create new routes within the
complex, enabling their use as an exhi-
bition space. A new 22 m long vertical
shaft, dug right through the rock, pro-
vides a link from the lower to the middle
fortress. Inside it, the new black rein-
forced concrete stair sculpturally winds
up, terminating – in conjunction with the
elevator tower – in the former powder
magazine, which now houses the arrival
building. Owing to the use of reinforced
concrete for the load-bearing elements
and of steel in the area of the balus-
trades, the stair clearly distinguishes
itself in its materiality from the rock walls
and the stonework of the existing build-
ings. The gentle restoration of the vaults,
consisting of exposed brickwork; the
plastered wall surfaces, partly adorned
with paintings; as well as the unambigu-
ous readability of the new interventions,
create a successful dialogue between
the historical building stock and contem-
porary architecture.
85
Exhibition and event centre, Franzensfeste
a a
aa
86
Floor plan • Section
Scale 1:100
Isometric drawing stair without scale
Detail sections stair
Scale 1:10
1 Handrail flat steel ¡ 50/10 mm

2 Steel tube | 20/20 mm
3 Cover strip flat steel ¡ 20/3 mm
4 Banister infill expanded metal
5 Baluster flat steel ¡ 40/20 mm
6 Steel profile ∑ 40/40/5 mm,
welded to baluster
7 Reinforcement strip flat steel ¡ 40/20 mm
8 Steel angle 120/40/3 mm
9 Connecting angle steel 20/20/3 mm
10 Grating 50 mm
Steel profile U 120
11 Stair landing reinforced concrete 175 mm
12 Head plate steel on steel profile U 120
13 Cladding expanded metal
1
2
3
b b
10 11
1
3
13 12 5
bb
87
Project examples
Matrix
Typology Project Materials Form Construction
Ken Architekten Reinforced concrete Single-flight Prefabricated concrete element

Stepped residential cascading stair
building with intermediate
Brugg (CH) landings
2013
DETAIL 11/2014
Vittorio Magnago Solid wood (European walnut) Single-flight Floor-wise, longitudinal-span solid
Lampugnani on OSB panel, reinforced cascading stair construction of in-situ concrete, clad
Office building concrete with intermediate all around in composite wood panels
Basel (CH) landings
2008
DETAIL 4 /2010
Aires Mateus Microcement coating on screed, Single-flight stair Cross-span in-situ concrete construction
Residential building reinforced concrete with intermediate embedded in the concrete walls flanking
Estrela (PT) landings the stair
2016
Wespi /de Meuron Reinforced concrete Single-flight stair In-situ concrete stair concreted against
Stone house with intermediate ground soil, embedded into the flanking
Brione s. Minusio (IT) landings concrete walls
2005
Archea Associati Corten steel, in-situ concrete, Spiral stair Box girder comprising several individual
Antinori Winery reinforced with glass fibre and components welded together on site,
Bargino (IT) wire mesh, flat steel attached to the newel and roof / bottom
2012 Support: concrete column and steel
DETAIL 4 /2014 profile
Steven Holl Steel, perforated steel Multi-flight stair Closed string stair of white coated
Department of steel with folded treads and risers of
Philosophy steel sheet with surface-wide walkable
New York University covering
New York (US)
2007
Massimiliano Fuksas Rolled steel sections and sheets, Spiral stair Prefabricated, inlying steel structure
Armani store steel tube, glass fibre reinforced with white coated concrete cladding,
New York (US) concrete steel tube strings
2009 Banister: aluminium mesh,
DETAIL 4 /2012 steel tube, glass fibre reinforced
concrete
ARX Portugal Concrete, white Spiral stair Floor-wise, longitudinal-span reinforced

Market hall concrete construction of in-situ concrete
Abrantes (PT) with flanking concrete banisters as
2015 string-like girders
88
Project examples
Matrix
OMA Tropical zebrawood on plywood Single-flight stair Cross-span steel girders under each
Prada store panel and steel profiles step with mounted composite wood
New York (US) panel cladding following the stair line
2001
DETAIL 4 /2002
Diller Scofidio + Steel sheet step, bent and Single-flight stair Welded steel, supported at the top and
Renfro / FXFOWLE coated, side wall coated steel bottom on steel building block, veneered
Juilliard School plate
New York (US)
2009
DETAIL 4 /2010
Vector Architects Reinforced concrete, white Single-flight stair Exposed reinforced concrete construc-
Seashore Chapel tion of in-situ concrete
Qinhuangdao (CN)
2015
Rojkind Arquitectos Concrete Single-flight stair Solid reinforced concrete construction

Síclo with smooth formwork surfaces of in-situ
Mexico City (MX) concrete
2015
JKMM Concrete, seat cushions Single-flight stair Reinforced steel construction with
Library smooth formwork surfaces of in-situ
Seinäjoki (FI) concrete topped by seat cushions
2012
DETAIL 6 /2013
Yamazaki Kentaro Timber floor boards (Japanese Single-flight stair Shell of reinforced concrete with com-
Nursery cedar) on plywood panel posite wood panel construction on shims
Sakura (JP)
2014
DETAIL 7+ 8 /2016
Vector Architects Bamboo, laminated on battens, Single-flight stair Shell of reinforced concrete and
Library screed, reinforced concrete mounted composite wood panels with
Beidaihe (CN) laminated bamboo surface
2015
DETAIL 4 /2016
Foreign Office Untreated Ipé hardwood, Single-flight stair Wooden deck, partly as stepped form,
Architects (FOA) folded plate of steel, reinforced terminating on the on sealed reinforced concrete ceiling
International Passenger concrete grounds
Terminal
Yokohama (JP)
2002
DETAIL 11/2004
89
Project examples
Matrix
Florian Busch Steel Two-flight stair Steel construction, suspended on round

Residential building steel profiles
Kyoto (JP)
2015
AIX Arkitekter Steel, rubber covering Single-flight stair Welding plate in concrete wall (every
Cathedral 3rd riser), welded steel plates, steel
Skara (SE) frame, railing attached to the wall via
2000 the handrail
DETAIL 4 /2002
Bohlin Cywinski Glass Spiral stair Point-mounted glass treads with

Jackson string-like glass balustrades on both
Apple Store sides
New York (US)
2006/2011
Kengo Kuma & Glass fibre reinforced plastic, Single-flight stair Steel tube and U-shaped steel profile
Associates steel with steel sheet bracing projecting from
Plastic House the wall and resting on steel tube
Tokyo (JP)
2002
DETAIL 12/2002
Conradin Clavuot Solid wood Single-flight stair Support on the wall with tenon joint and
School building additional metal screw, and supplemen-
St. Peter (CH) tary screw-based attachment to the rope
1998 railing
DETAIL 1/2000
Studio Mumbai Tinted and smoothed cement Single-flight stair Treads and risers of tropical wood,
Belavali House slurry, tropical wood with curved bottom mounted in the wall and the closed string
Mumbai (IN) end
2012
Roger Boltshauser, Steps of in-situ concrete with Spiral stair Projecting in-situ concrete steps
Martin Rauch stones sieved from the soil and clamped into the flanking rammed
Mudhouse Rauch bound by trass lime earth wall
Schlins (AT)
2008
Buchner Bründler Solid concrete Single-flight stair Monolithic planked formwork in-situ
Architekten concrete as exposed concrete
Summer residence construction
Linescio (CH)
2008
DETAIL 6 /2014
90
Project examples
Matrix
Sauerbruch Hutton Laminated veneer wood panel Single-flight stair Folded cross-laminated timber construc-
Church spruce/three-layer panel; tion defining the stair geometry, rein-
Cologne (DE) square timber forced by laminated veneer wood panels
2013 as exposed surface of white waxed
DETAIL 10 /2014 spruce
zanderroth architekten Concrete, white plaster Two-flight stair Flights of prefabricated concrete
Housing complex elements with balustrades of white
Berlin (DE) coated engineered panels
2010
DETAIL 5 /2012
savioz fabrizzi Exposed concrete Bent (near Exposed, smooth-panel formwork in-situ
architectes quarter-turn) stair concrete produced in combination with
Chalet the flanking concrete walls
Val d’Hérens (CH)
2013
SoHo Architektur Solid wood Single-flight stair String-like walls of composite wood
Schwarzes Haus panels suspended from the above-lying
Memmingen (DE) concrete ceiling, combined with open
2008 treads of the same material
Kengo Kuma & Solid wood steps (elm); Single-flight stair Solid wood steps suspended from
Associates steel rods steel rods
Fujiya Onsen
Obanazawa (JP) 2008
DETAIL 4 /2008
TNA Veneered birch press board, Multi-flight stair Veneered birch press board, fixed on
Weekend house steel the side by steel profile, closed string of
Karuizawa (JP) flat steel
2006
DETAIL 10 /2007
Aparicio + Steel Single-flight stair Round steel rods as both-sided

Fernández-Elorza suspended construction above flat
Exhibition space steel panel, attached to the ceiling
Madrid (ES) and fixed to the floor, with attached
2016 steps of flat steel
Manfred Lux Solid wood steps (oak) on Bent stair Steel brackets projecting step-wise from
Residental building steel mounts the flanking exposed concrete wall with
Neusäß (DE) mounted solid wooden treads
2012
DETAIL 7+ 8 /2015
91
Project examples
Matrix
dekleva gregorič Three-layer spruce, steel rods Single-flight Stair geometry of three-layer wood
arhitekti samba stair panels, stacked as shelf boxes and
Residential building suspended on steel rods from the
Vrhovlje (SI) ceiling above
2014
DETAIL 7+ 8 /2015
Aires Mateus Plasterboard, white coating, Single-flight stair Solid reinforced concrete construction
Residential building reinforced concrete, natural embedded into the flanking sidewalls,
Alcobaca (PT) stone steps white filler
2011
Walter Angonese Corroded steel Multi-flight stair Steel construction, surfaces of corroded
and Markus Scherer steel panels
with Klaus Hellweger
Tyrol Castle
Meran (IT)
2003
Massimo Fiorido Teak Single-flight stair Composite wood panels with teakwood
Associati surface, folded over the course of the
Residential building stair geometry, with underlying shelving
Marina di Castagneto
Carducci (IT)
2008
Markus Scherer, Reinforced concrete stair, black, Multi-flight stair Box girder of welded steel panels, com-
Walter Dietl railing filling expanded metal prising a base plate and string-shaped,
Fortress flat steel closed, load-bearing banister on both
Franzensfeste (IT) sides, partly suspended on tension rods
2009
Studio Rolf.fr Wood, opaque white coat Single-flight stair Wooden open string stair clad in wooden
Black Pearl Residence of paint slats, opaque coat of paint
Rotterdam (NL)
2008
Nieto Sobejano Corroded steel Single-flight stair Box girder of corroded steel panels,
Visitor centre comprising a base plate and string-
Las Palmas shaped, closed, load-bearing banister
Gran Canaria (ES) on both sides
2004
DETAIL 5 /2014
Carlo Scarpa Corroded steel Single-flight stair Corroded steel straps suspended
Castelvecchio from the ceiling, perpendicularly bent
Verona (IT) and extended up to the flanking wall
1975 as treads
92
Project examples
Matrix
93
94
Planning guide
1 Kaze-no-Oka Crematorium, Nakatsu (JP) 1997,

