Professional Documents
Culture Documents
* d rllel:*llFi
ir.r+nE
Peter Zumthor
Thinking Architecture
Blrl<hdu
Basel
er-Pu
. Boston. Berlln
53
65
7l
83
89
images
as trn
l"1any
of
architect.
sti
seems
of
fcrent moods and snrells. I remember the sound of the grave under
rny feet, lhe soft sleam o{ the waxed on< staircase,I can hear the heavy
n
l<
tcr the (itchen. che only really brightly lit room n the house.
Look ng back, it seems
as
ofoi piint
Ivcrytlring iborL th
s kitchon
w rr no(liin! spc.
with my idea ol a <itchen. Now I feel lke golng on and cal<ing about
the door
handLes
about the ground and the tloors,about the soft asphalt warmed by the
sun, about the flagsrones covered
and about all the doors that c osed in such different ways, one rep ete
and dignlfied, anolher wi!h a thin, cheap c atcer, others hard, imp acnb
e, and intimidating
...
When I design a building,l frequenrLy find myself sinl<ing into old, halfforgotten memories, and then I try to recollect what the remembered
architectural situation was really like, what it had meant
time,and
to
me at the
thing had lts own specific place and form.And a rhough I cannot trace
any special forms,there is a h nt of fullness and of richness that makes
me
think:this
former
Made of materials
To me, there is someching reveal ng abouc che work of joseph Beuys
:rnd sorne ot drc
is rhc prc.isc
16Ls of the
me
Lrso
offDr.rlr s,irrlir
'Flt
.i
"* r-
.fr-q+Ftr.,,
{: ,,-d,{S
the same time to expose the very essence of these materials, which
is
rny
ifthe archltect
for them,since
Construccion
is
s|u.trre o[ the
is possible to apprehend
nL5r(
I believe tha! lhe real core of all architectural work lies in the act of
construction.At the point in tlrne when concrete materla
alL
rlles of com-
position, and their mngbility, smell, and acoustic qualities are merely
elemen.s of the language rhat we are obliged
when
to
s are assem-
bled and erected, the architecru.e we have been looking for be.omes
part of the real world.
lfeel respecrfor the art ofjo ning,the abilty ofcftsmen and engineers.
I
als in my buildlngs, meanings that can only be perceived in iust this way
the bottom of human sl(ill.I try to design buiLdings that are worthy of
care and skil that its maker has aylshed on a carefu ly constructed ob-
the way in which the material ls generally used and its own inherent
Lr(es us to the very limits of our muslngs abolt the value of a work of
sensuous qualities.
irr,
can
sense the
n work of architecture. Are the eftort and sl(il we put into them
make? Somellmes, v/hen I am
so.
imprcssive th n8s
lt
or rs r
Thc rnrstr
s(Dr\
who
r()
lr
$e
modic,
'l',,,'
. b..r..d\
,\r'
,"ii,n
org
thc
l).rso.l
wlt c rt
ir
, r
..
, r
, i
'
Ir
ry |s inrirzcs
But the wor d of sound also embmces the opposite of me ody, harmony,
a longing
osity aboutthe reality ofthe draw ng can penetrate the image, rhe Por
trayal itselfbecomes the object ofour desire,and our longingfor lts re-
so!ct!rn
stil
a symbol, but
see( emerges, and I stoP before inessentials start detracting from jts
mpact.The drawing icself must take on the quality ofthe sought-for ob-
it primarily
with
Architeclure
as either a message
or
floor.
ror le
lcct.lt
,/'Preliminary promises
ln its fnal, constructed form, architectlre
understand that wh ch has not yet come ln!o belrg and which has jusr
smrced ro emer8e.
to give a voice ro something, which has not yet found its place in rhe
as possibl the
aura of the btrilding in its lftendcd p ace. gut precisely the effort of
rhe portrayal oftef serves ro undedine the ibserrce of rhc
rctur
ob
rc,r ry I t, r,
i !r!. I !l
t{.r hipr
qu:r icy
of the fnished
,l ry . I,r.,rr,/ J . o,.\
ln sc!lptLrrc, drcrc s r trrrlir rrr r[irrrrrrrii/c!rlrc!]tPrcssionofrhc
.Lt
,, \ anr- ,
l(,1irs
lr
ifd
,,'
ioins bcrw.r,,
Ur
l, I
r"
ovor
fornr
lr),,,,)lt(,,(rr\ irr(l
l'lany ofthe installations and objects by artisrs of the 1960s and 70s re
ly on the simplestand mostobvious methods ofjoiningand connectinS
14
fur logether
th:t
have nothing
riils. Evcry touch, every join, every joint is there in order to reinforce
..''l
.*,$'t'.*,r;*S&i
" .;;''
Whcn I design buildinSs,I try to give them this kind of presence. How-
|vqt
,tL,
r,
un lke rhe sculptor, I have to start with functional and technical re-
,i,i,,nrerib
joints,for
.,r, ),i\ within che lirrger proportions of the building.The detai s estab,1,
I ), r r
,
l\ cxprcs, wha!
v.,,ir lr)int
, , r,,ni,
r)
ir
sca e.
i!
lhe re -
.lrry, fr';rl,iliry
'i ! ,lrr'r((
,,r wlu,lr
rlr{,y.rt,r,r fl,,t'ft
11,.r,1
1,.rtr
t,, ,,r,ixl,,\r,,ri.1in}t
do
of rlrc wlrdc
There is a
mag
two nais ln the floorthat hold the steelplntes bythe worn-out door
lt is irs f we cou d
see some-
rightl'
says
Venruri,rhe architect. Nothing works any morc,' say those who sufiei
from the hosti ty of our day and age.These statements stand for conrradiclory opinions, if not for contradictory frcts.We get !sed
ing
to
iv
,+t
say.
