Aurelio Galfetti's brutalist entrance at Castelgrande, located in Swiss Alps forms a compelling architectural dialogue between medieval history and modern intervention, captured in Simone Bossi’s photography.

Aurelio Galfetti's intervention in 1989, part of a larger restoration effort, embraced the philosophy of "Preserve = Transform." Galfetti's design introduced a brutalist entrance to the medieval structure, blending the raw stone walls of the past with precise, contemporary geometries. His work did not seek to diminish the grandeur of the ancient but instead invited a conversation between eras, with modern architecture paying tribute to history without subordination. The clean, stark lines of Galfetti’s addition form a striking contrast with the rugged Alpine surroundings, embodying the friction—and harmony—between past and present.

Italian photographer Simone Bossi’s series focuses exclusively on this entrance, highlighting the dialogue between natural and man-made forms. His photography strips away the narrative of history to reveal an architectural purity—where Galfetti’s brutalist vision meets the rock in perfect tension. Bossi’s lens lingers on the geometric austerity of the entrance, capturing how this intervention disrupts yet complements the organic landscape. Through his minimalist approach, Bossi illustrates how architecture can both defy and enhance its natural setting, adding a layer of timelessness to the fortifications.

Galfetti’s project extended beyond just the entrance; he reimagined Castelgrande as an urban space with deep connections to the surrounding landscape. His vision was to not only restore a historical monument but to give it contemporary relevance. A minimal park—comprising stone walls, sparse trees, and a pool of water—anchors the castle to the larger urban fabric of Bellinzona. This space acts as a transitional zone, guiding visitors through the historical site while framing views of the Alps and Lake Maggiore below, thereby linking the past’s grandeur with the beauty of the present.

The tracuit mountain hut (altitude 3256 metres) designed by Savioz Fabrizzi Architectes belongs to the chaussy section of the swiss alpine club and is situated in the val d’anniviers, in the heart of the valaisan Alps.

Its superb position makes it the ideal starting-point for climbing the Bishorn, the Weisshorn, and the Tête de Milon. The hut was built in 1929 and enlarged several times to cope with a constant increase in guest numbers and expected levels of comfort. Current requirements concerning health and safety, staffing, facilities, and environmental protection meant that the hut needed to be enlarged and completely refurbished. As transforming the existing hut would have produced a significant cost overhead, the club decided to build a new one. The design was chosen via an architectural competition.

The nature of the site, between a cliff and a glacier, defined the position and shape of the new hut, which is constructed along the ridge above the cliff, fitting in with the site’s topography. The south façade of the building extends from the cliff and works like a large solar collector, being either glazed or covered with solar panels to make maximum use of solar energy. The other façades reflect the surrounding landscape. From the refectory, guests enjoy an uninterrupted, plunging view over the Val de Zinal.

At this altitude, the construction methods had to be adapted to the adverse weather conditions and to the means of transport available. As transporting concrete is particularly expensive, its use was minimised and restricted largely to individual footings. The whole of the structural frame is of wood. The wall and floor components, consisting of studs/beams, insulation and cladding, were prefabricated in the factory and transported by helicopter for on-site assembly. Panels of stainless steel cladding protect the roof and outer walls from the elements.

The compact shape of the building and efficient wall insulation reduce heat loss. Low-tech ventilation is used to recover the significant amount of heat emitted by the building’s occupants, while making it more comfortable and preventing any problems with mould growth in premises that are closed for several months of the year.

Resonant with an elemental materiality and full of myriad therapeutic delights, Peter Zumthor’s thermal baths at Vals are conceived as a cavernous, labyrinthine haven devoted to sensual pleasure.

Built over the only thermal springs in the Graubunden Canton in Switzerland, The Therme Vals is a hotel and spa in one which combines a complete sensory experience. Peter Zumthor designed the baths which opened in 1996 to pre date the existing hotel complex. The idea was to create a form of cave or quarry like structure. Working with the natural surroundings the bath rooms lay below a grass roof structure half buried into the hillside. The Therme Vals is built from layer upon layer of locally quarried Valser Quarzite slabs. This stone became the driving inspiration for the design, and is used with great dignity and respect.

“Mountain, stone, water – building in the stone, building with the stone, into the mountain, building out of the mountain, being inside the mountain – how can the implications and the sensuality of the association of these words be interpreted, architecturally?”

This space was designed for visitors to luxuriate and rediscover the ancient benefits of bathing. The combinations of light and shade, open and enclosed spaces and linear elements make for a highly sensuous and restorative experience. The underlying informal layout of the internal space is a carefully modeled path of circulation which leads bathers to certain predetermined points but lets them explore other areas for themselves. The perspective is always controlled. It either ensures or denies a view.

“I work a little bit like a sculptor. When I start, my first idea for a building is with the material. I believe architecture is about that. It’s not about paper, it’s not about forms. It’s about space and material.” – Peter Zumthor

Italian architecture practice Pedevilla designed an Alpine rose-tinted fire station located in the Eastern Hochpustertal, built at 1.130m above sea level.