Fumihiko Maki 1
Stairs allow the users of a building to when using staircases in various coun-
overcome height differences between tries. In the Netherlands, for example,
different levels in a building by means the legal requirements for staircase
of ascending in a step-by-step manner. widths, rise heights and tread depths
Apart from having an aesthetic purpose, were significantly different from those in
they primarily serve functional criteria. Germany as late as the 1990s [2]. Stairs
Ideally, the user of a staircase doesn’t in the Netherlands are correspondingly
consciously become aware of it during steep, so that transportation of bulky
its daily use. This requires a geometric and heavy objects within residential
design adapted to the human body. units and down staircases is, in part, only
Moreover, further aspects need to be possible by moving backwards, similarly
considered for usability. The planning to descending a ladder. In the mean-
of a staircase follows criteria which are while, due to relevant legislation from
illustrated in greater detail below. 2012, the legal requirements in the
Netherlands have approached the nor-
In Germany, building legislation stipu- mative requirements in Germany. In
lates that staircases form a part of the Austria, ÖNorm B 5371 2010-09-01
state building codes. These define regulates the profile of requirements
the minimum requirements with respect for staircases similarly to DIN 18 065,
to stairs lying in the path of emergency while in Switzerland, it is various laws
escape routes. The complete normative and regulations that do so. A content-
delineation of stairs is described in related comparison in these four coun-
greater detail in the section “Regulatory tries, however, results in principally
framework /standardisation” (p. 109f.)”. much the same requirements.
Detailed and authoritatively defined re- Stair types

quirements for the planning and construc- Stairs are differentiated according to
tion of stairs are specified in DIN 18 065 their basic forms. Their designations
Stairs in buildings [1]. This standard, refer to these basic distinguishing
ranked as a generally recognised code of features, i.e. stairs with straight and /or
practice, contains the bulk of the norma- spiralled flights. Free-form staircases
tive requirements that must be met when are not discussed in depth in this section.
planning and constructing stairs. It speci-
fies terms, measurement rules and main The type and form of a staircase deter-
dimensions for staircase construction. mines the spatial impact of the stair and
The associated specifications are pre- the stairwell. The type of use, the routing
sented in a more detailed manner in the in a building, and the gauging of the
following sections. space surrounding the staircase directly
depend on the shape of the staircase.
The contents of nationally binding legal Straight flights of stairs permit comfort-
regulations in Germany are also relevant able walking. Combined with a shallow
internationally. The terminology intro- gradient, they often serve representative
duced therewith can be adopted with- purposes (fig. 3, p. 96).
out restriction. The requirements for
measurement rules and main dimensions, As part of emergency escape routes,
however, display national differences. straight flights of stairs constitute safely
These are sometimes clearly noticeable passable and efficient staircase types.
95
Planning guide
2 3
Spiral staircases as well as combined

spiralling and straight types of stairs are
often used in spatially confined conditions
as space-saving staircases. Spiral stair-
cases are especially suitable in multilevel
air spaces due to their sculptural effect
(fig. 6 and p. 52, fig. 17) on the one hand,
and the fact that, in combination with a
continuous motion sequence and the
constantly changing position of the user
on the staircase, they provide a good
overview of the surrounding space.
Stair parts
Depending on the type of staircase, stairs
consist of various parts which are as-
signed different functions. The following
explanations are guided by DIN 18 065,
section 3, “Terminology”.
Flight of stairs / Tread line

A flight of stairs is an uninterrupted se-
quence of at least three risers between
Single-flight straight stair Two-flight straight stair
two levels. If the height difference with intermediate landing
between two levels is less than three
risers, one speaks of equalising steps.
Equalising steps are not permissible
as part of emergency escape routes.
A tread line is a construction line which

indicates the usual path of a staircase
user and lies within the walkable area.
Individual steps divide the stair tread line
into regular tread widths.
2 Steep, single-flight stair in a confined stairwell,

residential building, Tokyo (JP) 2015, Makoto
Takei + Chie Nabeshima
3 Shallow, single-flight stair in a spacious stairwell,
Museum Georg Schäfer, Schweinfurt (DE) 2000,
Volker Staab Architekten
4 Two-flight dog-leg stair with intermediate landing
5 Single-flight half-spiral stair, housing complex in
Bucharest (RO) 2014, ADN Birou de Arhitectură
6 Newel stair, State Archive in Liestal (CH) 2007,
EM2N
7 Stair types 7 Single-flight double quarter-turn stair Single-flight half-spiral stair
96
Planning guide
4 5 6
Two-flight dog-leg stair Two-flight bent stair Three-flight double-bend stair

with intermediate landing with intermediate landing with intermediate landings
Stair with newel Stair with well hole

(newel stair) (spiral stair) Arched stair
97
Planning guide
8 Open stair, residential building in Amsterdam

(NL) 2013, meesvisser
9 Closed stair, residential building in Berlin (DE)
2010, zanderroth architekten
10 Stair parts
11 Steps of a closed and open stair
12 Bad Aibling Town Hall (DE) 2012, Behnisch
Architekten
13 Gradient of ramps, stairs, ladders
with example rises (r) and tread widths (t)
in cm
14 Minimum and maximum dimensions for treads
and risers as per DIN 18 065
15 Minimum dimensions of the usable flight width
8 9 16 Banister height
Landing / Intermediate landing

The landing of a staircase is located at
the start or end of a flight of stairs, form-
ing a stairhead, and is often a part of the
ceiling. The intermediate landing inter-
rupts two flights of stairs and is positioned
between ceilings in order to comply with
Banister / handrail
the maximum permissible number of steps
in a flight of stairs. In multi-flight stair-
cases, it serves as turning landing for a
change in direction.
Steps
Consisting of a riser and a tread, a step
is usually walked in a single footstep in a
flight of stairs. In the process, the upper-
most step of a flight of stairs is the exit
Flight 2 step while the lowermost one is the bot-
Intermediate landing tom step. The bottom step is neither dif-
Flight 1
ferent in shape nor in material from the
other steps. It is on the same level as
the exit landing and can be designed, in
its shape and materials, like the landing
and the other steps.
The step tread is the horizontal part

Intermediate landing
of a step, while the riser is the vertical

Bottom landing
part.
Bottom step
Bottom step
Exit landing
Exit step
Flight 1
Flight 2
Well hole, stairwell

The well hole is the enclosed void space
Well hole between the flights of stairs, the staircase
landings, including the banister, when
viewed from the top.
10
The stairwell is the opening in the respec-
tive ceiling to accommodate a stair com-
ing in from a lower level.
Banister, handrail
Fall protection along flights of stairs and
landings is provided by the banister.
The handrail of the staircase, a grip-
secure component, is a walking aid for
staircase users. It is mounted on banis-
ters, spindles, or on walls running along
11 a staircase.
98
Planning guide
12
String, stringer, base plate, newel 90° from 75° up to 75° Ladder stairs, cellar stairs and roof
Ladders stairs, non-required stairs as per building law
A string encloses a flight of stairs laterally,
forming a load-bearing component for
accommodating steps. A stair’s stringer
30°– 45° Stairs in residential buildings
supports the steps as a load-bearing
girder. In cases where a two-dimensional,
sloping component supports the steps 20°– 30° Public staircases
on its upper side, one speaks of a base
plate. A newel is the load-bearing core
r = 21
in the centre of a spiral staircase (see 5°– 20° Outside stairs
“Types of construction”, p. 104ff.). All

r = 17
t = 21
these construction parts of a staircase
r = 13
t = 29
must be designed in accordance with t = 37
the selected building material and the up to 5° Shallow ramp
overall design of the stair. 0°
13
Open or closed stairs

While an open staircase contains, as
its name already suggests, openings
between the treads, a closed staircase As per DIN 18 065 Rise r max. Tread t min.
[mm] [mm]
contains risers in their place. The type
Required stairs 190 260
of implementation depends on the mate-
In residential buildings with no more than two flats;
rial and structure. stairs leading to habitable spaces
200 230
In residential buildings with no more than two flats;

Dimensioning basics 210 210
stairs not leading to habitable spaces
The general principles for the dimen- In all other buildings 190 260
sioning and construction of stairs in
14 Non-required stairs in all buildings 210 210
Germany are laid down in the state build-
ing codes as well as in special regula-
tions for buildings with specific uses,
such as the Arbeitsstättenrichtlinie [Ordi- Required stairs Width
nance on workplaces] or the Versamm- In residential buildings with no more than two flats and within flats > 80 cm
lungsstättenverordnung [Ordinance on In all other buildings (BayBO) [Bavarian Building Code] > 100 cm
places of assembly]. The supplementary In high-rise buildings (HochhVO) [Ordinance on high-rises] > 125 cm
DIN 18 065, section 4ff., “Measurement In places of assembly:
for every 150 persons depending on the emergency escape route, but
rules”, as well as basic ergonomic princi- max. 250 cm / flight; configuration as per the seating in the space (VStättVO)
100 cm
ples are used to further differentiate [Ordinance on places of assembly]
and specify the requirements. When In sales outlets (VkVO) [Ordinance on sales outlets] > 200 cm
planning and constructing stairs, these < 250 cm
rules must be applied with great care 15
Non-required stairs > 50 cm
and precision. The permissible toler-
ances, as described in DIN 18 065,
section 7, specify a low margin in this
Banister heights (DIN 18 065) Height
respect and represent maximum devia-
Residential buildings, fall height up to 12 m > 90 cm
tions. Other design-related deviations
Workplaces, fall height up to 12 m > 100 cm
resulting from specific material proper-
ties or production and assembly-related Fall height over 12 m > 110 cm
16
99
Planning guide
17
reasons, must lie within the designated ratio and defines the pitch or inclination denotes the finished dimension in
tolerances in the constructed output. of a staircase. ready-to-use condition. It is measured
horizontally between bounding sur-
Until the 2000-01 edition, DIN 18 065 • Nosing n faces, parts and/or inner handrail
demanded specification of treads, risers, The nosing n is the distance which the edges or their projections.
and gradients in centimetres. Since the leading edge of a step projects beyond
2011- 06 edition (current edition 2015-03), the tread width of the step beneath. • Usable landing depth
these measurements must be specified in Just like the usable flight width, the
millimetres. This tight dimensioning with- • Clearance height of a stair usable landing depth is a finished
out much room for manoeuvre proves the The dimension of the clearance height dimension, as measured at handrail
enormous importance of staircase geom- of a stair over the course of stair gradi- height.
etry for its usability, both in terms of ents is measured vertically to the under-
standard frequency of use and its great sides of the above-lying construc- • Banister height
significance as a construction element tion components, as measured from The banister height is measured as a
that is a part of emergency escape an imaginary line connecting the lead- vertical finished dimension from the
routes. ing step edges (pitch line). The mea- leading edge of a tread or the surface
surement correspondingly proceeds of a landing to the upper edge of the
The section “Regulatory framework / above the horizontal surfaces of the banister.
standardisation” (p. 109f.) refers in detail landings.
to the legally binding nature of laws, Measurement rules
standards and ordinances with respect to • Rise To ensure the usability of a staircase,
the planning and construction of stairs. In open risers, the rise is the distance there are various measurement rules
between the top of a tread to the which particularly take into account
Terminology underside of the tread of the above- physiological aspects. In order to be
The use of standardised terms, as lying step. generally valid, these measurement
described below and analogous to rules adapted to the body must cover a
DIN 18 065, is a prerequisite for the • Side clearance wide range of different body sizes.
precise naming and planning-based The finished dimension between the
implementation of the measurement treads of a flight of stairs, a landing, or • Tread line rule: 2r + t = tread line
rules, which are described in the a handrail, and bounding elements, The starting point for the calculation
section that follows. such as walls or banisters, is called of the tread line is the average stride
side clearance. length of human beings. DIN 18 065
• Rise r and tread t mandatorily specifies this under Item
The dimension r denotes the stair rise • Tread length 6.1.2 as lying between 590 und 650 mm.
in mm and in terms of the difference The tread length of a stair is the tread The ideal measure is specified as
between two step edges lying on top of line from the leading edge of the bottom 630 mm.
each other in elevation. The dimension t step to the leading edge of the exit
denotes the stair tread in mm and in step, as measured on a floor plan. • Safety rule: t + r = 460 mm
terms of the difference between two This rule ensures that the tread widths
leading step edges lying on top of each • (Usable) Flight width of a step are sufficiently large.
other in plan view, measured within The flight width denotes the construc-
the run of the tread line, as defined by tional width in terms of a floor plan • Comfort rule: t - r = 120 mm
planning. dimension. If a flight of stairs adjoins The difference between the tread minus
bounding elements such as walls, it is the rise results in the steepness of
• Gradient r /t measured up to the surface of the wall the stair gradient. The comfort rule
The ratio of the rise r to the tread t in of the shell construction. defines the ideal measure requiring the
mm denotes the gradient or rise /run The usable flight width, by contrast, least effort when walking on the stair.
100
Planning guide
18
A gradient r/t of 170/290 mm corresponds

exactly to all three of the above measure-
ment rules.
The safety rule and the comfort rule, how-
ever, are recommendations only and are
not subject to binding specification in any
of the federal states in Germany.
min. 2.00 m, preferably 2.10 m