crumble, and with chem cu tu.al ideftities. No one seems rer ly to un'
dersrand and control the dynamics developed by economlcs and po itics. Ever),thing merges jnto eve.ything e se, and mass commun cat on
C,'nrpleted landscaps
Postmodern ife cou d be described as a srate in which everything beyond our own personal biography seerns vague, blurred, and somehow
unrea.The world is full of signs and info rmarion, which stand for th ngs
that no one fully Lrnderstands becalse they, too. turn out to be mere
slgns
for other rh ngs.Yet the rea thing remains hiddef.No one ever
gets
to
see lr. Neverthe ess, I anr convinced thnt real things do exjst,
however endangered .hey mxy be.There are earlh and water, rhe ight
of the sun,lindscapes and vescr.rlofr rnd rlrere
man, such as machincs, tools,
thcy are,
P-.s.r..
whicl)
ls
for
!( I (.v,l(
rir
fr.i.
or
ire
objecls. mide by
wrrt
,/
,,,,
nrposs ble
l'
1,,v,.,
!i,
i)L,n.lings
g ve rhe impress
'
,, r| lio cl'
l,,,ro
r.rteclcs
ictod.srrrsrchb! ldIrts.brildingsrhaq
n rlm,
with the existing sjtuation. For i{the intervention is to llnd lts place, it
must make us see what already exists in a new iight.We throw a srone
into the water. Sand swirls up and settles again.The stir was necessary.
Per Kil*eby once dld a brick sculpture in the form ofa house for a Docu-
The stone has found its p ace. But the pond is no longer the same.
to
appeal
ifthey
ways.
lt remaned
Since our fee ings and understanding are rooted in the past,our sensu-
be organized in such a way that they endow the body of the building
bering.
w rh
to
the end of a line.Various possibilities lead to and meet in the act of remenberi'rg. lnaSes. moods. Io ms. words. sr8n..
or
omDdr
i\or\ opel
Unexpected truths
irorcor
slnr
lx {,rjoyrb e,were
n
to rhe truth.
enough
ated for th craftsmen v/ho are to give the imagined object a materla
rrql
!.rr y
r'. r,, f
Working drrw
ngs
diyulSc c rIt
1r
s re-
f|iction of
has,
to affect us, it
howevet noth'
Perhaps po
r\ Uncxpcclcd n udr. l. I ves in sri llress Arch tecture\ arr sric rask
nr
iv. rlris srill cxpccmncy r fotrn Thc br ldirg i6elf is fever poerrii,)!(, r rrry posscss sLrbtk qrrrlrtrcr. wlrrr
rlrl,r| rl,.rr w. wt
h,
rt ccrtr
rtr
rr rnorrrcnts,
v,r rb c to rrdcr
Desire
The clear, logical development of a work of architecc!re deperds on
ratlonal and objective criteria.When I permit subjectlve and unconsidered ideas to lntervene in the objectlve course of the design process,
worl.
say is often ar
connected with rhe fact thar they lend to talk a good deal about the
ritional, thought-out aspects of their worl( and less about the secret
rrind ro
irrlfg.
be given a
tel
seel< proceeds
l\,r
'l,r
lt
'
1,,l,
rt{, iui.c
I', , w
( ,,'rposing i'r
spncc
rrcrr
to
han-
-ecrLre. rhere are lwo basic poss brlitie\ oI \pdfirl ( onpo\ll ro1:
the closed archlrectural body that isolates space within itsell:nd the
open bodythat embrales.!l 1T1 olsfage
,eldless
lrur.h
bodies such as slabs or poles placed freely or in rows ln the spatial ex-
our
vented what had a ready been invented, and we tried our hand at in-
venting.he uninventable.
I do not claim
"re
concerned
tlny paft ofthe infinity that surrounds the earth, and yet each
sl<etchinS the
of my design.I dmw spatia diagrams and simple volumes.I try to vlsualize them as precise bodies in space, and I feel it is irnportant
to sense
exactly how they define and separate an area of interior space from
rhe space thar surrounds them, or how they contain a part of the infi-
Architecture
Bu ldings that haye a st.ong impact always convey an intense fee ing
of
ess
f fg
whir I wnnt and cannot yet env sage.At lhese moments,l try to
shake
can breathe
act in which
Common sense
or
llr, ( rcitive
lnvenrng.Whcn
ls, however,
Designing
Thls l(lnd oftraining in design ls not without its educational value. Latei
bc
rvlir
htcr.li.l I rc-
'llL
, , r,rc
, r,n r
(t1
,,
ifd
appearance, ics re
rll
The answers to these quest ofs, which I can forn!la.e as an arch tect,
are imired. Our r mes of change and rransidon do no! permic b g ges,
ory x few
tLres.Trere are
forakndof?rchi-
wor d.and
fee.
n my buidings
ltry to
Melancholy perceptions
Eftore Scolas
room with rhe same people throughout, wh le time goes by afd rhe
dancers grow older.
on rs
lf
rhe lions paw at rhe side thar creiles dre film\ defse, powertul atmosphere.
Or
is lt th orher way
Natur.lly,
nL
rr
r rs
corilctt
rrorblr rrrr.Ll
1 r
thir
,.
