PFTER ZUMTHOI

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Architectural Envirurnlrcr
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Conversrng with Beauty

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Zumthor's buildings and thetr surroundings An attcntivt:

ness An enrichment Words like atmosphere and mood
inevitably c0me t0 mind when faced with Zumthor's archi

tecture; the perfectly tempered feel of hrs burlt spaces

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rmmediately communicated to viewers, restdents, visilors
and the rmmediate nerghbourhood Peter Zumthor apprccl

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place, becomrng rnvolved with it, worktnq out lh0 ptlrf)0s0,

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.lllrr: ol llrc Wosrrr lIlrrurssarrr. The latter are early 17th century ltaly.r:rr lo irrrlLriro irrlo lhr. tlrlrltly ttxtlr:tl . a lrterary event 0r a motif. llrr: lcr. by dance theatel exhibitions and discussrons I the measure of things.rrlrrttrr:rl irtr.illc I a[rs lrlr:rt l)clrrrolrl 0r:lolrrrr 2001r ol lho architectural l)r0luicli ol tlr.es.l. lt is pcr haps apt to speak of the poetic quality of things Wilhin thc f ramework of this project. llrrourlh lowns and bleak. painted by Andrea Mantegna as well as Goethe's ltalian Journey to Palladio's burldrngs highlighted the motrf of beauty and rlrrsrlrnblcs of both Iocal and internatronal origin.r l. rltcirl Ilcnirn. walking through fields and meadows. the core of thtngs.iltt.c ltrt. lalkrrrr. rrr.orrvorricnr:0.ll was cmbcdded in a program extending ovr. This then is varied through the ages or links one place with another irr rcadings and concerts performed by actors. . Ilttr literary and musical program was devoled to 16th arrtl parl of the project <Poetic Landscapesr. To preserve the spontaneity and immcdiacy of l'ttlttr Zumthor's words.r1 lorr.rrrrl r. writers and . in Wlrrrllrrrrllriru.rl analysed whether beauty can be translated: outer beauty. editing oI the lecturtl. conjurrng images. their proportrons. Danrsh writer lnger ChrisIertst:rt's readrng from her novel <The Parnted Roomr philosophical ventures that always begin with a location.l rl. Peter Zumthor and joirrr.l'11.lti lrrl Atrrlrur l'rrllirrlrrr rn llrr: :. asking questrons.vr:rirl r1ays. accomtrlarrir.lrtlr:r. was kept Io a rttittittttttrt. r)lrc r.h took insprratron from the archi Iu. their materials as well as their rnner beauty.about Lhtl famous nuptral suite of the Duke of Mantua.t. l)0nnancncc irrrrl lrcirrrly rlvcrctl lry llirly r.ltttr: llrc ottl ttt llrtl r. tttr.lrrrrl rrl Vtlrttvttt:. rn0asure of beauty llrir.lrrrc ilsr.n. linking it to a person.r: style of the castle Wrrrrllrrrrllriul. whir. dttlivtlrr:tl lrt rttort: than 400 listeners.l.on r:i ir ptitrrc r:xrrmplr. dispersed building developlrr:rrls.tr l 8l() ture fittingly took place rn the castle of Wendlinghausen and explored aff inrtres between locations and the arts as the landscape and constructed out of local tttalcrials.

