Pyramide am See, Justus Dahinden, Zurich, Swiss brutalism icon, © Karin Bürki/HEARTBRUT. Explore more on Heartbrut.com
Pyramide am See, Justus Dahinden, Zurich, Swiss brutalism icon, © Karin Bürki/HEARTBRUT. Explore more on Heartbrut.com
Pyramide am See, Justus Dahinden, Zurich, Swiss brutalism icon, © Karin Bürki/HEARTBRUT. Explore more on Heartbrut.com

Pyramid at The Lake (Ferro House)

What if the Maya had built a space station on Mars and dropped a pyramid-shaped monolith precisely within walking distance of Le Corbusier’s pavilion and Lake Zurich in the affluent district of Seefeld?
Picture of Words & images: Karin Bürki

Words & images: Karin Bürki

You could easily mistake it for the futuristic temple of a distant deity. However, the extraterrestrial-looking Ferrohaus is essentially a case of necessity being the mother of invention: the Swedish metal company Ferrolegeringar commissioned architect Justus Dahinden to design its new headquarters. The challenge was that he had to comply with strict building regulations requiring the top floors to be set back. In response, Dahinden came up with the iconic pyramid shape. The Cor-Ten steel cladding references the client’s field of activity.

The postwar icon was part of a major redesign of Lake Zurich’s right bank in the 1960s and was granted listed status in 2021. Having housed a private beauty clinic from 1993 until 2025, the Pyramid is currently treating itself to a gentle facelift to ready up for its next reincarnation. Whatever that may be, the Pyramid will always be one of Zurich’s most futuristic buildings.

Oh, and what has the Pyramid got to do with brutalism? Technically, not very much. But if you set it in concrete, it would tick all the boxes. So we declare it a brute in spirit.

Originally, the Pyramid featured two luxury maisonettes at the top. The monthly rent for a five-bedroom apartment with sweeping lake views was 3000 Swiss francs (about CHF 9000 in today’s money).
The Pyramid’s distinctive russet patina is the result of the rapid oxidation of Cor-Ten steel, which was popular in corporate architecture in the late 1960s. One of the material’s biggest fans was the artist Richard Serra, who used the rust effect extensively in his large-scale land art, making it a household name around the world. For his Zurich landmark, Dahinden went one step further, adding copper-tinted protective glass windows to create a striking tone-on-tone effect.
Never the first choice for designing a functional building, Justus Dahinden was an ‘urbanotopian’ architect who floated above the restrictive dogmas of post-war modernism. A graduate of the Swiss Federal Institute of Technology in Zurich and both a man of faith and an ardent believer in ‘function follows form’, Dahinden was on a mission to reconnect architecture with the spiritual and social essence of humanity. His works seek to strike an ideal balance between radical design and sound method. Dahinden’s early designs were influenced by Frank Lloyd Wright, Antonio Gaudi and sacral architecture. In the 1960s he was one of the first architects in Switzerland to embrace and promote the theories and works of his avant-garde contemporaries Archigram and the Japanese Metabolists. Dahinden’s notable works include the Zelthaus on Mount Rigi, the Schwabylon shopping & leisure centre in Munich and Trigon Village in Zurich. Justus Dahinden died in spring 2020.