,,1 v.L
()
' li ,.,,
rrrrcr r
1.1
s.of
tr
. ,t,,)w,i , L
';r
, ' | f,, ..
when
try to forget both these physical traces and my own first associatlons,
rhes s
to stray and lool( for deta ls to hold on to. But the syn-
have been
Ar chis momen!, the initial images fade into the background.The mod
acted our in these places and rooms and charged them with a sPec al
mornents, a.chitecture\ aesthetic and Practical values
w ro e disnppear ll(e steps that have been left behlnd.The new bullding
aura.
A. these
itsell ts history
begins.
posed to life. lf lts body ls sensitive enough, it can asslrme a quality that
be?rs wltness to the reality of Past ife.
I l)clicve that architecture today needs
il)il
When I work on a
des
moods that I remember and can relate to the kind of arch .ectLrre I am
_looking
, ' Ics $e
1,,
.,y|, lvoy
..
lvhat these images mean so that I can learn how to cre:re a wealth of
r'
the
the design must merge :rnd blcrrd w rh rhc const|ucr onal and forinal
structure of drc fin shcd bui d rrg. For m
and {( f ctiorr
irr
no lorrltq
i r.l
!cprrrtc llx'y
consn ucl
bclorlll
on iPpcarance
l()ll.rh.r irrdfornrr
inessentia,archltecture can
'
|l, vc
!,
p!!
up a resistan ce,
spea< its
own
co!nteract
anguage.
a specific
rad
, rid
core. afd
when
can
.o
srLp!f
sn d.
And
L,,l(,\
,.Li
rd (e
nirLra,grown rhirgs
.lo not c:r.ly irny sigfs or nessages. and whcn he adds thar hc
t*.
1r
..$"
h
-t,t,r
t'
i I , ',l.,t,ti,.i
,l r(,
'{,
"f
,,i1, ,(
", ,,,
,1r1,,.r, L,).,ir.,rorswthbui.l-
",,'l',,.Lrrlir
| ! i,
(,l.liL,r ,) ,1,'w,
rrlf Lr,)ilr
iLL l,L',| i
l, , ,'
,,/r', I
is
notthe exhorta-
tion to precision and patient, detai ed wor< with which we are allfamllBut where are archltecture's fields of force that constitute lts substance
ar bur the lmplication that richness and multiplicity emanate from the
we observe them aftentivelyand give them thelr due.
th ings th emselves if
App led !o architecrure, this means for me lhat power and multiplicity
acomo Leopardi who saw the beauty of a work of art, in hls case the
beauty
of
( rJ\e rl-r\
iterature,
in $
us are mu
less layers of meaning that overlap and interweave, and that chanSe as
olher way o{operating.He works out conceprs and structures and then
rrs rhem performed !o find ou. how they sound.
But how is the architect to obtain this dePth and multiPllcity in a bulld-
,,,11
.L,l.,prifg them
our
to the
v ..L,il content in
basic
r
,
{i!
poscd by che site, purpose, and material that structures and spac-
,!
terminate and vaguel He calls for highly rccurate and Pedantic atten-
r.Ll ,,1
details, in the cho ce of obiects, liShting, rnd atmosphere wirh the aim
$e poct
to answer
. ,,
,, , ,
prirnord
ir force rhir
,, ,r.rr\,r.,.k.ir.lwitcr f
as
,. r
tl
,n tlc
to.his
to real things
forma idioms
that
can
are
writer about
goal.
as an act
of precise .h nk-
to
gard
I do
not ntend to
me
factual
that the wholeness of a bujlding ln the old sense of the master build-
Thc point that emerges here is the reduction of the conter.s to real
says,
to be experlenced
as failhfu ncss
to the
ror
the d vine,which once gave .h ngs a meanlng,and even reality iiself seem
to
,lo,r of effort and a wil ro find a special forrn, and I find L anr Put otf by
imaSes?
I belicvc
thit
rlrlr
tcnrplloltvclli(.r.irr.rr1rPr(\(:rx(,rkrr rr,rlrir
L.,l(\ to rre un.easLnsly from eve.y detail, he keePs on saying the same
so by lhe be ef drac
'1,
rnf viliror
.. r,Lr (l nor
shou d
cofstifr
y ti\ k
ir
fr.
Wy, oftdi
L,
, ,
'
'
. ,
, i
earch
ind
si<X
to
s,
be
con
cavity, emptiness, ight. air, odor. receP!vity, and resonance are hand ed
w!$
I persona
crn w rhdraw at the end of rhe forming proccss, eaving behind a bui d-
iftrh.rls lsef,draise-vcsasaplacetolive
of rlr fgs, afd rhat caf manage perfeccly well without nry personal rhe'
rhat
associate
wth
at-
w$
as
ing lrse f, being a bui d ng, not representing any.hin8, i!sc being.
Say that
too much
as they are
ire !o
be changed by me.aphor,
ft
lofg,
prti.
rt y..i,ra
.xr.r y rnd of d s
any
thesameandwhic inhlscase-canonlybethatofthepoem.(Calvno
goes
L
cerary wod< when he says tha! he has only one defense against.he oss
he sees allaround himian idea
of
places
co
ving
icerarure.)
of
to me
as an architecr.