rll Ittlw rrlrorl 0ttt ln.t tl rltvl lltrl (llly.rr Itttll ttttlrtrli.ltiltrt: ture does not not to me anyway - mcan inclttsiott itt archrtectural gurdes or htstortes of archttccturr ttr rtrcllitrrl my work rnto thrs or that publrcatton 0ualrty archittlt. . it lrtttllltlrl I lusl lovt: lookintl l.1r r""r'rl lrlrrl lrtl olrlrt /\rrrl I lrrrvr lrr.l t lt. mean when we speak of architectural qualityl tron lhave lrttle difficulty in answering 0ualrty itt art.lt itl llow tltt ltcttltlc tlcl.rol ol .lrlr has interested me for qutte some ttme Artrlyttlt ittc ltttltkc r iLrrr tlrl lil. lt lrttiltlittrl I lr.lttrtr to me is when a buildrng manages [o rnovc tnc Wltttl tttt carth is tt that moves me? How can lrlrtl il ittlo ttty owtt workl llow could ldcstrln sornclhintl likc lltc rottttt itt lltitl pholortrraph onc ol rtty lavourilc it.ll.l.rrtt \A/lr'rl rlott'l ltttl.'t'".rt'. .t lrrl.tltr l I Yr'.l I lr'.rl wtllt I lir lrr'll'v ttrl tlt 'rtr lt llr lttti' lrrrr .Lrt. llttttt.lttttt lltrtl llrurrl l.1rlr.tlrlrrtlrtrllttttrlwrr. wlllt ir lrt.irrrllc lrtrrc (lttc worrl lot tl tr.lrltltr: Iltt:.rvc n0v0r s00n. ttirlttltl l)[0ri0100. 'r lrtl ll llr.trltttll llr'rl l'trr lr.rt trlrl w.ttltt llttttrll.otts.titlttr. in lircl Ilhtnk rl no lotttlcr cxil. lltitl lttovo ll]o r:vr:ry r. l0 I I The title <Atmospheres> is generated by it tllt*. tl t i t rll l'rrpl l')1') t rirri \//\ ly to be surprtsed when ltell you what it is wltitl rltt wtr ll is ittlLtc:.l nrl)r{rlll.rtlltrl.r:. l't.Peter Zumthor Altrrrr:.trrrlilttl.

whit.tttltll.l trl .l lwtt sct. and whrch we humans evrdently need to help us survive.tllll lllllllltl lrrl rl r.otttcs itt 1tt:.ttort tll it llrrkrrrrl L)ity r Vtttt second have thrs feeling about rt (lrtttyttttl Lllcitrl I t rri lttttttti't l'i4 I rrrll llrttnrct (lr lt I rttt ll.l.tirltt Somethrng rnside us tells us an en0rmous amounl slralrlhl away We are capable of rmmediate appreciattorl tll it sltott taneous emottonal response. Ilrctc ltnttllltllcl.ltllrri.r No 2 rn I Ilirl Mltjrrt lttt Vtolrt lttttl l'tittttt) Iltttvrl tttt irlcrr wlry llritl l. wltt:tt llttl viola r.ll .ltltrr. Not every situation grants us time to make up our minds on whether or not we lrke somethtng or whether tndecd wrl might be better heading off rn the opposite dirct. wtllt llrltl rltlttltrt. loo Nrtl r. ltkr llltl wtllt tttt.f lenter a building. and whrch I lovrt. of relectrng thtngs tn il llil:.ltttl tl'l. and .tt lrowct lttlly ltr.t' We perceive atmosphere through our emotional sensibrlr ty a f orm of perception that works incredrbly qurckly. tott lhtrlktttrl olrr wiry through things front A lo ll rrr a tlctttally ort.|lr.ll That rs very drIferenl from lincar thouqht.tt.ll ron We know all alloul ctttrttittrtltl rttsllttrtstt lrttttt ttlttl.tn Ihc lrar. l.h wc ltrrr equally capable of. Thc Iirsl rnovcr]lcnl ol llritltttt:. lttttl wtt'rtt llrrlrr:l (iio rrirl.itttistttl lit:.'r' .Peter Zumthor Altttrr:.'s vittlit sltttitlit. fZ I f .it. see a r00m.

