By investigating the history of Glarus it became apparent that the textile industry played a significant role. Described as a pioneer work, the heroic and linear narrative still plays an important role in the canton’s identity today. Inspired by Ursula Le Guin’s concept of the carrier bag, a collection of stories was gathered describing that the Glarnerland isn’t only about the heydays of the industry but also about the possibilities it left behind.

One of the stories to be told is explained by Peter Jenny. In an interview, he mentioned that besides the industrial past, the Glarnerland has the quality of serving as a niche and by that attracting artists and other people involved in the cultural scene. After the textile industry came to a halt at the end of the 20th century, space became available that could be exploited. Examples such as the Palais Jaune in Diesbach in the 1980s or the still active Hollenstein in Ennenda illustrate what Jenny was referring to. Both places offered space to communities of people involved in the cultural sector where they could create their own environment, hidden from the rush in the cities.

Also, the Hänggiturm shows a straightforward way of representing the history of the textile past. Reapplying Ursula Le Guin’s method to analyze the building it became clear that the seemingly perfect appearance of the ensemble has more stories
to tell. The old, original factory building was supposed to serve as a base for the relocated Hänggiturm. As the building was a bit too narrow, it was demolished in the 90s and replaced by a new building with the same appearance. One irregularity that illustrates the orchestration is the large basement with an underground garage.

How does this “Niche” manifest itself?
The relocation of the post office that is currently inhabiting the base of the building offers the possibility to introduce a new use. As an extension of the existing cultural network, a residency for artists is implemented into the partly vacated building. Equipped with small appartements it allows the guests to inhabit the building for any length of time. The floor slab to the basement is cut open to unveil the orchestration and to provide the basement with natural light. The space once used as a garage is reframed into a Werkhalle, ready to be appropriated by the inhabitants, starting with a ceramic workshop in which tiles are produced which are installed on the upper floors. Inspired by the structure of the Chelsea Hotel
the ground floor is transformed into the new Lobby of the building. Together with the existing Anna Göldi Museum in the Hänggiturm, the lobby mediates between the public and the newly implemented internal world. The bar, reception, and collective kitchen on one hand welcome the public of Ennenda into the building and on the other hand, serve as an extension of the inhabitants’ living rooms, enabling a community to form around the residence. The seven existing bathrooms on the upper floors allow the plans to be altered into seven smaller apartments. Equipped with a bed and a small kitchen they provide a basis for the individual occupation of the inhabitants.