Incidental Space by Christian Kerez: Redefining Architecture Through Experience

Swiss Pavilion at the 2016 Venice Architecture Biennale becomes a spatial experiment in form, perception, and construction

  • 1 / 6

    Exhibition Opening: “Incidental Space” – Swiss Pavilion at La Biennale di Venezia

    “Incidental Space”, a project by Christian Kerez at the Swiss Pavilion will run until November 27, 2016 and is curated by art historian Sandra Oehy.

  • 2 / 6

    Exhibition Opening: “Incidental Space” – Swiss Pavilion at La Biennale di Venezia

    Architect and former LafargeHolcim Awards prize winner Christian Kerez (left) with Alain Berset, Member of the Swiss Federal Council and Muriel Zeender Berset at the official opening of “Incidental Space”.

  • 3 / 6

    Exhibition Opening: “Incidental Space” – Swiss Pavilion at La Biennale di Venezia

    Lino Guzzella (President of ETH Zurich), Christian Kerez (Architect of the Swiss Pavilion), Alain Berset (Swiss Federal Council/Minister for Home Affairs), and Kaspar Wenger (Chairman of Holcim Switzerland).

  • 4 / 6

    Exhibition Opening: “Incidental Space” – Swiss Pavilion at La Biennale di Venezia

    The project sounds out the borders of what is presently architecturally possible: how can one use the medium of architecture to think about an abstract and simultaneously complex architectonic space? How can one illustrate and produce such a space?

  • 5 / 6

    Exhibition Opening: “Incidental Space” – Swiss Pavilion at La Biennale di Venezia

    Architect Christian Kerez discusses “Incidental Space” with Wang Shu, Dean of Architecture at the China Academy of Art, 2012 Pritzker Prize laureate, and winner of an Acknowledgement prize for “Five Scattered Houses” in 2005.

  • 6 / 6

    Exhibition Opening: “Incidental Space” – Swiss Pavilion at La Biennale di Venezia

    Christian Kerez (with microphone) at the official opening of “Incidental Space” with Kaspar Wenger (2nd from left), Chairman of Holcim Switzerland.

Incidental Space, a project by Swiss architect Christian Kerez, was presented in the Swiss Pavilion at the 2016 Venice Architecture Biennale. Commissioned by Pro Helvetia, the Swiss Arts Council, the installation challenged visitors to engage with architecture beyond function and form—inviting them into a radical spatial experience that defied conventional understanding.

Last updated: May 27, 2016 Venice, Italy

Winner of an Honorable Mention in the 2014 Awards competition, Christian Kerez, was nominated by the Swiss Arts Council Pro Helvetia to exhibit at the Swiss Pavilion at the 15th International Architecture Exhibition. The architect and professor at the Swiss Federal Institute of Technology (ETH Zurich) aims to investigate the possibilities — technically, as much as in our imagination — of how to think, build and experience architecture differently.

Instead of showcasing a completed building or a traditional design proposal, Incidental Space offered an immersive, abstract environment intended to explore the potential of architecture to express the unknown. It posed a central question: how can architecture represent what cannot be explicitly described?

To create the structure, Kerez used an experimental digital design process that translated a highly complex, seemingly organic geometry into a tangible spatial volume. The installation was formed using a combination of photographic scans, hand-crafted negatives, 3D milling, and thin concrete shell casting techniques. The resulting space resembled a cavernous interior—simultaneously natural and artificial, foreign and familiar.

The project marked the first time that the Swiss Pavilion at the Biennale was used to stage such an unconventional, architecture-as-installation concept. Incidental Space highlighted how architectural thought can evolve when divorced from programmatic constraints and instead focused on pure spatial perception and experience.

Ultimately, the project proposed that architecture can be more than the design of functional spaces—it can also be an exploration of the boundaries of the imaginable. As Kerez explained, “the intention was not to represent something already known, but to create a space that opens up a new experience.”