Application
The basics of dimensioning and design-
Clearance height
ing a stair in a building, for application
in planning processes, are discussed in
greater detail below. The main dimen-
sions given in figs. 14 –16 are minimum
requirements within the framework of
binding normative requirements based
on DIN 18 065. In many planning pro-
min. 90 cm
cesses, the minimum requirement very

Banister
often already represents the maximum max. 12 cm

planning-related possibility for the utilisa-
tion of spatial resources. Compliance with
the specified minimum requirements with
respect to usability and physiological
perception in particular does not meet the
requirements of daily use in each case.
Fig. 19 a shows a clearance height of, for

example, at least 2.00 m. Since average
body sizes of human beings are continu-
ously growing, there is an increasing
number of staircase users who make 19 a
contact with adjoining construction parts,
at least with the tips of the hair, when
descending in a slightly forward-bent
Intermediate Landing + intermediate landing depth
posture on a stair with a clearance height t t t t
landing min. usable flight width
of 2.00 m. Already persons with a body
height of more than 185 cm notice this t + (2r + t) • x
contact and perceive it as unpleasant.
This results in an insecurity on the part
of users in the usually subconsciously
13 steps 170 / 290
Intermediate landing after max. 18 steps

17 Different foot sizes
18 Museum in Nuremberg (DE) 2000, Volker Staab
19 Graphic depiction of measures b
101
Planning guide
20 21
determined use of a stair. It is therefore t + (2r + t) • x (fig. 19 b, p. 101). In doing such, laterally up to 10 cm and height-
recommended that a clearance height of so, it is possible to avoid a short and wise up to 15 cm are permissible (fig. 22).
at least 2.10 m be specified when plan- disturbing intermediate step in a flowing This rule has generous margins – the risk
ning stairs in buildings. movement sequence when walking the of stepping on this area and correspond-
As per DIN 18 065, the usable landing full extent of the entire staircase, includ- ingly incurring negative consequences
depth must correspond to at least the ing an intermediate landing. when walking on a stair is very high for
required usable flight width. Additionally, persons who are dependent on using the
the landing depth is specified to have at The profile of the stairwell at right angles handrail. Especially small children or
least 3 or 2.5 goings, according to Item to the direction of movement includes elderly persons have a high safety need,
6.3.4. “Going for landings”, Table 1. further dimensional definitions alongside and may place the foot facing the hand-
Moreover, for intermediate landings in the that of the clearance height and width, rail very close to the lateral stair edge,
run of single-flight stairs, it is useful to as per DIN 18 065. The usable flight width as seen in orthogonal projection. It is,
likewise consider the tread line rule, with is permitted to have clearance restrictions therefore, recommended that the permis-
2r + t = tread line, when planning landing in the lower lateral area, for example due sible dimensions are only fully utilised
depth. As such, landing depth should be to stair strings, as shown in fig. 20. As once this aspect has been taken into
consideration.
≥ 80 or 100
≤ 25 ≥ 50 ≤ 25 The lateral banister spacing of at least
5 cm is appropriate and plausible for
≤ 25 round or angular handrails with small
R
dimensions. DIN 18 065 does not regulate

the geometric shape of handrails with
respect to grip safety. Only the grip width
≥ 200
Walking area
is restricted to between 2.5 and 6 cm.

In this respect, DIN 18 040 “Construction
of Accessible Buildings” makes further
demands where compliance also seems
≥ 100 useful in areas with other planning
Flight width 40 20 Rest
≤15 requirements.
≤ 100
≤ 10 3 2 3
22 24 10 10 10 Lateral step margins often include a gap
for aesthetic reasons to show a floating or
deliberately detached step (figs. 21, 23).
This lateral gap between the step edge
and the stairwell wall is stipulated to be
a maximum of 6 cm, a measure which
at first glance seems appropriate. Never-
2.5 –6
theless, planning should also take the
≥5 expected user group into account. For
users with small feet and correspondingly
small treads, 6 cm is much more than
50% 20% 30% half the shoe width. This presents the risk
max. of twisting one’s ankle when the foot is
40 cm
directly placed at the lateral step edge.
≤6 ≤6
With spiral stairs, the tread line (see
≥ 80 or 100 p. 96) can be freely selected within the
23 25
102
Planning guide
26
walking area (fig. 24). In the winding zone first rise of the ascending one. As such, it
of the tread line, the tread equals the lies on the landing level but adds to the
chord which results from the intersections usable landing depth. Fig. 27 shows three
of the curved tread line with the leading fundamentally different positions of the
step edges. In a straight stair zone, the bottom and exit steps and hence of the
walking zone runs along the centre of the zeroth step. Either the zeroth step divides
stair. For usable flight widths of up to itself in the landing area with one half on
100 cm, the walking zone has a width of the ascending and the other half on the
20 % of the usable flight width and lies in descending flight of stairs respectively
the central zone of the stair. In the case (fig. 27 a), or it is fully assigned to either t /2
L t /2 F L
of stairs with more than 100 cm of usable the ascending (fig. 27 b) or the descend-
flight width, excepting newel stairs, the ing flight of stairs (fig. 27 c).
width of the walking zone is 20 cm. The
distance of the walking zone to the inner Fig. 28 (p. 104) illustrates in greater detail
boundary is 40 cm. [3] the geometric consequences of the three a
described basic variants for landing thick-
Geometry and mounts nesses and handrail heights. Starting from
Multi-flight stairs, especially those of solid the base plate thickness, the thinnest
build (see “Solid base plate”, p. 105), landing thickness is shown in fig. 28 c
require careful planning of bend lines in (p. 104) with d = base plate thickness /cos
order to take into account the different of stair gradient. In fig. 28 b, this measure
requirements of various load-bearing is doubled with respect to fig. 28 c. The
situations of flights of stairs at landings. landing thickness increases in fig. 28 a
Moreover, this allows for an orderly view with respect to fig. 28 c by a factor of 1.5.
of the underside of a staircase and a con-
tinuous progression of the handrail at a On the one hand, the base plate and
L F t L
uniform height along the entire staircase. landing thicknesses play a major role in
the aesthetics of a staircase, and on the
The bend line is the intersecting line other, have a decisive influence on the
between the landing and the ascending possibility of supporting the flight of stairs
or descending flights of stairs as seen on the landing slabs in longitudinally set b
from the underside of the flights of stairs flights of stairs. The three depicted geo-
and landings. In multi-flight stairs with metric variants are equally well-suited for
half-turn landings (180° turns), the plan- the case of a continuous solid structure
ning objective should be to have the running from the landing slab to the base
bend lines of both flights of stairs meet
at a single point on the landing.
20 String in clearance diagram, flat in New York
(US) 1999, Maya Lin with David Hotson
The planning parameters influencing the 21 Spiralling stair of oak wood, holiday homes in
bend line are the position of the exit step Nossentin (DE) 2012, gmp
22 Clearance diagram (dimensions in cm)
vis-à-vis the bottom step as well as the 23 Side clearance (dimensions in cm)
landing and base plate thicknesses. The 24 Walking area and tread line in spiral stairs
(dimensions in cm) L t F L
position of the so-called zeroth step is
25 Walking area and tread line in newel stairs
of vital importance here. The zeroth step (dimensions in cm)
denotes the flush horizontal displacement 26 Multifamily house in Zurich (CH) 2007, Graber
Pulver Architekten
in the landing area between the last rise 27 Bend line progression in two-flight stairs subject
of the descending flight of stairs and the to the position of the “zeroth” step 27 c
103
Planning guide
30 31
plate. In cases where construction Types of construction

h = 90 cm + (r – Z)
physics-related requirements for sound The basic principle underlying all stairs,
90 cm
insulation demand sound-decoupled consisting of an additive sequence of

flights of stairs, the bracket mounts steps, is the same. Their appearance,
V = t /2 needed for this purpose require a corre- however, is decisively shaped by both
spondingly large landing thickness, in their basic geometric form and the type
r
Z
90 cm
order to accommodate two bracket thick- of construction, in combination with

t Bend line
nesses in height, as well as the thickness the related materials. The choice of
d
of the elastic support material. In cases construction type primarily depends on

r
a where base plates are correspondingly the aesthetic requirements of the stair-

thin, position c can no longer ensure this case in the overall scheme of a build-
mount variant. Position b usually allows ing’s design.
h = 90 cm
this without a problem. For position a, this

V=t mount possibility must be examined on The type of construction is, in the first
an individual basis. place, defined by the geometric relation-
ship between the tread surfaces and the
90 cm
The handrail height in the landing or well load-bearing elements, and furthermore
Bend line
hole area which results from the intersec- by the derived position and design of the
r
t
tions of the handrails can likewise have superordinate load-bearing elements of
b various values depending on the variant. the stair. This results in the development
This must be taken into account when of different load-bearing systems. All the
implementing a continuous handrail run- parts of a stair (see “Stair parts”, p. 96f.)
ning along the entire staircase. fulfil specific structural requirements
h = 90 cm
h = 90 cm + r
owing to the type of construction. Step

The preceding explanations illustrate mounts are differentiated in accordance
the complex relationships of individual with the respective load transmission.
r
parameters and the influence of possible Roughly summarised, there are two
Bend line additional construction physics-related groups of construction types: firstly,
90 cm
t
requirements on the space required for common types of construction, such as
the staircase. The stairwell developed solid base plates, closed string stairs,
r
in conjunction with the building design open string stairs and individual steps;
28 c and available in the further course of and secondly, the group of special types
planning finally determines whether all of construction, including spiral stairs,
parameters can be considered in such folded plate stairs, space frame stairs
2 6
12 2 12
Neoprene
bearing a way that the design idea can be imple- and suspended stairs. The distinctive-
18
mented in a convincing manner. Plan- ness of the construction type consists, on

2 12 2
ners should, at an early stage, endeav- the one hand, in the combination of the
our to clarify these parameters with principles of common types of construc-
15
the related consequences for space tion, and on the other, in the develop-
requirement. Otherwise, there is the risk ment of novel, independent constructions.
that retroactive requirements emerging Once the construction type is determined,
in the course of further planning can it defines the constructional requirements
negatively impact the design of the stair. for the elements of the stair, which in
15
26
12 2 12
Neoprene In extreme cases, implementation of turn and in the further course of planning,

18
bearing a planned stair within the available spa- decisively influence the materials used
2
12
2
6
tial situation in a design is no longer for the staircase construction (see “Mate-
29 possible. rials for stair construction”, p. 107ff.).
104
Planning guide
Solid base plate Structural system Section Axonometry

The construction type of the solid base Solid base plate
plate refers to an inclined one-way slab.
It stretches from the lower to the upper
support, transmitting the loads in the
area of the linear supports into the floor
or landing slabs, which likewise are Load-bearing
plate-shaped construction components. section
Stairs of this construction type are made l
of reinforced concrete, both as prefabri-
cated and in-situ concrete stairs. The
treads are usually made of the same
Closed string stair
material and integrated into the solid
base plate or are formed by facings
mounted on the base plate. In doing so,
the mounts can be constructed in terms Load-bearing
of a homogenous transition, like with a section
folded plate, or in the form of bracket
mounts. The section “Sound insulation”
(see p. 113) contains further information l
Load-bearing
on this. section
Closed string stair

Open string stair
In this type of stair, the laterally limiting
strings act as inclined single-span beams
with lower and upper mount points in the
adjacent landing area, thus forming the Load-bearing
section
main load-bearing structure. The steps,
as individual load-bearing elements, are
located in between, transmitting the loads
via the lateral mount points in a static l
Load-bearing
bond into the strings. This type of con- section
struction is widespread in wooden stair
construction, and is realised using
wooden steps which fit sideways into Individual steps
grooves mortised or milled into the
28 a – c Landing slab thickness of the three basic

variants subject to the position of the “zeroth”
step
29 Bracket mounts of the ascending and descend-
ing stair flights at the landing (dimensions in cm)
b b
30 “Zeroth step” half / half, town hall extension,
Aarhus (DK) 2002, 3XNielsen
31 “Zeroth step” at the exit of the stair, sports hall in
Zug (CH) 2001, Bétrix & Consolascio Architekten
with Eric Maier
32 Typology of construction types / load-bearing
systems 32
105
Planning guide
33 Central string stair, residential building, Imabari