It ls not lhe rea lty of theories detached from things, i. is .he iea lry of
to porcray
a shell playing an
it crops up once
Wi
accordlof
is
in
Hopper:it
terms,ltel
myself thar
the spar( ofthe sLrccessf! building can ony be knd ed between the
rea ity of the th ngs pertainlng
continLra y strive
One key to che answer lies, I believe, in che words pla.e and "purPose" themse ves.
wrote;
Living
imofg drings
narive facuhies.
lt
s the
rei ity of
is the birs c
l.. tif
Hedegger
rhit
but ilwrys ii iw,!l.l (,fr[!rt]!.v( r wlrli
wh ch I llndersl:l,if ro rircirr
w,,
rr )(.nn,l.or.ii rjtirl
to concenrrate my magi-
eather...,and th reaity ofthe strucrures luse to consrrLct dre building whose propert es I wish
to
ofform that
rfd
for man.
which forms,volumes,
tecturefrom
as an
architect is largely
questforthis
to rflne it.And when I reflecton whether lhave since added new imag.3 and passions to the old ones,and whether I hav learned something
ln my training and practice,l realize that in some way I seem always ro
havG
Plnc6s
I llvo and
39
rol
ng h lls and beech woods and the familiar, reassuring vicinity of the
its sensuous qualities, images of other p aces slart to invade this Proc_
css of precise observation:images of p aces that I know and that once
sPec
,,,c irs nner vislons of sPeclfic moods and q!aLltiesi images of rrchitec
rurrl siruations. whlch emanate {rom the world of art, of films, the.ter.
to me
of places that
,,rlly
11 s
(,,..
d fferent
r)ilir
of
e ements
ac-
to cast their
.i|t, of rhe local esscfce of the site emergcs, a vision tha! reveals con-
!,
rnns, cxposes
rl,, l
rilc,
lfes offorce,and
ro.hc
1,,,
),( lics
,,
, ,.!,nr of dc' gn So
I inrnrcr sc nryrclt
if
$e
processes and
ir
rhe world
r(f!
Wli,,,l{(),,r1, i.b\s i l)Lr , rr| r,.,r lji.,,v,l,t),,1 ., !tx'( rl ,rcsclrcc
,,,!r,,i," It(I II,I1 rr!l,ri
,,,,,,rtr,ri w,rli rr't,1.,,, 1.r.,'j
'1 ,'y t)rlicr p
It seems to be parl of the essence of lts place, and at the same tinre k
When an architectural design draws solely from tradition and only re'
peats the dlctates of its site,I sense a lack of a genuine concern with
fo. their
work of archi-
]ls site, and I miss the specific gravlty of the ground it stands on.
Observations
project by
csenr als of
work of my own.
and added that some time previously I had laid aslde my positive prej!-
2 The main rooms of the sma I mountain hotel overlooked the va ley
(ri dre broad slde of the lonS bullding. lt had two adjacent wood-pan-
dice, which sprang from my high estimation of the architect, and taken
(,
whole,l did not rea ly like it.We discussed the possible reasons for
(,rrforrable p ace in which to sit and read, and the larger one, with five
as a
val-
w.l
l
lir
p accd tablcs,was
f,,
clearythe place
,ri
I wi,Lr
.L wr ipproached rhe horcl for drc first irnrc But ihc .houSht of sray'
eral works
rt
rrr
rrn
sccnrcd
chltecture thar Sive me space to live and seem ro antlciPate and satis{y
by a painter
noi\es 5 r Fd I om tl e
hd
wn
designed
olr
to mnd.ltwas
A lit
OLrr
ng
betterthan
che
other places
us hoPeful
and looked for a spot ol our own. During the day we usually dmnk o'rr
lri8h-ceilinged, hall-Lil(e room, its walls and celling lifed wlth dirk, mat.
the front.They were hinged at .eSular intervals along the front ParaPer.
Good
p aces
as an elbow rest.
Conversarions with the other guests !sually took Place nl dusk at the
es, placed in a
s,
waifscoting, conrlc
ls
Ilie .tmosphere of the room seemed dar<, even Sloomy, un!ll our
l',l
eyes
ralL,
rhythmicaly placd
wrndows lit up cerca n sections of the room, while other Parts, which
to the veranda was opened after rhe evening mer iwe al slretched olrr
legs
rhatwas sti lwarm from the days sunshine.Once,after lhe evening rneal,
we were invited to sit at lhe large corner table at the far end ofthe ve
of
the
r,,
$c vcrafd.. On
rtinS $ere.
sunny mo.nings
rcidifg
When I rh fk rb(,ut buid rgs drit prov dc nrc witli riit,,ml sPrtiil con
drorisrr)t)n)t)rrr.rorli{ |
,(
(. r()
lay
drrwn in half-shadow
randa near the enlrance. D!ring the day, that sPot always seemed to be
bulSe
lirge enough
rcc.,r modire fivc tabes rong the curved wall by.he windows.
rl! ,i,\r
l rl,(nshr.$swrswherel
of sitting down we
door
n the pane ing of the inner wal and led us to a table in the niche.We
',,
of
rr tat on occasion ed by
( Bd,e,re\
rro o,oe,ed
ou
r arrival soon
son-e w re.
complex y/as deserted.The windows were set high up in the wals and
rooms. lt was
German. Neither
to catch a glimpse of
ls
p e in the group ar the nexr tab e but one sounded pleasantly far away.
