PLACES & SPACES | ROOMS & GARDENS | CABANA MAGAZINE
On the fringes of Zürich's bustling centre resides the Villa Patumbah, an eclectic blend of design styles all rolled into a jewel of the Belle Époque. Lucrezia Lucas explores this Swiss architectural landmark, with a complicated history, on a perfectly gloomy autumn afternoon.
BY LUCREZIA LUCAS | ROOMS & GARDENS | 14 NOVEMBER 2024
Zurich's 19th century Villa Patumbah stands out as a unique Swiss architectural landmark © Lucrezia Lucas
Zürich, the finance capital nestled between the waters of its namesake lake and the striking hills of the Swiss plateau, is a city of juxtaposition – modern skyscrapers towering in contrast to the medieval charm of its Altstadt alleys.
Beyond the lustre of Bucherer and Rolex, Zürich boasts historic treasures, the 19th century Villa Patumbah standing out as a unique Swiss architectural landmark. Tucked away in Zürich's Seefeld district, 20 minutes from the city center, the Villa and its surrounding gardens offer a serene escape from the rush of the city.
Karl Fürchtegott Grob, a wealthy tycoon who amassed his fortune on a tobacco plantation in Sumatra at the end of the 19th-century, commissioned his dream villa upon his return to Switzerland, aptly naming it 'Patumbah' or 'Desired Land', to honor the place on the Insel des Goldes (Island of Gold) where he built his empire.
When entering the grounds via Mühlebachstrasse, visitors are led along a curved path among an Alpengarten, rosebushes, deciduous trees and tobacco plants, all purposefully obscuring the view of the Villa to delay its grand reveal. The garden pavilion, made of glass and cast iron evokes a melancholy synonymous with the literature of the Fin de Siècle, while the facade, with its ornate balconies and grand columned loggia, gives the impression that one has discovered a Renaissance Palazzo. Before this palazzo stands a fountain of clam shells from the Indo-Pacific Ocean, said to have been brought back by ship on Grob's returning journey.
Built by architects Alfred Chiodera and Theophill Tschudi between 1883-1885, and with total creative freedom due to no shortage of funds, the villa is an eclectic amalgamation of Gothic, Renaissance, Rococo, Swiss Heimatstill and Jugendstil touches. Inside, Villa Patumbah is a masterclass in 19th-century craftsmanship and today’s skilful restoration. Upon entering the vestibule, the eye is immediately drawn to the intricate mosaic flooring and the marble-clad walls. The salon, enveloped in rich walnut panelling and marquetry, exudes opulence and gravitas, while the Damenzimmer (Ladies’ Room) captivates with its decoratively painted Rococo ceiling, lavishly embellished with cherubs and floral bouquets.
The chef d'oeuvre, however, is the villa’s 'Asian-themed' dome gallery on the upper floor. Carved from wood and adorned with vibrant colors and Chinese script, the space transports visitors to a distinctly non-European world - a world where exotic birds and plants wind their way across the gallery, while colored light filters through stained glass. Grob's continued relations with Chinese traders in Sumatra after his return are evident here in a space said to have been inspired by their homes.
Echoing the British artist Frederic Leighton’s renowned Arab Hall in London, the gallery reflects the 19th-century European fascination with the East – a vogue that brought the allure of distant cultures into the heart of European interiors.
Following Grob’s death in 1893, his widow, Anna Dorothea Grob-Zündel, along with their two daughters, continued to live in the villa until the 1920s, after which it was donated to a diaconal organisation and transformed into a home for the elderly. Although Switzerland is often perceived as a country with a neutral history, landlocked from ocean waters and thus without colonial ventures haunting its past, the wealth that built Villa Patumbah tells a more complex story.
The Villa Patumbah's existence is a reminder of the intricate web of commerce and colonialism that spanned the globe during the 19th-century; Karl Fürchtegott Grob amassed his fortune by playing a role in the consolidation of Dutch colonial rule in Southeast Asia. The villa’s most extravagant feature, the exotic dome room, prompts a lingering question: is this opulent space a sincere homage to Southeast Asia, or a lavish trophy, a way for Grob to flaunt the wealth and power he amassed through the exploitation of distant lands and their people?
Today, open to the public on select days of the week, it's home to Zürich’s Heimatschutzzentrum, a centre dedicated to the preservation of Swiss architectural heritage. Through a series of carefully curated exhibitions and events, the centre not only highlights the importance of protecting Switzerland’s historical buildings, but also opens up conversations about the complex, and at times uncomfortable, legacies that underpin some of these architectural treasures.
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