(JP) 1999, Toru Murakami Architect & Associates
34 Several slender stringers, administration building
in Struer (DK) 1998, KHR AS Architekten
35 Bent open string, office building, Bolzano (IT)
2007, Markus Scherer
36 Self-supporting steps
37 Folded plate stair, residential building in canton
of Vaud (CH), Eligio Novello
38 Museum Küppersmühle, Duisburg (DE) 1999,
Herzog & de Meuron
39 Residential building in London (GB) 1997,
Seth Stein Architects
40 Clothing store in London (GB) 1997, David
33 34 Chipperfield Architects
wooden string. Stair strings may not only There are several possibilities for sup- Newel stair
be made of wood but also of steel. Steps porting steps on strings. In a stepped Due to their specific geometry, newel
can be manufactured to be self-support- string, a so-called saw tooth, the steps stairs consist of a combination of different
ing and made of wood, steel sheet, stone directly rest on the stepped upper construction types. The newel, i.e. the
or laminated sheet glass, or be con- side of the string, while in the case of vertical load-bearing element in the centre
structed with a load-bearing steel frame a straight upper string edge, the steps of a circular stair, is where the pointed
and planar filling. must be wedge-shaped. Straight strings steps meet. These may project out from
can be supplemented by bracket-like the vertical pole comprising the newel,
Open string stair mounts on which slab-shaped steps are as in the case of steel structures. It is like-
Similar to the closed strings of a stair, attached. Stepwise bent strings consist wise possible to additionally enclose the
open strings also, act as single-span of short individual steel rods which are steps at the outer edge by means of a
beams with a lower and an upper mount. rigidly joined together at their bending load-bearing spiral-shaped closed string
They either rest on adjacent landings, or points (fig. 35). or an accompanying open string for sup-
in the case of bent open strings, incorp- port. Solid steps made of concrete or
orate landing surfaces into their horizon- The three above-mentioned construction natural stone are spirally walled up while
tal sections. The steps and, if applicable, types can be applied in straight stairs as added conical newel segments form a
the landing slabs, too, rest on the open well as spiral stairs, or combined straight newel. In doing so, the broad sides of
strings below, which is why an open string and spiral stairs. the steps are embedded into a surround-
stair is also called a cut string stair. Due ing wall.
to their geometric position below the Individual steps
steps and landing slabs, it is possible to Several individual steps in a structur- Folded plate stairs
indent the strings with respect to the lat- ally self-contained element add up to Self-supporting folded plate stairs corres-
eral step edges of a closed string stair so form a stair. In doing so, the individual pond to the structural principle of the
that the steps project out to the extent of steps each represent a closed structural folded single-span beam, which is used
the indentation. In extreme examples, the system that transmits the loads to build- as a base plate (fig. 37). For this purpose,
structure is reduced to one central string ing parts bounding the stair, such as steel sheet plates are used, which are
with embedded projecting steps (fig. 33). walls and ceilings (fig. 36). As such, fur- folded or consist of individual plates that
Fig. 34 shows a variation of the open ther structurally effective construction are welded at the bending points.
string stair, where several open strings elements, such as closed or open
with highly reduced dimensions are posi- strings, are not required. Plate-shaped, wood-based materials can
tioned underneath the steps. be rigidly joined by gluing, screw joints,
35 36 37
106
Planning guide
or bolting. Folded plate structures made aggregates, is available. At the Museum

of fibre-reinforced ultra-high performance Küppersmühle, Herzog & de Meuron
concrete can be prefabricated in one gave the concrete stair a monolithic,
piece without visible joints. organic form (fig. 38). With the exception
of the subsequently applied floor cover-
Space frame stairs ing made of terrazzo, all surfaces of
Stairs with complex basic geometry, such exposed concrete display the surface
as with self-supporting, multiply curved, image of the employed wooden board
or bent runs, use the construction type formwork. The concrete has been dyed
of the structurally highly efficient space and the banister surfaces have subse-
frame with embedded steps. quently been polished.
Suspended stairs In contrast, the reinforced concrete body

The steps of a suspended stair are fas- can be constructed as a purely servient
tened onto the ceiling of the above-lying load-bearing structure which can then be 38
floor using tensile rods or cables made completely concealed by coatings or the
of steel, which simultaneously form application of other surface materials.
the railing (see “Residential building in
Vrhovlje”, p. 82ff.). Closed and open strings of stairs belong-
ing to a particular construction type
Materials for stair construction are usually also made of steel or wood.
In construction typology (p. 48ff.), the These stairs usually expose their con-
respective categorisation is usually struction material and per se have a fili-
derived from the materials used in the gree appearance. Reinforced concrete
primary load-bearing structure. The fol- is rather rarely used for this purpose due
lowing description goes the opposite to the large cross sections it requires. If
way, assigning available stair part mater- closed or open strings are made of com-
ials depending on the type of construction posite wood materials, these are, as a
used. The great number of these mater- rule, also used for the steps due to the
ials and their possible processing cannot simple joining technology.
be fully described here, and the listing 39
therefore limits itself to common applica- In stairs with closed or open strings
tions and their appearance. of steel, steps of steel, as well as steps
made of other materials, are often em-
Primary load-bearing structure ployed. The residential building stair-
In stairs with solid base plates, reinforced case in London, by Seth Stein Archi-
concrete is exclusively used as the mater- tects, has glass steps enclosed by steel
ial. This material, moreover, can meet brackets in between closed steel strings
demanding fire safety requirements at (fig. 39).
relatively minor constructional input.
The increasing technical possibilities for
In terms of their design, there is the possi- “laminating on” other materials in thin
bility of manufacturing the basic structure layers over the surface of steel compo-
as an exposed surface. For this purpose, nents results in the fact that – though
the entire range of surface treatment of the filigree appearance is retained –
concrete, including influencing the com- steel as a material is often no longer used
position of fresh concrete by varying the as a design-defining surface. The spiral 40
107
Planning guide
Section
Scale 1:20
1 Block step natural

1 stone
on 30 mm
mortar bed
Reinforced concrete
2
Plaster 15 mm
2 Steel angles
∑ 40/40/5 mm
Dowelled on concrete
41 a b
stair in a clothing store in London by a stair, and made of reinforced concrete, The treads of the folded plate-like,
Chipperfield Architects, has an outer steel sheet or composite wood materials; steel sheet stair in Skara Cathedral by
and inner closed string made of bent or using wedge-shaped components AIX Architekter received step surfaces
steel plates, which simultaneously serve made of natural or artificial stone (fig. of corrugated rubber with underlying
as a railing and handrail (fig. 40, p. 107). 41 b) that form the staircase geometry of impact sound insulation (fig. 42; fig. 15,
The steel plates are, however, fully clad risers and treads on inclined base plates. p. 52).
in coated plywood panels, covering the In both cases, the surfaces can consist
surface. of thin layers, such as textile or elastic At the residential building in Kajagaya by
coverings or liquid plastic, or of rein- Atelier Den, expanded metal serves as
Projecting individual steps, clamped on forcements using plate-shaped com- filling for both the steps and the railing
one side only, are mostly constructed in posite wood materials, ceramic or natural (fig. 44). As a result, the stair acts as a
steel, and more rarely using stone plates stone plates and compound materials transparent light filter. Similar effects can
or solid wooden steps. Projecting steps (laminates). be achieved with step fillings of glass
with wooden surfaces usually have a (fig. 39, p. 107).
load-bearing steel structure inside. In each case, steps made of circumferen-
tial steel frames require a flat filling of a Banister/fall protection
Individual steps, supported on both self-supporting material to form a walka- The load-bearing structure of the stair
sides, are easy to construct using plate- ble covering (fig. 44). and the banister are often developed
shaped composite wood materials. Like- as a structural unit. In many cases, the
wise, folded steel sheets or steel frames Apart from purely aesthetic aspects, banister – in the form of a step-bounding
with fillings can be employed. Stone the improvement of technical and func- string – simultaneously takes on a load-
steps or self-supporting glass plates tional characteristics such as slip bearing role. In doing so, the materials
made of appropriate laminated glass are resistance or impact sound-reducing used in the basic construction of the stair
technically possible. effects, determines the choice of material. also determine the materials used for the
The aesthetic freedom that becomes pos- banister or of the sideward fall protection.
Step surfaces and fillings sible here is shown by the following At the Museum Küppersmühle, Herzog &
There are two options for designing the examples: in the residential building in de Meuron constructed the stair and
step surfaces of stairs, provided the Morcote, Markus Wespi + Jérôme de banister in one pour out of red-dyed
exposed surface is not already formed by Meuron constructed the step surfaces, reinforced concrete (fig. 38, p. 107);
the surface of the structure: either as a for example, out of exposed brick (fig. 9, with the steel staircase in the Juilliard
walkable covering applied to the steps of p. 50). School in New York by Diller, Scofidio +
1 2
Section
Scale 1:10
1 Rubber cover,
corrugated 15 mm
2 Impact sound
insulation
10 mm
42 3 Flat steel 10 mm
108
Planning guide
Section
2 Scale 1:20
1 Handrail:
steel tube
coated
Ø 76 mm
2 Side wall:
steel panel
coated
43 a 19 mm b
Renfro / FXFOWLE, the steps and banis- Current development of new materials independently of the material. It remains
ter are formed by individual, 19 mm thick and technologies to be seen, however, whether this leads
steel plates (fig. 43). The rapid development of special types to a separate material typology.
of glass means that their application in
Frequently, the banister consists of a staircase construction is close to Regulatory framework / standardisation
frame which is supplemented by verti- becoming a standard technical solution. National jurisdictions create numerous
cal rods in a grid, with a maximum Safety glass consisting of several legal regulations and standards. It is not
spacing of 12 cm, for the purpose laminated panes or of hardened glass within the scope of this book to provide a
of fall protection. Here too, there are is available, either straight, or bent as comprehensive treatment of this subject.
no limits to the design, allowing the formed components. Only the relatively Therefore, the following consideration is
use of round or flat steel in various high costs make this technology still to be viewed as exemplary, especially
thicknesses by differentiating support- somewhat exclusive. with respect to their relevance for public
ing and fill bars (fig. 45). For filling building law. The structuring of the sub-
the spaces, all surface-covering materi- Fibre-reinforced composites, such as ject and the content-related preparation
als, including metal, wood, plastics, high-strength carbon fibre reinforce con- provide a thematic overview, permitting
glass or composite materials, as well crete, or fibreglass-reinforced plastic, orientation in the relevant legal framework
as tensile structures, metal grills and have in the meanwhile become ready- of a respective project. In doing so, the
grids or round bar mats are also suit- for-use technologies which are likely to level of detail of individual topics is subor-
able. The uppermost horizontal rod become as pervasive as the special dinated for the sake of clarity.
often forms the handrail at the same time. types of glass.
This can, however, also be mounted as State building codes
an individual element. Adhesives and their processing possi- In federally constituted Germany, public
bilities are widespread today, with the building law is the duty of the federal
Banisters with an independent structure result that laminated materials are avail- states. The state building codes regulate
and materials often stand in contrast to able as mass-produced articles. Due the legal framework, which is obligatory
the staircase. A sideward fall protection to the layered combination of different for building construction in the respective
made of self-supporting safety glass materials, even thin plates have high state. The primary objective is to prevent
can, for example, reinforce the sculp- load-bearing capacity and mechanical danger to life and limb, amongst other
tural impact of the flight of stairs as it or weather resistance. The design of objectives. For standardising the different
aesthetically recedes into the background the surfaces is highly diverse, owing state building codes, the Model Building
(fig. 41 a). to pictographic reproductions and Regulation was created as an overriding
41 Administration building, Munich (DE) 1998,