and rhe floor showed signs of intensive use, and the daylight encering
I looked around and gradually absorbed the mood.l felt at ease sining
through the hiSh windows lenr the room an atmosphere that was both
in the light of one of the windows, which now seemed taller chan ev-
ss
and lool(ing into the dar<ened expanse of the ha LThe other guests,
Prorection from the sun,shelter from the wlnd and rain,an inrelllgent ap'
busy with their conversrtions and their meas, also seemed happy ro
which lent them an air ofdignity. Occupied as lwas with my own activ-
er,
a ized
l4y
vkit
with the
s,
to begin my work
s mple, praccical rh ngs, ro make these ihlngs big and Sood and
l)ciurifu, Lo make thcm the star.in8 point of the specific fom, like a
his metierl
lhe school that was listed in the architectural guide: a spraw ing complex of pavi ions spread out over
lhe Pacifc. Barely iny crees, k.rsLic rock rlrrusr ng drrough $e rul{, r
fewhouscs in thc inrnrcd rtc vic Iity.Thc rows
ings widr
flir. t,,(,l.,rint
roo15
olrill,s
rSle srory bu ld
i\|l,rlr
prths cov-
5 Ar thc
itc
r,(slrp
irs
of ci8lrrccn,wli.,,
picccs of fur-
.1,,
t' , !ll
., ,li)i'
l(,1 rr
,li,l for
:fl
,'..
cvcn
l<e
di
coored ash for my bed and clpboard,and I made drem so that they
looked good on allsides,with tre sxme wood ard rhe same carefulworl(
bicl( and front.I disregarded the us!al pra.tice of expending ess rlme
and care on rhe bac< becaLse no o1e ever sees it afyway
n
Ffl
ffi
was able
FI
&1
fr
h;
Lratitclosed almosthermellcally,wi$
I fe
BT
,l:
bir.,l/
noc,r ol r r.
ro my
iffer vislof,tiigSe
who
e, a
t() ril
cd in nre a state
lfrrcd th.
ncs I
ic
F,t
ff
At long lxst
rdd-d
rp
lr'
Fl
r
ii'
i
l
6 The der
ig.
,I
rhe
fo owing:a ong,naffow
sides until on y
(! r geomerr
cirl o ee
a ong middle
/,lrnlribs cmilf.Sccf lf
l,
oi dre
r nostbick,
rat.
tl
the material.We hand e th s stone sculpture with the utmost care, for
even at this stage it is already almost the whole buildinS We design the
al
rhe surfaces wlth a regular pattern,and we are carefLrlto ensure lhat the
wil
dis:P-
pear into the network.The thin steel frames Proiecrlng from the stone
il(e b ades in the middle
Slass
This djfference between the rea ity and my memor es did not surprise
nre. I have never been a good observer, and I have never really wnnted
fcd when
which
(
llm
tuarions,and I am satis-
can later extract detalls as from a palnt n8,and when lcan won-
rween the stone consoles of the floor slabs so that the intermediate
r.ss,
lic
or
spac ousness
Our clients are of the oplnion that the careful way in which we treat
licrween spatial siruations and the way I experience them. Even when
our materials, the way we develoP the join.s and trans tions from one
we aspireare
Itoo
rl$rs
Lrs
ponents and con struc.ions, they do not want us to make such h gh de-
r ,,, st the
r way
l.l,,w
,i
'
I .evkited
and which I
$e
ha I
t-icd ro describc
c licf I was fo
floor of rhc rii(h. wrs ici ly on r hithcr lcvc rli., r drc icst ot the hrll
It wis ri.n N,,r
wr! rli(
( 1ff(
ui( c
rr
Lr
ha
,, ( well hnve existed. Perhaps it even d d exist once and was ater re'
When I !hink o{ the alr ofquality.hat the building cou d eventually cma-
that to the peop e who will encounter lt,the only thlng thal will count
,ris ovcr ap.The difierence in the floor leve s of the niche and the
mands on the craftsmen and technicians who are co laborating wlth us:
,,,
,w
r[.y
hc p me ro find
Obseryations, impressions
worl-these
wre the thinSs he wanted to know.The tape recorder was on.I did my
best.
At the end of the interview. I realized that I was not really satis-
admire the director's empathy and respect for his chancters. He does
not l(eep his actors on a leashihe does not exploit them to express
a feeling of warmth,
I cold my colleague and then I knew what it was I would have liked
ro have said on the tape this morning.To buid houses like Kaurismeki
makes
2 The hotel in which I was staying was remodeled by a French star deslgner whose work I do not know be.ause
dcslgn. gut from the moment I entered the hotel,the atmosphere cre-
rlon desks, ditferent kinds of naturil slone ln niches n the wall. Peoplo iscending the graceful stairway to tlro orclrclinS gallery stood out
iSnlns! a shinlng golden will. Abov6, ofio corld slt ln one of lhe dress
5l
look
ng
thc
ha I and havc a
l.! rhat
was
pirrtofrhc
designcr
sstagcsct.l
l<ed
loo(jn8 dowf on
rhc .ctiv ry bc ow wlrere people came ind went, entered ind ex red.
Ie r I
lts
ighr ng and a ot of
.:
lady was
and
knew th fcling of
housc, I
''home rhat
she mearrt,
she descrLbcd.
srL
fto a dwe
ng
which lrad beef en arged by rhe irchire.r and dre ifhab nnts.Thc cx
rens on was a success,l
afd
iool
d see
we
]r.l h nFnoLr.Tlrc
rcw pirrs
of
i'
l,
i.,
lnod
I
i
agonal line of Broadway, the coaslal lnes of the perjnsu a.The bu ld-
th
conversion
prize for
d vidualisric, in love
expinses of water.I
n!merous photos of wooden buildings, despite the fact that they were
bassy.
third of
according
on stood slde by side with the old buildinS:on lhe one hand a hewn
'rone
wood after wor<ing for some years wlth stone and concrete, steel and
(lr
caly layered and precisely hollowed out.A house il(e this would change
its shape, would swel and conrract, expand and decrease n height,
lcrcd and extended many times over the centuries, developing grad!-
co eag!e told
d scifct,
!, |rrer
.rdcd.The old was adapred to .he new or the new ro rhe o d, in the
the elemental materials of wood and stone. and abou! how we could
express these ln
o!r
buildings.