The main construction is made from lightweight concrete. Inside of the hall, stone pine and Loden wood were used to create a warm and welcoming atmosphere to add the contrast to the massive feeling of concrete.

To make a connection between the second level and the exterior, the architects designed spiral stairs that rise from the porch into the space above.

"The project offers clear and compact structure. The warm color is a sign of the function and underscores the independence.” added the architects.

The latest work of Kengo Kuma, Haus Balma, appears as a dreamlike vision where architecture balances on the edge of reality and illusion.

You have to look twice before you understand its character. Thin layers of stone float in the air, "dancing" with the forces of gravity. It is precisely the steel cables that maintain this mystical structure, acting like invisible hands. As you circle around the building, it seems that the whole thing gently vibrates.

This illusion is subtle and almost poetic, a hallmark of most works by the architect Kengo Kuma. Yet, encountering it is a rarity, especially in the picturesque Swiss town of Vals, renowned for Peter Zumthor's Thermal Baths and his Vacation Homes perched atop a hill at 1500 meters above sea level, which we had the chance to visit last year.

This project had its ups and downs. Kengo Kuma dedicated a decade to crafting this building for a special client – the local Truffer AG family, experts in processing Valser quartzite slabs for the construction industry. The structure became their exquisite showcase piece. They sought something that seamlessly blended into the local context, and to the surprise of many, it was achieved. The choice of the architect fell on the eminent creator, yet cultural differences and working across such a distance presented challenging obstacles. Nonetheless, the effort invested in this project paid off.

The collaboration concept with Kengo Kuma for this edifice was serendipitous. The Truffer family was on a business trip attending a convention in China and stayed at a Beijing hotel that so captivated them they decided to reach out to its architect: Kengo Kuma! After several visits to Vals, the initial plans were conceived in 2012. Now, with completion attained, Haus Balma – its name originating from a Valser dialect term where "Balma" denotes a protruding rock offering shelter – evokes Japanese pagoda architecture, while simultaneously harkening to the local tradition of stone roofing.

Quartzite stones have long been utilized in Vals for street walls and roofing material. Presently, building codes still demand roofs to be covered with separate panels. Numerous renowned architects now also embrace quartzite: Peter Zumthor employed it in Therme Vals, the square in front of the Swiss Parliament in Bern is adorned with these stones, and luminaries like Norman Foster and Philippe Starck have similarly incorporated them, to name just a few.

Externally, the building boasts a transparent structure of alternating wooden and stone slabs, akin to a shutter. In total, there are 882 stone and 501 wooden panels, weighing a colossal 24 tons. The mounting points comprise over 5000 precision fasteners integrated into the stone and wood.

The design harmoniously melds with the surroundings of the traditional alpine village, not appearing as an alien element. Simultaneously, through its exceptional form and material usage, it offers a playful interpretation of the marriage between local architecture and modernity.

The newly redesigned Schgaguler Hotel was transformed from the 1980s building into an elegant, modern boutique hotel. It is the result of close cooperation between the Schgaguler family and Peter Pichler's architectural practice, located in the UNESCO heritage-protected mountain village of Castelrotto in Italy.

The old hotel is almost unrecognizable and looks like a brand new concept. It consists of 3 minimalistic volumes, all united in a strong visual language. The pristine white frames are filled with large-format glazing to create a skeleton-like façade. An image of soaring roofs touching the sky hovers on the edge of reality. A poetic gesture that evokes memories of the snow-covered peaks of the Dolomites.

The expressive exoskeleton facade changes according to orientation and program. On the north side and east side of the building, mostly corridors and public spaces, the structure has less depth. On the south facade, the tapered geometry has more depth and creates loggias with natural shading. The bright grey color of the chalk-containing render of the facade is inspired by the rocks of the surrounding mountains.

The hotel exudes an air of elegance. Interiors are done in a soft and minimalist style. Large-format wooden textures dominate, along with gray tones of local stones and a warm touch of natural textiles. All subtle gestures are well-balanced to provide a peaceful experience. The calming mix of Scandinavian and Japanese spirits adds to an intimate atmosphere. A carefully selected collection of high-quality brands like Mattiazzi furniture, E15, and Santa & Cole complete the whole.

The public areas, such as the lobby, bar, and restaurant, are located on the ground floor. In the common areas, guests can admire large-format photographs by Martin Schgaugler, depicting pure, slightly unreal yet very captivating images of the Dolomites. The bar connects to a wide and sunny terrace with impressive views of the Sciliar mountain. The underground level contains wellness facilities, spas, and beauty salons.

Visually, this project is a feast for the eyes. The attention to detail and the consistency of the interior also translate into a high level of service. Guests at this family-owned hotel are made to feel almost pampered at every turn, which brings a whole new meaning to hospitality.