Betz Architekten
a Glass banisters
b Stair treads made of wedge-shaped natural
stones
42 Step treads made of steel sheet, Skara
Cathedral, (SE) 2000, AIX Architekter
43 Juilliard School in New York (US) 2009, Diller
Scofidio + Renfro / FXFOWLE
44 Stair treads and banisters made of expanded
metal, residential building, Kajigaya (JP) 2001,
Atelier Den
45 Differently dimensioned load-bearing and infill
spindles of the stair banister, town hall extension,
Aarhus (DK) 2001, 3XNielsen 44 45
109
Planning guide
30 cm
85– 90 cm
30 cm
46 Research building in Dübendorf (CH) 2016,
Gramazio Kohler Architects
5 47 Handrail height above leading step edges and
85 – 90 cm
landing surfaces, horizontal handrail endings. At
85– 90 cm
4
the lower end of the stair flight, the inclined part
3 of the handrail must be continued by one tread
2 width to avoid a height offset when transitioning
1 to the horizontal level.
48 Blavatnik School of Government in Oxford (GB)
46 47 2015, Herzog & de Meuron
orientation framework for all federal • Section VII, “Nutzungsbedingte Anfor- Ordinances
states. The state building codes therefore derungen” [Requirements depending Ordinances substantiate individual con-
primarily contain congruent regulations on use], Art. 48, once again underlines tents in the state building code relating to
with state-specific particularities. The the importance of requirements for special buildings or uses, and are gener-
concrete example presented below is accessible architecture. ally binding. With respect to the planning
the Bavarian Building Code (BayBO). and construction of stairs, the following
In their clauses and articles relating to should be referred to:
• Art. 2, “Begriffe” [Terms], Paragraph 3, stairs, the state building codes hardly
regulates the building classes which make statements on specific require- • Hochhausrichtlinie [High-rise building
have primary importance for the con- ments, such as dimensional specifica- directive], issued on 21 April 2015
struction of stairs. Paragraph 4 regu- tions. Instead, they contain many gen- • Verkaufsstättenverordnung (VkV)
lates special constructions, which have eral references to requirements whose [Ordinance on sales outlets], issued
further ordinances that also contain scope only becomes fully accessible on 6 November 1997
special stipulations on the construction when further ordinances and technical • Versammlungsstättenverordnung
of stairs. This pertains, for example, building stipulations are studied in this (VStättV) [Ordinance on places of
to high-rise buildings, shops, meeting regard. assembly], issued on 12 February
places, restaurants, care facilities, 2012
hospitals, residential establishments, Adopted technical building stipulations • Beherbergungsstättenverordnung
day care facilities, schools or college Technical rules, such as DIN standards, (BStättV) [Ordinance on accommoda-
buildings. first and foremost are private guidelines tion], issued on 2 July 2007
• Art. 3, “Allgemeine Anforderungen” making recommendations. They obtain • Arbeitsstättenverordnung (ArbStättV)
[General requirements] refers to the a generally binding character only by [Ordinance on workplaces], issued on
generally accepted rules of architecture their adoption as technical building 12 August 2004
and technology for the maintenance of stipulation. The Bavarian Building Law • Heimmindestbauverordnung (Heim-
public safety and order. In Paragraph 2, regulates this procedure in Art. 3.2.1: MindBauV) [Ordinance on minimum
Clause 1, it regulates the technical build- following its announcement by the building requirements for retirement
ing stipulations, which are introduced in Bavarian Ministry of the Interior, the cur- homes, homes for the elderly, and care
a legally binding manner through public rent version of January 2015 only states homes], issued on 3 May 1983
announcement. three technical rules under Section 7,
• Section V, “Rettungswege, Öffnungen, “Technische Regeln als Planungsgrund- The above-mentioned laws, stipulations,
Umwehrungen” [Emergency escape lagen” [Technical rules as planning and ordinances are not concerned with
routes, openings, fencing], Art. 31– 36, guide], including DIN 18 065, Stairs private law-related issues but with those
contains the principal stipulations for in buildings, and DIN 18 040, Parts 1 of public building law. Moreover, issues
planning stairs. and 2, Construction of accessible build- relevant to planning in publicly funded
• Art. 32, “Treppen” [Stairs] regulates the ings – Design principles. For application building measures, which may include
term “notwendige Treppe” [required of the technical rules, explanations the prescribed condition of compliance
stair], which is subject to and must accompanying the announcement have with further recommendations and ordin-
meet various requirements depending been provided, by means of which parts ances, are to be noted.
on the class of building (see Art. 2). can be excluded or particular aspects
• Art. 33, “Treppenräume” [Stairwells] commented on in greater depth. Accessibility
regulates the prerequisites and require- The following requirements for barrier-free
ments which are relevant for the con- The adoption of DIN 18 065 as a technical stairs can be integrated into planning with
struction of stairwells for required stairs. building regulation highlights the content- relatively little effort and implemented in
• Art. 36, “Umwehrungen” [Fencing], related significance of this extensive tech- an economically justifiable manner. The
Paragraph 3, regulates the require- nical standard. For this reason, this publi- need for persons with disabilities to move
ments for fencing along open margins cation closely follows the content of this to a special facility may thus be deferred.
of stairs and landings. DIN standard. Temporary or minor motor constraints
110
Planning guide
48
hence do not lead to the loss of self- Item 3 requires a double-sided position- Stairwell
sufficiency. The first goal of accessible ing of the handrail at a height of between The necessity and – where applicable –
construction should be to equip habitual 85 and 90 cm, with mounts on the under- the type of construction of the stairwell
surroundings in order to make them side (fig. 47). Handrails are to proceed is determined by the classification of
accessible in a barrier-free manner in without interruption in stairwells and on buildings into building classes, as regu-
daily life, and hence to preserve the self- landings. Their ends must continue hori- lated by the state building code (see
sufficiency of the persons concerned zontally for 30 cm at the start and end of BayBO, Art. 2.3). Linked to this are also
in a user-friendly manner and for as long a stair, and – in case they freely project the requirements for the type of con-
as possible. into a space – must be rounded off. A struction of the stair.
round or oval shape ensures improved
The inclusion of a separate article or grip safety. Number, distance and dimensioning of
clause on accessible construction in the required stairs
state building codes and the introduction Item 4 describes measures for enhanced The floor area of a building determines
of DIN 18 040 “Construction of accessi- recognisability of stair elements by visu- the number of required stairs. The stair-
ble buildings” as a technical building ally impaired persons. This is achieved well of at least one required stair must
stipulation, illustrate the significance of by marking step edges by contrasting be reachable within 35 m from every
this issue. The standard consists of three them with the other surfaces of the treads point of a habitable room. In the “Sonder-
parts: Part 1 discusses publicly accessi- and risers. Handrails are also to display bauverordnungen” [Ordinances on
ble buildings; Part 2 dwellings; and high contrast with respect to the back- special buildings], this distance reduces
Part 3 public and open spaces. ground (fig. 48). depending on the type of use.
Requirements for stairs are regulated Fire safety In school buildings, places of assembly
by Paragraph 4.3.6, including four sub- In the state building codes, stairs are and sales outlets, at least two required
items in Parts 1 and 2, respectively. first and foremost viewed as emergency stairs are demanded. The minimum
escape routes in case of fire, alongside requirement for the usable stair width
Item 1 points out that this paragraph is their function as a required access com- is defined by DIN 18 065, while spe-
about measures for improved usability ponent in a building. The scope of con- cial buildings are subject to particular
and higher safety for persons with limited tents of fire-safety issues in staircase requirements. In places of assembly,
motor constraints, as well as for blind construction illustrates the importance for example, the number of users who
and visually impaired persons. of this aspect. The following comments depend on a stair determines the usable
take into account the fire safety require- stair width: for every 150 users, at least
Item 2 discusses the design of flights ments in Germany, guided by the Model 1 m of stair width is to be allocated.
of stairs and the construction of steps. Building Regulation or the Bavarian
If a flight of stairs is not straight, it must Building Law. If, subject to use, the transport of patients
have a correspondingly large inside reclining on stretchers is required, their
radius larger than 100 cm in publicly Required stair dimensions (2.26 m in length and 0.60 m
accessible buildings, as per Part 1. A As per the state building code (such as in width, as per DIN 13 024) must
stair tread line at right angles to the step the Bavarian Building Law, BayBO, Art. be taken into account by corresponding
edges ensures safe placement of feet 32), a building’s stair serves the purpose dimensions in the spatial design of the
and a natural walking rhythm. Open of providing user-friendly access to floors stair.
string stairs without risers are unsuitable not located on ground level, and of ensur-
for accessible staircase design. Steps ing the rescue of people in the case of Fire resistance rating of required stairs and
must not have nosings; risers can have a fire and the fire-extinguishing operation. stairwells
maximum slant of 2 cm across the entire A stair thus forms the vertical component Load-bearing parts of required stairs
step height. of an emergency route, and must lead must be fireproof (90 min. period of fire
to all connected floors in one go. Building resistance). In low-rise buildings (build-
law calls this stair a required stair. ing class 3), they must be non-flammable
111
Planning guide
or at least fire-retardant (30 min. period Other requirements for stairwells to applied materials and possible items
of fire resistance). This is to ensure that, The ingress of smoke from adjacent of furniture, stairwells must not have fire
in case of direct fire exposure, the stair floors is to be prevented by means loads of their own.
remains passable. of accordingly constructed doors as
stairwell enclosures. Likewise, smoke External stairwells
Stairwell walls are to be constructed in a must not be allowed to enter the building A required stairwell should normally lie
fireproof manner, and in low-rise build- from the outside. Fire smoke ingress must along an exterior wall and have a direct
ings, as firewalls. As such, the stairwell be dissipated quickly. Safe walkability exit leading outside. Consequently, the
forms a separate fire or smoke compart- and the longest possible standing time external stairwell is the rule. As such, it
ment, without having to meet the fire are required in case of fire. Depend- is possible to incorporate openings into
compartment requirements concerning ing on the building class, the applied the exterior wall for extracting smoke from
stairwell enclosures. Stairwells can be building elements and materials must the stairwell. For this purpose, an opening
designed to be internal or external. have corresponding fire resistance. Due of at least 0.5 m2 per floor is required.
Internal stairwells
As a deviation from the principle of
the external stairwell, internal stairwells
are also possible. In this case, first and
foremost, a smoke outlet with a clear-
ance cross section of 5 % of the stairwell
floor area, but at least 1 m2 in size, is
required.
Safety stair
In high-rise buildings, the rescue of
people by ladders from the outside is no
longer possible. Therefore, a second
required stairwell, or alternatively, a
single safety stair for two required stair-
wells is demanded. The safety stair must
be effectively protected from smoke
ingress. This can be ensured by an air
lock positioned in an open air stream.
Emergency staircases
If a second emergency escape route is
not possible, an outlying emergency stair-
case can alternatively be employed.
These staircases must not be compro-
mised by fire spread from adjacent build-
ing openings. Emergency staircases
may be spiral stairs and must consist
of non-flammable building materials.
They are permitted to terminate on a
safe waiting landing, from where further
rescue is possible.
49
112
Planning guide
1 Natural stone cladding

2 Stair flight
3 Edge insulation strips
4 Elastic joint
5 Screed on separation layer
Impact sound insulation
Reinforced concrete ceiling
6 Bracket mount impact sound-insulated
7 Mount impact sound-insulated
Non-required stairs care. Already the smallest of weak points

Non-required stairs are often planned due cause sound bridges, comprehensively
to functional reasons and are open stairs risking the success of a measure. FF
without stairwells. In buildings starting 12 3 4 5 landing /

ceiling
from building class 3, they are permitted Linked to the decoupling of flights of
to connect a maximum of two floors with stairs, precise planning of the path of
≥ 11
≥ 9 ≤ 125
each other. The number and position of joints is required. On the one hand, the
required stairs remains unaffected by this. geometrical mounting requirements must
be met, and on the other, exposed joints
≥1
can also have an aesthetic impact. 6 4
2
Sound insulation
Sound insulation is a major quality feature 1 13 –16
of a building. The minimum requirements Apart from sound decoupling an entire
necessary due to the acknowledged stair, there is the alternative possibility of
rules of technology are often insufficient acoustically separating the tread cover-
to meet the expectations of users. There ings at the mount points. For this pur- a
are many legal disputes on account of pose, the tread coverings are vibration-
different perceptions of the promised decoupled from the support by means
and delivered degree of sound insulation. of an underlying decoupling mat. Since
For this reason, a precise agreement the area involved is large, the risk of a
on the desired sound insulation should constructional defect is high. If possible,
be concluded with the client in a service sound decoupling of the entire base
contract. In doing so, the building stair plate takes precedence over step decou-
must meet requirements for impact sound pling. FF
12 3 4 5 landing /
insulation. For this purpose, defined inter- ceiling
faces between the stair and delimiting In case of high impact sound protection
≥ 11
components of the building, which are requirements for stair constructions, it ≥ 9 ≤ 125
2
assessable in terms of sound insulation, is recommended that a building physics