1)f
Central
Pad<
Sorrh, NcwYor
<,
hall
l hc r ccrrrrJtL rr' t,
lir r
!'"
p rsrr,
("irP
.!
reveal
Scncsis
iyfLrly
r,,l}llifrl
The composition disclaimed the rlght-angle and soughc an informal balance.The architecture made a dynamic impression, symbolizing move'
at,
to
BraziLian
9 A.told me she had seen many tattooed women on the beach ofa small
seaside resort in rhe CinqueTerre region, a holiday destination visited
mainly by ltalians.The women underline the individualty of their bodies, use them
as a
refuge in
world
as an
chitectula proiecls from France.l sawshiningobjects made of I ass,gentle shapes without edges.Taut,elegant curves round ng offthe 8eometri-
sculpcures.Architecruml nrodc
of s!l.f:rcc
lcxtrrr,
s.
,J<in,lrcr nrct c
q!r l.y of
bodrcs.
0A
glass
holrse.The quality
of
cect received us.took us into rhe vestibu e, and showed us from room
clasps.
B!!
ity ofrhe day lght enterlng through the glazed rearfagade and a sl(ylight
l(ed the
of glass, the form and position of the clamps, the gleaming of the
doi or was it
ass
over the stairs was pleasant. On all the floors, the presence of the lnr -
male back yard arolnd which the ma n rooms were grouped was per-
pnne of g ass, which was tal er rhan the average-height s$/ing door be-
ll
bo?rd doors, owered rhe large scrim blinds, which suffuscd thc livifg
!o
us
ed huge swing doors tha! moved no se ess y berween rwo pivors, clos
fg rlghtly and prclsely. Every now and then, he touched the surface of
some marerial or ran his hands over a handrai , a joint in the wood,
rect,
$e
ment? The architecrs name has an international r n8, his fine archtrec-
tlral
draw ngs are we I known, and his wrjtten starements about con-
l3
rood. Bu dlngs from lhe l9th cenlury and rhe rurn of the centu
,)f srone xnd brick. Nothing excep! onal. Typically urbaf.The public
l2 Atownhouse ir
l,lanhatlan
$e
wi$
sn
ccr of build
ngs srood
lf
prcnrises on
.i
s frccd
fi(r.l.s, hidifg
pr vrte spheres
Ir y (lvorccd frorn
\1,,({, wli(li lr!t.,ri wr r lrr ,1 ,,111. ,r rr. Ioot oI tlrc
rl,. l),,lni{
f
I
I had ben told that a number of architects lived and worl(ed ln
chis
found rnyselfthinklng about the unequivocal backs and fronts ofthe urban s!.Lrctures,the precisely art cula!ed public spaces,the graciously re-
srra ned fatades and exactly fittlng volumes for the body of the town.
l4
We spent years developing the concept, the form, and the work
ng drawings
ofour
I was standing in front of one of the first b ocl(s that lhe masons had
built in stone from a nearby quarry. I was slrrpr sed and irritated. Although everyth ng corresponded exacry with our plans, I had not ex
pected this conc!rrent hardness and softness, lhls smooth yet rugged
ma
l5
vislted an exhibltion
ofwork
is
poift
n won-
derlng iust what it is that slylisr cilly links thc fanro!s fur cup and the
snal(e made up ofpieccs
Young people go
to
of becoming architects,
of finding out if they have got what it takes.What is the first thing we
should teach them?
First of all, we must explain that the person standing in front of them
is not someone who asks questions whose answers he already knows.
thewor
again.
of:
d
rhic we experience later on.The roots of our understanding of archirccture lie in our childhood, in our youthrthey lie ln our biography. Stu-
,lcftshrvero
lci
ic
rr\
urr(l wlry.\^r'hir
wis the
The drawing ol scale plans also beg ns with the concrete object, thus
air, what did my footsteps sound like in it, and my voice, how did the
my feet,the
strike the faeades, what was the shine on the walls likel Was there
masses, soft
texti
es,
tect\
materials,
enced around with us.We can re-invoke these images in our mind\ eye
and re-examine them. But this does
chitecture. Every design needs new images. Our"old" images can only
our materials-We know them all.And yet we do not know them.ln or-
By its very nature,the image is always the whole of the imagined real-
Architecture
lry:wal and floor, ceiling and materials, the moods of liSht:nd color of
a room, for example.And we also see all the details of the transltlons
concrete.A
ely a more
ble
is always
concrete mattenArchitecture
is
A rch itectu
re needs
is always
All de\,8n wo l.
\e or rl ,\
directedtowards thewhole.
lrom the foor to the wall and from the wall to the window. as if we
were watching a fiLm.
Often however,they are not simply there, these visual elements of the
inrige, when we start on a design rnd
is stand-
try to form an
sircd object.At the beginning of the design process, the image is usualy
ln a concrete way means to touch, see, hear, and smell it.To discoyer
ro idd the missing parts to our imagined picture. Or,to put it another
sJoJsress of architecrLre.
of
D ,ysk
l:nd
consciouslv work
w!n
Lour teachins.
All the design worl( in the studio is done with materia
here.
k helps
sens uou s
quality
ofour inner
image helps
lt always alms
rurc.lr hclps us not to fal in love with the gr.phic quality of our draw
s.
brick).There are no
cardboard mode s.Accun ly,no models at all in the convenc onal sense,
bur concrctc obiccts, th|cc d mcnsiorrr wor (s oh
spcciflc sca c.
urlts
r rrrtLrtrl Ptotrsrr<,trrrontocveryone.lris
tlrrikidt.A\!o.iiriv., wi(l fi (\ , r r ! L I \ysrcnrirc thinking
of
qui ily.
{ ,
,
I (
, r r i
a ,
,@'
;r -i i4I
I
Does Beauty Have a Form?
I
ls
beau-
or
named,
or is it a state of
thing
th:t
or de-
A particular passage
or saxophone
that
horn hard and compressed, shrill but not brittle, porous despite the
densityi dry pizzlcatos in Mingus's bass; no erotic, greasy groove"
give
ci I liscen.Themusic
dmws me in.
2A
l<s
away.
LandscaPe and
dlration, but not with an empty mind.You're fully aleft and aware. Con-
us as
centration on the picture sets you free,she says.You reach another lev-
us. Man
Other
don't play a role.You enter the picture you're looking at.The process
has something
to do with concentration and medihtion. lt is ike mesomething grat that Soes beyond
us
when we
come upon the beauty of a landscaPe that has not been domesticated
3 The intenslty ofa briefexperience,the feelingofbeing utterly suspended in time,beyond past and
to all sensations of
future
say: I
was completely
sh e
to
no onger
it
at one with myself and the wor d, at first ho ding my breath for a brief
I look out into the landscapei I gaze at the sea on the horlzon,look ar
the masses ofwateril walk across the fields to th acaciasil look at the
as
we l,enthralled bythe
m:gic of the appearance that has struck me. Feelings of joy. Happiness.
es a
ments are untroubled and powerful and elegant.They have the self-evi-
The flow of time has been halted, experien ce cryst: ized lnto an image
dence of miLlennia.
Sh
hirnd.
is
is thc hishcst
7 As
in
is intr nsic
to rhe obje.t.
Thc building, city, house, or street seems consc ously placed. lt generirtes a place.Where ir stands, there is a bacl< and a fron., there is a left
irrficii
natrre
irnd
{l
*.I
!.
5 re is
,rl
tyard ofa
vi i.Theiropen
un bu
lro ned
in
i,.
into particles
of
lri cs of thc nrcf rnd wonren standinB I rcre scenr serene.With un-
,1,,,(!1..r1,,,(xt
rrr
I
of porous stone and glass and fine-ringed wood and the way ir forms
meadow glisten.The meandering gaze seeks the way to theVilla Rotonda ofAndrea Palladio,wh ch is supposed
to be nearby.The sce're
has be-
the
place
come a Lasting image in her memory. She has written about it.
slruations also seem beautiful to me at the tlme? I think so. but l'm not
of
And I l(now that certain things were not invested with beauty until af-
light and shadow, single rays of sun on the pilasters.A world of its own,
no longer city but not yet the lnterior otthe church. Pigeons are flying
high up in shadowy regions where the carved figures and moldings fade
out of si8ht.I hear but do not see them. Darkness abounds.The light
thar penetrates reveals fine particles of dust in the airThe air is thick,
my mind
or in the manner of
scene, composed
ife
sranding, things more sensed than seen, have energized each other, as
or like a self"contained
l2
crt
is the thing
and
What I see
if
has
us,
which
has
the
tn
l0
for
,ll\ ro thc scfsir on ol bci'rry i! rr,r iltrilrr.l by rlrc fofln is slrch but
the firsr time. She comes ro a halci rscon shed, electrificd. Something
r)
about.he wiy drc pilared bLilding is stin.ling tlrcrc, the wiy ir is mide
15c
r,,
rI
Blt
beauty
cxis6
a rlrouglr
it
freq!entyinunexpecredpaces.Wh e
exPec! r,
rh
stoaPPean
gu
antee dre
nrr.
fo cofr.ni
l3
!menls
ind
fo otrer
wa rr to
crexte
rherown.lbe
so ro commit'
thir
are no substi
lies
withif
r:\ble. house, br
eve every
we
recognizes beaL ry
dge
hrnd,rhcthings
made rh ng has an
lfhe.ent
y appr opriatc
riri.e
ials f rrnly
or
if obiccrof!sc,is
de3s
a p rys cn
I
I
an
d b lacl<ber,
wrter
The beginning ofthis essay as wel as the lines that fol ow are indebted
!o lnger Chr
Ih^r"by ei"r\es
...
ofthe
...
Beauty,l think as I read these lines, is at its most intense when lr is born
of absence. l fi nd something missing,a compell nS expression,an empa-
thy,which lnstant y affects me when I experlence beauty. Before the experience, I did not realize
iwirc
of ibscf .e.Whar
experiefcc,whic touchcs nrc. cntiils bodr ioy an.l pirin Pi r)ful is rhc
to endure absen.el'
..ryl
,.:j
There s the maglc of music.The sonata begins wth the first des.end-
::
q!
f ,-'
rli,rr
cof
Lr
i!
,ii,rrunients. lYy back to the wall of the cafe.just the rlght amount of
ti,1)l)lc.A fowcr mar(et.ln lhe sun.lts
ll
.,r( srdc of rhe squrre lies in shadow, bnthed ln a p easant bluish li8ht.