≥1
are required. In solid constructions, the specialist be consulted.

use of bracket mounts allows for relatively
simple and effective measures (fig. 50). 6 4
Notes
However, this requires certain geometric [1] DIN 18 065:2015-0 Stairs in buildings – b 1 13–16
Terminology, measuring rules, main dimensions
prerequisites to be met for supporting [2] Bolleray, Franziska: Früher aus Holz, noch heute
the base plate and the transmission of steiler als anderswo – die Treppe in den Nieder-
forces in the mount. If these are not avail- landen. In: Detail 2/1998, p. 141–146
[3] as per DIN 18 065 Section 8
able, only specially developed compo-
nents can be employed for the mount of
the stair. These structures are based on
the principle of elastic mounts. Corres-
pondingly mounting the bearing and 1 2
contact points of the stair with surround-
ing components ensures decoupling 49 Emergency stairs located in front of a fireproof
of vibrations. Use-incurred frequencies wall, Pleasure Dome entertainment centre in 3 4 4 3 FF
are not transmitted to spaces in need of Vienna (AT) 2001, Rüdiger Lainer
50 Measures for sound decoupling (dimensions
protection. in cm), scale 1:20
a Upper junction stair flight to landing / floor
b Lower junction stair flight to landing / floor
Both the planning and the construction of c Junction stair flight to floor slab 7
these connecting points requires great 51 Central string stair with concrete steps 50 c
113
Planning guide
51
Step by step: Defining stair geometry

The following sample calculations show
how the geometry of a single-flight or
Single-flight stair
two-flight stair can be ascertained and 15 risers 190/260 ∫ stair flight length (run): 3.64 m
defined in a step-by-step manner. 16 risers 178/280 ∫ stair flight length (run): 4.20 m
The example assumes a staircase in a

residential building with more than three
min. 1.00 m
flats and a floor height of 2.85 m (2.50 m ± 0.00 15 risers 190/260 +2.85
ceiling height + 35 cm ceiling structure).
The rise/run ratio should not be more
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
than 190/260, and the usable flight width
at least 1.00 m. 3.64 m
1. Ascertaining the number of stair steps:

To set a limit, the floor height is divided
by the maximum possible rise (19 cm):
285 cm : 19 cm = 15 steps (min.)
min. 1.00 m
∫ Choice of either 15 or 16 stair steps
± 0.00 +2.85
2. Calculating the rise r:

The floor height is divided by the 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
number of stair steps: 4.20 m

• For example, 285 cm : 15 steps =
19.0 cm
∫ Rise r = 190 mm
• For example, 285 cm : 16 steps =
17.8 cm
∫ Rise r = 178 mm
3. Defining the dimension of the tread t +2.85

16
(including control of the tread line rule):
15
• For example, 15 risers 90/260 14
∫ control: 2r + t = 2 · 190 + 260 mm 13
= 640 mm ∫ tread line rule fulfilled 12
• For example, 16 risers 178/280 11
∫ control: 2r + t = 2 · 178 + 280 mm 10
= 636 mm ∫ tread line rule fulfilled 9
8
7
4. Ascertaining the stair flight length or run
6
(single-flight stair):
5
The number of treads t (number of 4
risers r – 1) is multiplied by the tread 3
dimension. 2
• For 15 risers: 14 (t) · 260 mm = 1
± 0.00
3,640 mm = 3.64 m stair flight length
(run)
114
Planning guide
• For 16 risers:
15 (t) · 280 mm = 4,200 mm
= 4.20 m stair flight length (run)
Two-flight stair
2≈ 8 risers 178/280 ∫ stair flight length (run): 2.24 m 4. Ascertaining the stair flight length or run
(two-flight stair):
8 7 6 5 4 3 2 1 0 16 risers 178/280 in two flights
∫ 2≈ 8 risers 178/280:
min. 1.00 m
+2.85 8 risers 178/280 The number of treads t (number of

risers r – 1) is multiplied by the tread
dimension.
For each flight, with 8 risers:
30 cm
2.30 m
+1.42 5
7 (t) · 280 mm = 1,960 mm
min. 1.00 m
± 0.00 8 risers 178/280

If the handrail on the side of the well
hole is to continue at a steady inclin-
0 1 2 3 4 5 6 7 8 ation without having to include a height
offset, the bottom step must include a
28 cm 1.96 m “zeroth” step at the level of the landing.
The flight length (run) is thus extended
2.24 m min. 1.00 m
by the width of one tread.
For each flight, with 8 risers:

7 (t) + 1 (t) · 280 mm = 2,240 mm
Depth of intermediate landing: at least

1.00 m between the handrails
Well hole: size as per space / config-
+2.85 uration of railing / aesthetic intention.
8
7
6
5. Further specifications:
5 • Selection of load-bearing structure
4 (solid base plate, open string, closed
3 string, single projecting steps, etc.)
2 ∫ Dimensioning by means of statics
1
+1.42 5 • Material of the load-bearing struc-
8 ture (wood, steel, sheet metal, con-
7
crete, etc.)
6
∫ Restriction due to fire safety
5
4
requirement
3 • Material of treads and risers (wood,
2 steel, metal sheet, concrete, natural
1 stone, glass, tiles, plastic, etc.)
± 0.00
• Construction and material of the rail-
ing / handrail
115
116
Appendix
Authors Standards, Regulations References
Christian Peter Daniel Reisch Standards Daidalos, No. 9/1983 Treppen