W,ir.lo{ul
' l 1 ic squ c, fie murnrlrinr< ofthe crowd (no cars, no engine noise),
,{r,,. ri i whilcdstantsorfdsof .onslrucLiof.Birds.blacl(dots nflight,
,
r,,.y
l1)(,1<
ciscr flrf .hccdrl,i fist ind irssc.l pitrern of lnes lf the air
llr,. r(, ( ,ryi hivc jrst bcSun irxl \.rrr r(, lnvc slowcd .lowrr $e wil<
,,rl t, i, ( ,)l rlic pc()tn, . lw(, ,r ,i\, l, ,tlrly )t( \r ( rrl,r( rU. rrrikc rhc t wiy
',',r.
l,r,r,, L,,,
1,,
',
),1, l)11)wrrrlt
nrli(
w,,rl
spires each have different pinnaclesj they are identicat when $ey srart
out at the bottom and become increasing y distinct toward the top.One
is
taler than
che
other and
to appear
es
At the time that I wro.e these comments about the atmosphere ofthe
be emotionally appropriated
try to
: I the physica
to me
alone,
me
o!r
emotions.
sPace, can
was it something
or assimilated.
buildings,or airportsil can buid flats with good lloor p ans rt affordable
impacti I can app y forms to my buildings that satisfy the need for lnno-
It is not easy .o do those things- lt takes worl( And talent. And more
work. But thatalone is not enough to come up with comPelling,success-
der"-this
'ny
truly
that kindle
of,
ird
cven
it
l, as
dlt
feeLlng of intensi!y
it
Possible
specifc lnomcnq ro drc spcll 1li.,r I cists on nry cxpc-iefce of it, con
i(lring
.tLrility
(n!iw1,
(iln,ri(irrcc?
There are small and large. impressive:nd important buildings or complexes that dwarf me,that oppress me, that exclude
or reb!ff
me. But
I give thought
sca e
So
to be built accordingly:
membrane, as
Itry to
fab
mal<e sure
glass, so
ofsilvr or
a handle
that
isten to the sound ofthe space,to the way materlals and surfaces re-
spond
to touching
site of hearing.
The temperature of rooms is very important to me.how coolthey are,
rme
06
as
well
let us go
it is the nrt of
followifg. pa$
edges, shiny and mat, in the light of the sun, and generating deep so ids
and gradations of shadinS and darkness for the magic of light fal lng on
!h ngs.
Unti everything
is right.
the shadows that things cast on the earth in the light of the moon imperceptibly seeking
se
l'm too small or too close to make out the cosmic ang e between the
source of light and the things
lt illuminates on earth.
When I start studying light and shadow, the light and shadow of the
moon, the light and shadow of the sun, the light and the shadows produced by the larnp in my living room, I acquire a sense of scale and di
der their own weight and when I lool< at them and describe them, he
says,
it is only because they refract lght, because they shape it and give
wrnL
Lo
in ot]r lifdsc.pes,
rhc obicct of nry
ind
ar
ll!lr\
\rrL ( 1, or,
rrrtt
a{ii
colol.s, and shapes that radiate in the light.The light that cornes from
ollside the earth makes the air visib e,l can see it.ln the Upper
Enga-
Myriad small dots of light the stars in the sky,llre{lies in the woods, the
or reflect.The
day,
for example.
nate the night have a soothing effect.We ilLuminate our buildings and
streets,we illuminate our planet, ward off litt e pieces of darkness and
create is ands
flowers
a on8
the path are stil aglow for a little bit after twiliSht
fallen, as if the flowers had stored the light and now have
in the
dark-thatt
lheA pine
to release lr,
just not
enough.We want to see. But how much lght do people need in order
cal.s
The older I get,the mo.e inrense is my interest in the var ous ways and
the
il lke
places, in
has
shapes up
sun: I capture
usterintherghtspot.Lightasan
with it. But when L really starr thinking about it,I un-
of ln
rl
So-
ghts ro
fte
Lrghr
in
e Ld,)ds.ope. Fr ederike
'lru
||lir i\
slrc pilcs
rp
rhc
materi:l of her words layer upon layer, describing and creating inner
and
outer landscapes.
LosAngeles by night
Seen {rom an approachinS aircraft
on the streets of the city,that same light seems pal id and sickly
yards
as if they
to
me,
thefront
that one can hardly distinguish the source of the daylight that captures
not be compared to daylight;they are too weak and too breathless with
Jun
as an
at-
Shadowlss modernism
as
of the darkness. then they can become beautiful, then they can haye
celebrate the light and the landscape. Richard Neutra's houses in Cali-
tectural compositions. But brightness does.light and air and the out-
door view the sensation of liv'ng in the landscape, of having the land-
scape
flow into or through the rooms inside the landscape with all of
its llShts trnd shadows.Watching the sun set in these houses is a magniflcent experience. Later,when the house is no longer illuminated from
outside, it has to generate its own liShting, its own illuminated atmo$
long?
landscapes?
Peter Zumthor
P ran,Sovenia
Lecture,wi.tenAuBu$!994,AvarAatoSymposium,A'rhite.tureoftheEssentirl,'
as a
Since
1979 own practice in Haldenstein, Switzerland. Professor at the Accademia di arch;tettura, UniversitA della Svizzera italiana.
wrten
Archite.ture, LearningArchite.ture
Su
of
Thequo.edpa$a8esarefromthepoen
Alphabef'n
1998
nger Christensen.En.henis.hes
6+
dl.ht zu Ehrcn det Etde,Auswahl oh,e Anfong ohne E de,ednen b/ Prerwate' rouie {sa zburg
andV enia: Res donzVelag, 1997)
d Ferara.
Frco
tI
cau-
diArchitertura
as
Chii$o lA!s!*200,1
Liuia
C) Phoros.aphsr
mkeri in rhe
Z!nr$or
P3d8eft
<f!rr/rhin.
Fli)n
nt
turfcr
(ess:rys
t988
996),
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