graduate architect (Dipl.-Ing. Architekt) graduate architect (Dipl.-Ing. (FH) DIN 18 040: 2010-10 Construction of Deplazes, Andrea (Ed.): Architektur
born in June 1960 in Heidenheim a. d. Architekt) accessible buildings – Design princi- konstruieren – vom Rohmaterial zum
Brenz born in May 1974 in Stuttgart ples – Part 1: Publicly accessible Bauwerk. Basel 2008
until 1992, worked in various architec- 1994 –1995 studied German philology buildings I Ging: Das Buch der Wandlungen,
tural practices in Munich and Stuttgart and Romance philology at the DIN 18 040: 2010-10 Construction of Translation by Richard Wilhelm.
1992–1995 lecturer at the University of LMU Munich accessible buildings – Design princi- Düsseldorf 1999
Applied Sciences Munich studied architecture at the University of ples – Part 2: Dwellings Loidl, Hans; Bernard, Stefan: Frei-
2010 –2012 lecturer at the University of Applied Sciences Munich, graduation DIN 18 065: 2015-03 Stairs in buildings räume. Entwerfen als Landschafts-
Applied Sciences Augsburg in 2002 – Terminology, measuring rules, main architektur. Basel 2003
since 1994, SPP Architekten + 2000 –2004 worked at Herzog & dimensions Los, Sergio: Carlo Scarpa. Cologne
Ingenieure, together with Christine de Meuron in Munich 1994
Peter and Wolfgang Sturm 2004 –2006 worked at Herzog & ÖNorm B 5371 Stairs, guard rails and Mielke, Friedrich: Handbuch der Trep-
since September 2012, professorship de Meuron in Basel parapets in buildings and landscapes penkunde. Hanover 1993
for building construction and design 2006 –2012 research assistant at the – dimensions. Date of issue: 15 Nerdinger, Winfried (Ed.): Konstruktion
at the University of Applied Sciences Chair of Architectural Design and August 2011 und Raum in der Architektur des
Augsburg Building Construction at the Bauhaus 20. Jahrhunderts. Munich, Berlin,
Member of the Bavarian Chamber of University Weimar Building codes of the federal states London, New York 2003
Architects 2013 –2014 research assistant at Studio Model Building Regulation in the version Norberg-Schulz, Christian: Logik der
Krucker Bates at Technical University of 1 November 2002. Last amended Baukunst. Braunschweig, Wiesbaden
of Munich by the resolution of 21 September 1980
Christine Peter since 2010 collaboration with Katinka 2012. Standard-setting body: federal Rasmussen, Steen Eiler: Architektur
graduate architect (Dipl.-Ing. Architekt), Temme at studio3 government Erlebnis. Stuttgart 1980
BDA member since 2015 freelance editor at Detail Example: Bavarian Building Code in the Schittich, Christian (Ed.): Designing
born in June 1963 in Stuttgart Business Information GmbH version of the announcement of 14 Circulation Areas. Munich 2013
1983 studied art history at the since 2015 teaching assignments at August 2007. Last amended on van der Laan, Hans: Der architekto-
LMU Munich, graduation in 1988 the University of Applied Sciences 12 July 2017. nische Raum. Leiden, New York,
1986 scholarship of the German Augsburg Cologne 1992
Academic Scholarship Foundation Member of the Bavarian Chamber
Ordinances
1988 –1991 worked in various architec- of Architects and the Federal
Arbeitsstättenverordnung ArbStättV
tural practices in Munich and Freiburg Foundation of Baukultur
[Ordinance on workplaces]. Issued
1992–1995 research assistant at the
on 12 August 2004. Last amended
Chair of Building Construction and
Katinka Temme on 30 November 2016. Published by
Architectural Design, Prof. Hugues,
graduate architect (M. Arch.) the Federal Ministry of Labour and
Technical University of Munich
born in May 1976 in Hilden Social Affairs
1997–2001 tutor at the Chair of Build-
studied architecture at the TH Karlsruhe Beherbergungsstättenverordnung
ing Construction, Prof. Schunck,
and Arizona State University, USA, BstättV [Ordinance on accommoda-
Technical University of Munich
graduation in 2000 tion]. Issued on 2 July 2007. Last
2010 –2012 visiting professor at the Uni-
2001 worked at Gerber Architekten amended on 8 July 2009 example for
versity of Applied Sciences Munich
general planners in Dortmund the Free State of Bavaria
since 1994 SPP Architekten +
From 2001, worked at Kengo Kuma & Heimmindestbauverordnung Heim-
Ingenieure, together with Christian
Associates in Tokyo MindBauV [Ordinance on minimum
Peter und Wolfgang Sturm
2004 –2005 worked at Herzog & building requirements for retirement
since 2001, various teaching assign-
de Meuron in Basel homes, homes for the elderly and
ments at the Universities of Applied
2005 –2011 project architect at Kengo care homes]. Issued on 3 May 1983.
Sciences in Munich and Augsburg
Kuma & Associates Last amended on 25 November 2003
Member of the Bavarian Chamber of
2011–2012 research assistant at the (current version). Standard-setting
Architects and the BDA [Association
Technical University of Darmstadt, body: federal government
of German Architects] Bavaria
Department of Architecture, Chair of Muster-Richtlinie über den Bau und
Architectural Design and Open Space Betrieb von Hochhäusern (Muster-
Planning Hochhaus-Richtlinie – MHHR) [Model
since 2010, her own creative studio directive on the construction and
“kyLAB” in Tokyo operation of high-rise buildings
since 2010, collaboration with Daniel (Model directive on high-rise build-
Reisch at studio3 ings)] in the version of 18 April 2008.
since February 2013, professorship for Last amended by the resolution of the
Analogue Architecture & Design at Building Supervision Commission of
the University of Applied Sciences February 2012
Augsburg Verkaufsstättenverordnung VkV [Ordi-
teaching assignments at various nation- nance on sales outlets]. Issued on
al and international universities 6 November 1997. Last amended
Member of the Bavarian Chamber of on 29 November 2007 exemplarily for
Architects the Free State of Bavaria
Versammlungsstättenverordnung
VstättV [Ordinance on places of
assembly]. Issued on 2 November
2007. Last amended on 8 April 2013
example for the Free State of Bavaria
117
Appendix
Photo credits
The authors and the publisher sincerely 10 Thomas Jantscher 7 Stéphane Chalmeau p. 89, image 4 Jaime Navarro Soto
thank all persons who have supported 11 Therme Vals 8, 9 Roland Halbe p. 89, image 5 Tuomas Uusheimo
the production of this book by giving 12 Michael Bause 10 José Campos p. 89, image 6 Naoomi Kurozumi
approval for the printing of their master 13 David Monniaux 11 Victoria Sambunaris / p. 89, image 7 Hal Chen
illustrations, issuing reproduction per- 14 Álvaro Leite Siza Vieira DAM Frankfurt p. 89, image 8 Hisao Suzuki
mission and providing information. All 15 Fernando Guerra 12 Stijn Poelstra p. 90, image 1 Nacasa & Partners
drawings in this work have been spe- 16 Hisao Suzuki 13 Bruno Klomfar p. 90, image 2 Åke E:son Lindman
cially prepared. Unverified photos 17 Erik Berg/Den Norske Opera & 14 Christian Schittich p. 90, image 3 Andreas Keller
come from the archive of the architects Ballett 15 Andreas Meichsner p. 90, image 5 Ralph Feiner
or the archive of the journal Detail. In 18 Jean-Pierre Dalbéra 16 a from: Fondazione Querini Stam- p. 90, image 6 Helene Binet
spite of intensive efforts, some of the 19 Simon King (CC BY-NC-ND 2.0) palia Onlus (Ed.): Carlo Scarpa – p. 90, image 7 Beat Bühler
authors of photos and illustrations could 20 Rosemie Callewaert la fondazione querini stampalia a p. 90, image 8 Ruedi Walti
not be ascertained; the copyright, how- 21 Hufton + Crow venezia. Verona 2006, p. 52 p. 91, image 1 Annette Kisling
ever, is maintained. We request to be 22 Iwan Baan 16 b from: Fondazione Querini Stam- p. 91, image 2 Simon Menges
informed accordingly. 23 Naoomi Kurozumi palia Onlus (Ed.): Carlo Scarpa – p. 91, image 3 Thomas Jantscher
24 Hal Chen la fondazione querini stampalia p. 91, image 4 Rainer Retzlaff
25 Li Xiaodong a venezia. Verona 2006, p. 55 p. 91, image 5, 6 Daici Ano
Cover photo: Eva Schönbrunner 17 seier+seier p. 91, image 7 Roland Halbe
18 Luca Onniboni p. 91, image 8 Jens Weber
Design typology – Aesthetics of p. 92, image 1 Janez Marolt
Design typology – Methodology p. 92, image 3 Bruno Klomfar
technology vs Longing for the
archetype Construction typology p. 92, image 4 www.sundaymorning.it/
1, 2 Katinka Temme
House_in_pinewood.html
1 Zoonar /Jürgen Vogt p. 92, image 5 Alessandra Chemollo
1 Michal Huniewicz 2 R. Schweitzer p. 92, image 6 Andreas Meichsner
Design typology – Jacob’s ladder and
3 Åke E:son Lindman 3 Florian Monheim /arturimages p. 92, image 7 Roland Halbe
Sculpture
4 Arturo Duarte jr. 4 Jens Hauspurg p. 92, image 8 Luca Onniboni
5 Filip Šlapal 6 Barbara Staubach /arturimages
6a Andreas Keller 8 Roberto Collovà
1 Eva Schönbrunner
6b Bloomberg 9 Hannes Henz Planning guide
2 Carschten (CC BY-SA 3.0)
7 Christian Richters 10 from: Behse, W. H.: Treppenwerk
3 Zoonar GmbH /Alamy Stock
8 Giovanna Silva für Architekten, Zimmerleute und 1 Shinkenchiku-sha
Photo
9 Werner Kaligofsky Tischler sowie für Baugewerk- 2 Daici Ano
4 Judith Stichtenoth
10 Mitsumasa Fujitsuka / helico und Gewerbeschulen. Plate 1. 3 Gerhard Hagen
5 Daniel Schwen (CC BY-SA 4.0)
11 Katsuhisa Kida Weimar 1873 4 Sacha Geiser
6 Sander Meisner
7 https://figosfromagio.wordpress. 12 jean claude braun 11 Filip Dujardin 5 Cosmin Dragomir
com/2013/05/20/huashan-the- 13 Cardaf 12 Christian Schittich 6 Hannes Henz
most-wonderful-of-mountains- 14 Beat Bühler 13 Archives d’Architecture 8 Lard Buurman
part-1/ 15 b Filip Dujardin Moderne 9 Simon Menges
8a Ei Katsumata /Alamy Stock 16 John Mitchell /Alamy Stock 14 Mitsuo Matsuoka 12 David Matthiessen
Photo Photo 15 Åke E:son Lindman 17 Christine Peter
8b as per: wikiwikiyarou 17 Cristobal Palma 16 Iwan Baan 18 Nürnberger Nachrichten
9 akg-images 18 Helene Binet 17 Zooey Braun /arturimages 20 Eric Schiller
10 from: Swarbrick, John: Robert 19 Paula Herrero 18 Lukas Roth 21 Heiner Leiska
Adam & his brothers: their lives, 20 Åke E:son Lindman 19 Andreas Keller 26 Walter Mair
work & influence on English 21 Lucia Degonda 20 Ramon Prat 33 Mitsuo Matsuoka
architecture, decoration and 22 Ruinelli Associati 34 Ib Sørensen
furniture. London 1915 23 Ruedi Walti 35 Bruno Klomfar
11 Andy Ryan 24, 25 Tomas Heimann Project examples 36 fhs Treppen GmbH
12 Koji Okamoto 37 François Bertin
13 b Francesco Martello p. 56 top left, 58 – 61 Hannes Henz 38 Christian Richters
14 b Juan Rodriguez Design typology – Volume vs p. 56 bottom left, 62, 63 left 39 Richard Bryant /Arcaid
15 b Hannes Henz Continuity Leonardo Finotti 40 Hisao Suzuki
16 b Walter Mair p. 63 centre, 63 right, 64 41 a Jens Weber
18 Ruedi Walti 1 Katsutoshi Sasaki + Associates Pietro Savorelli 43 b Iwan Baan
20 a www.italianways.com/stairs- 2 Addison Godel p. 66 bottom Armin Linke 45 Ivar Mjell
and-theater-at-palazzo-dello- 3 Thomas Jantscher p. 67 bottom Michael Moran 46 Roman Keller
spagnolo/ 4 Adolf Bereuter p. 56 bottom centre, 68 –70 48 Iwan Baan
20 b from: Daidalos 9/1983, p. 79 5 Daniel Malhão / DMF Tuomas Uusheimo 50 c as per: Schöck Bauteile GmbH,
21 Garnier, Charles (1880). Le 6 www.vanderlaanstichting.nl p. 56 top right, 71–73 Planungshandbuch Treppen
nouvel Opéra, vol. 2, plate 8. 7 Allard Bovenberg Nacasa & Partners 51 Eva Schönbrunner
Paris: Ducher 9 Rainer Retzlaff p. 56 bottom right, 74 –76
22 Janine Mahler / IBA 11 b Juan Rodriguez Ralph Feiner
23 Matevž Paternoster 11 c Juan Rodriguez p. 77, 78 bottom Margot Gottschling Photos introducing sections
24 Duccio Malagamba 12 b Iñigo Bujedo Aguirre p. 57 top left, 78 top, 79
25 Christian Richters 13 Roland Halbe Annette Kisling Page 4: Heydar Aliyev Center, Baku
26 Hufton + Crow 14 Steven Massart p. 57 bottom left, 80 – 81 Daici Ano (AZ) 2012, Zaha Hadid Architects
27 Shen Zhonghai 15 Jens Weber p. 57 top right, 82– 84 Photo: Hufton + Crow
16 Marco Introini, Kengo Kuma & Janez Marolt Page 6: House NA, Tokyo (JP) 2010,
Associates p. 57 bottom right, 85, 86 top, 87 Sou Fujimoto Architects
Design typology – Stage and 17 Mitsumasa Fujitsuka, Kengo Alessandra Chemollo Photo: Iwan Baan
Landscape Kuma & Associates p. 86 centre, bottom René Riller Page 54: Hotel in Obanazawa (JP)
2006, Kengo Kuma & Associates
1 Birgit Verwiebe (Ed.): Unter Photo: Dacio Ano
den Linden. Berlin 1997 Design typology – Furniture and Matrix Page 94: Gallery building in London
2 Filmbildfundus Robert Fischer Addition (GB) 2015, Caruso St John Architects
3 http://evil.wikia.com/wiki/ p. 88, image 1 Hannes Henz Photo: Sabine Drey
File:The_Illusionary_Maze.jpg 1 jlt p. 88, image 2 Paola de Pietri Page 93: Cultural centre in the Azores,
4 Film copies of the Film Museum 2 www.sundaymorning.it /House_ p. 88, image 3 Francesco Martello Ribera Grande (PT) 2014, Menos é
Munich, Gerhard Ullmann in_pinewood.html p. 88, image 4 Hannes Henz Mais Arquitectos
5 ApA © R. Roozen 3a Kouji Okamoto / Techni Staff p. 88, image 5 Leonardo Finotti Photo: José Campos
6 Iwan Baan 3b Shinkenchiku-sha p. 88, image 6 Andy Ryan Page 116: Residential building in Tokyo
7 Chen Hao 4 Shinkenchiku-sha p. 88, image 7 Ramon Prat (JP) 2007, Claus en Kaan Architecten
8 Jaime Navarro Soto 5 Janez Marolt p. 89, image 2 Iwan Baan mit Atelier IMAMU
9 Atelier Bow-Wow 6 Design + Weld Limited p. 89, image 3 Chen Hao Photo: Tomio Ohashi
118
Appendix
Subject index
A Flight width 100 Non-required stairs 113 Stair, incorporeal

Access areas 80 Folded plate stair 106 Norddeutschland mine tip 8 14, 34, 38f., 51, 57, 80
Access element 42 Folded steel stair 29, 56 Nosing 100 Stair, multi-flight 88, 91f.
Access zone 47 Folded 51 Stair, single-flight 77, 80, 82, 88ff., 114
Access 47, 71, 82 Folding 39 O Stair, suspended 107
Accessibility 110f. Four-flight stair 15 Object 56 Stair, three-flight dog-leg 48
Addition 43, 57 Furniture 40f., 43, 57, 82 Open space planning-related stair 22 Stair, two-flight 35, 90f., 115
Adhesives 27 Open stair 99 Stair 14, 16
Adopted technical building G Open string stair 50f., 105f. Stairwell enclosures 112
stipulations 110 Geometry 103f. Ordinances 110 Stairwell profile 102
Aesthetics 71 Glass stair 28, 52 Outlying stairwells 112 Stairwell, inlying 112
Aesthetics of technology 26, 29, 56 Glass steps 12 Outside staircase 18, 20f., 24, 62, 68 Stairwell, outlying 112
Air space 35 Glass 28, 49, 109 Stairwell 110ff.
Analogue 30 Gradient 98 P Stairwells of the baroque period 14
Anasazi tribes 31 Grip safety 111 Prince Charles’ palace 49 Standardisation 109
Apple Store 28, 52 Plastered steps 31 State building codes 95, 109f.
Archaic period 30 H Prefabricated concrete element 44 Steel construction 38
Archaic 26, 31, 48, 56, 74 Half-turn landing 98 Primary load-bearing structure 107 Steel stair 39, 51
Archetype of the stair 26 Handrail Primeval stair 30, 48 Steel, corroded 22, 43f., 46, 62
Art Nouveau 26 16, 29, 38f., 45f., 69, 98, 104, 110f. Projecting 38, 49 Steel 26f., 29, 49, 52
Atrium 19 Holy Stairs 11 Proportion system 36 Steep 30
Hybrid construction 53 Prototype 50 Step cladding 108, 113
B Hybrid stair 40, 42 Step 37
Balustrade 48 R Stone stair 49
Banister 36ff., 41, 98, 108 I Railing element 16 Stone 48ff.
Banister height 100 Impact sound insulation 113 Railing 20, 34, 36, 85 Straight-flight stair 95, 114f.
Banister spacing 102 Individual steps 104ff., 106 Reading landscape 25, 56, 68 Stretcher 111
Base plate 99, 105 Industrially manufactured wood Regional building materials 31, 33 Stringer 99
Basic mathematical rule 7 composites 50 Regional context 32 Structural system 105
Bauhaus 27, 29 Inlying stairwells 112 Regional production 47 Suspended stair 107
Bavarian Building Code 110 Intermediate landing 98, 115 Reinforced concrete 52
Bending line 103 Iron 48f. Required stair 111 T
Bent stringer 106 Requirements, fire safety 111f. Teakwood steps 28
Bent 91 J Rheinelbe mine tip 8 Technical means 53
Body 44 Jacob’s ladder 8ff., 17f., 29, 36, 56, 58 Rise / run ratio 7, 100 Technical 56, 71
Brick 48f. Japan 30, 40, 80 Rise of a stair 100f., 114 Technologies 109
Building stock Technology 28f.
32, 40, 43, 44, 45, 46, 57, 84 K S Three-flight dog-leg stair 48
Kaidan tansu 40f. Sacred mountains 9 Tower stair 31
C Kifune-jinja (shrine) 10 Safety rule 101 Tradition 82
Cast iron 48f., 51 Safety stair 112 Traditional 74, 80
Cedarwood beam 24 L Samba stair 42, 46, 82, 92 Tread line 96, 100, 103, 111
Central string stair 106 Ladder 29, 50 Scala Regia 10 Tread line rule 100, 102, 114
Ceramic tile 39 Landing depth, usable 100, 102 Scale 32, 68 Tread line 20
Clearance height 100f. Landmarks 8 Sculptural 15, 56, 62, 85 Tread 98
Closed stair 99 Landscape 18, 21ff., 35, 46, 56, 62, 82 Sculpture 8, 13f.,16f., 22, 31, 34, 40, 56 Tropical wood 31
Closed string stair 50f., 104f. Layer House 40f. Seat 69 Twin spiral stair 15
Closed string 74, 99, 107, 108 Legal framework 109 Seat cushion 56 Two-flight stair 35, 90f., 115
Colour 17, 27, 28 Light 56 Seating accommodation 41, 45
Comfort rule 101 Load-bearing structure, primary 107 Seating area 25 U
Composite materials 27 Load-bearing systems 105 Seating stair 65 Usable flight width 100
Concrete stair 52 Local materials 47 Shallow gradient 24 Usable landing depth 100, 102
Concrete 49 Location 46f. Silver fir 35
Construction type 104 Log construction 56, 74 Single-flight stair 77, 80, 82, 88ff., 114 V
Context 32, 46ff., 56f. Longing for the archetype Slope 58 Vernacular architecture 30
Continuity 14, 34, 38f., 51, 57, 80 8, 26, 29, 33, 48, 56 Sound decoupling 113 Volume 14, 34, 36ff., 57, 77
Corporeal / corporeality 42, 51 Sound insulation 113
Corroded steel 22, 43f., 46, 62 M Space frame stair 107 W
Craft technology 32 Material Spacing 109 Walking area 103
Craft 16, 26f., 29, 31, 33, 46, 82 17, 25, 28f., 31f., 35, 43, 48f., 57 Special glass 109 Well hole 98
Craftsmanship 16 Material property 51 Spiral stair 16, 44, 53, 62, 85, Wood 24f., 28ff., 35, 37ff., 48ff.,
Material selection 34 88, 90, 96 65, 71, 74, 77
D Materialisation 47 Split-level 21, 30
Decoupling 113 Materials 16f., 27, 34, 44, Stage 18, 19ff., 24, 56, 65 Z
Defining stair geometry 114 68, 88f., 90ff.,107ff. Stair as landscape Zeroth step 103, 105, 115
Digital media 17 Mathematical 9, 23, 36 18, 21ff., 36, 46, 56, 62, 82 Zoning 34
Digital planning 52 Maya pyramids 9 Stair balustrade 36
DIN 18 065 95ff., 110ff. Measurement basics 99 Stair banister height 100
Dogon 30 Measurement rules 99 Stair base plate 99
Dried mud 48 Measures 100f. Stair body 26, 34ff.
Metal 28 Stair flight length (run) 100, 114f.
E Metal mesh 39 Stair flight width 100, 102
Emergency routes 111 Metal-specific design and Stair flight 96
Emergency stairs 43, 52, 112 construction 49 Stair geometry 114f.
Engaku-Ji, Kamakura 11 Model building code 109 Stair halls of the 19th century 15
Mounts 103ff., 113 Stair landing 96ff., 111
F Mud, dried 48 Stair opening 98
Fall protection 20, 34, 38, 42 Multi-flight stair 88, 91f. Stair parts 96ff.
Fibre-reinforced composites 109 Stair steps 114
Filling 108f. N Stair string 99, 108
Fire escape stair 51 Natural stone 48f. Stair tread line 96, 100, 103, 111
Fire resistance duration 111 Newel stair 51, 99, 106 Stair tread 100
Fire safety 111f. Newel 99 Stair types 95f.
Flight length 100, 114f. Nobilis simplicitas 36 Stair width, usable 111
119
Appendix
Index of persons
3XNielsen 105, 109 J V

Jabornegg & Palffy 28 Vector Architects 20, 89
A Jean-Luc Godard 18 Victor Horta 26, 51
ADN Birou de Arhitectură 96 Jesús Aparicio 38, 91 Vittorio Magnago Lampugnani 88
Adolf Loos 26f. Jim Henson 18 Volker Staab Architekten 53, 96, 101
Aires Mateus 12f., 36, 88, 92 JKMM Arkkitehdit 56, 89
AIX Architekter 52, 90, 108 Johann Dientzenhofer 14 W
Alfred Hitchcock 19 Johann Rudolf Byss 14 Walter Angonese 44, 92
Alvar Aalto 32, 68 Walter Dietl 57
Álvaro Leite Siza 23 K Wespi / de Meuron 13, 51, 88
Álvaro Siza Vieira 49, 51 Karl Friedrich Schinkel 18, 27, 49 Wolfgang Christ 8
Amir Zinaburg 42 Katsutoshi Sasaki 34 Woody Allen 21
Antonio da Sangallo the Younger 10 Ken Architekten 56, 88
Aparicio + Fernández-Elorza 38, 91 Kengo Kuma & Associates X
Archea Associati 56, 88 39, 57, 90f. Xavier Exteves 26
Armando Ruinelli 33 KHR AS Architekten 106
ARX Portugal 88 Klaus Bollinger 8 Y
AST 77 39 Yamazaki Kentaro Design 25, 89
Atelier Bow-Wow 21 L
Atelier Den 108 Li Xiadong 25 Z
Lina Bo Bardi 38 Zaha Hadid 24
B Ludwig Mies van der Rohe 24, 27 zanderroth architekten 91, 98
Balthasar Neumann 14f., 48 Luis Barragán 31 Zecc Architecten 45
Becker Architekten 37 Lux Feininger 27
Behnisch Architekten 98
Ben van Berkel 17 M
Bernardo Bader 35 M. C. Escher 19
Bétrix & Consolascio Architekten with MAD Architects 17
Eric Maier 105 Makoto Takei + Chie Nabeshima 96
Betz Architekten 109 Manfred Lux 39, 91
Bohlin Cywinski Jackson 28, 90 Markus Scherer 44f., 57,
Buchner Bründler Architekten 92, 106
13, 15, 33, 90 Martin Rauch 31, 90
Massimiliano Fuksas 88
C Massimo Fiorido Associati 40, 92
Carlo Scarpa 23, 25, 29, 46, 92 Mathias Klotz 31
Charles Garnier 15f. Maya Lin with David Hotson 103
Christian Kerez 13 meesvisser 98
Claus en Kaan 29 Menos é Mais Arquitectos 43
Conradin Clavuot 56, 90
N
D Neri & Hu 17
David Chipperfield Architects 44, 108 Nieto Sobejano Arquitectos 42, 92
dekleva gregorič arhitekti 16, 41, 57, 92 Norman Foster 26
deyl-šesták-architekti 28
Dierendonckblancke Architects 51 O
Diller Scofidio + Renfro / FXFowle OMA 24, 56, 89
20, 52, 89, 108 Oscar Niemeyer 49
Domenico Fontana 11 Oscar Schlemmer 27
Doriana and Massimiliano Fuksas
53, 88 P
Peter Böhm 52f.
E Peter Zumthor 21
Eligio Novello 106
EM2N 96 R
Embaixada arquitectura 34 RAAAF Architekten 35, 37
Reiulf Ramstad 22
F Richard Rogers 26
Fernando Sanfelice 15 Roger Boltshauer 31, 90
Florian Busch Architects 56, 90 Rojkind arquitectos 89
Foreign Office Architects 23, 89 Rüdiger Lainer 113
Foster & Partners 28
Francesco De Sanctis 21 S
Francesco Librizzi 29 SANAA 34
Frederico Fellini 21 Sauerbruch Hutton 57, 91
Fumihiko Maki 95 savioz fabrizzi architectes 21, 34, 91
Seth Stein Architects 107
G Snøhetta 23
Gian Lorenzo Bernini 10f. SoHo Architekten 37, 91
Gion Caminada 33 Sou Fujimoto 24f.
Giovanni Battista Tiepolo 14 Stefan Giers 15
gmp 103 Stéphane Beel 24
Graber Pulver Architekten 103 Steven Holl Architects 11, 13, 88
Gramazio Kohler Architects 110 Studio Mumbai 31, 90
Studio Rolf.fr 45, 92
H
Hans van der Laan 36 T
Hansjörg Voth 8 Tato Architects 40
Héctor Fernández-Elorza 38, 91 Tezuka Architects 30
Heidegger 24 Tham & Videgård 33
Herman Hertzberger 19, 25 Thomas Kröger 33
Herzog & de Meuron 16, 106, 110 TNA 91
hg merz 45 Toru Murakami Architect & Associates
Hiroaki Ohtani 40 28, 51, 53, 106
Hiroyuki Arima 12f.
120

Stairs (DETAIL Practice)

Uploaded by

Copyright:

Available Formats

Stairs (DETAIL Practice)

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Stairs (DETAIL Practice)

Uploaded by

Copyright:

Available Formats

Stairs

Editing (German Edition):

Editorial team (German edition):

Translation into English:

Copy-editing (English edition):

Proofreading (English edition):

© 2018 DETAIL Business Information GmbH, Munich

ISBN 978-3-95553-397-7 (Print)

Typesetting & production:

This book is also available in a German language edition

Bibliographical information of the German National Library

DETAIL Business Information GmbH

A new book on stairs? The section on theory is followed by a

The position and conception of a stair A stair as part of a building design is

By way of a so-called Laurin stair (a

Jacob’s ladder and Sculpture

1 Jacob’s ladder, Morocco 1984, Hansjörg Voth

7 Hua Shan – Sacred mountain, Shaanxi (CN)

The symbolism of historical stairs

Continuity and orientation towards the

In the residential building in Estrela by

The stair as Jacob’s ladder illustrates the

11 “Jacob’s ladder” at the Department of Philosophy

determined by the sectional figure, an

The stair in the “House with one wall” by

The stair as Jacob’s ladder thus demon-

17 Floor plan, scale 1:200, Residential building

As an example, the works of Fernando and festive character of the implemented

(1986), where David Bowie, as a goblin

What all film stairs have in common is that

The stair as a stage for social interaction

The stair by Diller Scofidio + Renfro /

As in the Villa Malaparte, Vector

12 Evening mood in the extended public space in

landscape setting (see “Jacob’s ladder

In a similar manner, the opera house in

In the works of Carlo Scarpa, the network

The library in Liyuan by Li Xiadong Atelier

5 Transparent yet no glass, Institute for Molecular

11 A simple stair links the living and roof levels. Roof

A stair can appear as an independent The body of the stair as a space-dividing

1 The stair acts as a hybrid wall section which does

has been developed from a sculptural

The frequently used, ceiling-high, and

6 Abbeys by Dom Hans van der Laan

How extremely delicate detailing can

12 Casa de Vidro, São Paulo (BR) 1951, Lina

“incorporeal” as it supports the spatial truding, seemingly floating steps, it

Kengo Kuma, in two of his buildings,

5 Compact house, compact stair furniture. Resi-

industrial buildings. The installations thus white prefabricated concrete elements,

11 Neues Museum Berlin (DE) 2009, David

With its artistic ambition, the stair in the

16 Fondazione Querini Stampalia, Venice (IT) 1963,

As already described in the preceding from the associated technical options

1 Projecting stone steps in Ticino

elements to be created (fig. 5). As with Stone stairs

7 Stair in Abhaneri (IN) [Stairs for architects, carpenters, and joiners

Steel stairs Incorporeal, dematerialised and almost

14 Residential building in Imabari (JP) 1999, Toru