on storrr:.rrrlc orr rr pirlc lltl llolzr ltrltttrr rrtr tlr.h wilh ir plirslir.ror. pleasantly blue Wonderful rangc ol noiscs conversations nearby. footsteps on the squar0. rrl llrl lwttr lrrwr:tlrl r.lr lltl lrcltil.r. brrds. no cars. r r r r llrc l. Lhc the church.tl .lrlrrrlr. the monuments Behrnd me rs the wallol cafe Just the rrght number of people A f lower markcl Sunlight Eleven o'clock The opposrte side oI thc squarr. .Peter Zumthor Altttnr.lrrl ri. .rtl rttrlrqtt. n0 I cngrne sounds. looktttrl ir(. (llnpi: N/rr lrrttr ul(l(il (io[]iltLtclllr lrLttki nr.l irnagining Iw0 nr]ns wavinl llrr.rm r. cirrricr lrirrl lr:trrprlrirllttc plcrl. f I f f.ir lnrrris irr llrr: irir.ctrlly l. occasional noises Irorn a buildrrrrl srlc lnagtne lhe starI of the holidays nrakinry r.ross lltc srlrrurc.lltplrl llrtlr.lrlly ar.rtrr. a gentle murmurrng from thc crowd. beautrful rn the sunlrghl llrc square offers me a panorama - the facades oI housr..vr:rylrorly walk rrrurc slowly Two rrrc nuns wc'rc bar.lr.rlttlttl lnlotl trtr: lt.ol lltr lwo rltrttrlr lrrwll:. rrrl 1tt:.n tlr. lrilr Irr.l. r. rmrl wrrrm I.r1r rrrlrlr'l 2003 Here I am Srttrng in lhc surt grand arcade long.k lo rcalily ttrrw. cirr. irr lhe shade.wiryittrl.rrlir. l .tlltrrrl rltcr:tr ttltltoll. litll ltltlcr.rrnlly Ir::.s.lr:tctl r.. tall. lam gorng to read you somethrng lwrote aboul llrrs itr my notebook Just to give you an rdea ol whal lrrrcarr lt N/aundy Thursday is A llrLrrlr:r Klru.lrtttr.litl ttt lltc r.tr:l ltttttrrrl. wlttlc n llrc rrtr. lr. llrcir lrotrrr:ll.

rrttltl ttitvttt ltitvtl llllrl llro:. wlr.s lltirl lirrnous Platontc senIence lo minrl. lllt: peak of rts sptre In a mtnute or two B. .r rr r shapes. lhtl Jrtrtr ple. sound. I httow lltl ttr(lt{r llritl ltrrr.t:tllttttly plr:irsc 0xcLrs0 lhc srtrtltlir.lll /\l. r'.tr. l. rrrt: nol lhc satnc Att cllttttt.tlrlrtll ltr'lr'l:.r. ittl irrclrrlcr.tt.(luirr0 ttntl my lcclittt.tlttltttl ll'l. the scnsc ol rtxlloclitliott lltitl lrllcd me whrle I was sttttng lhttrc.. they gradually rtse itllo itrtltvttlttiil I'rlrrzzo lt \ll|r'l{ ::lrl r. will walk tliatlttrtitl |'r'\"r trtnt rltt ly f rom the right across the square towards nttl So wltltl moved me? Everythrng The thrngs themselvcs. tlt llrrrttrllrl lltr' p. textures.rit0ll lltrr trrtl lt. ItZ rdentrcal at the bottom.c lccliu.tl rne? My mood. <l]ttittlly is irt lllrl rlytl ol thc bcholdcr> Meantncl rl ts all irt nttt lJttl lht:rt lJrt:rlttrttt irrr cxpcrirncnI ltakc away lhc s(]uilr0 ittttl ttty lrtrllltttll.Peter Zumthor Alrrr.l.l Iltitl tr. with a golden crown strrr(ltllttltttt.rly rtl trry llrirrkirrttr l rt:tttttvtl llltl l.r. my feelings.s willtoLtl litc itltttttl. forms too forms lcan appreciatel Fortlts lt:ittt lry to decipher Forms lfind beautrful What tllstl ttlovt.ltltrlttl ol lllc l.trll( ol rqrrlc lorytr.itltltcitt I r.rl l'rl crtll ttty l)ilr. wlrtl Itllrtl wtllt rrll lltc lllttl Ar ltrlrlly I'l.ttlitry ttxllllrittttltll.trtlt ol rr lrlltttltlttl lltottrllrl llttl wlr. colours.' 1y Ltil ll.0ne is taller. Wlltclt lrrittt.lr.r. matertal pr0s0rl(l(ls. the air..rl (iour. tritlly l'iloltll tttlllltttl wtllt olrlrrr. tl'. tlt:. notses.l.rl l'rrr I'rlllttrl.'t' t. {)wtt lll.

r lrrltly rrl lr rl ltrttrtrtl r.ttlttt. a thtrttes picture by Baumgartrtcr Mtrtr.ttt.tr. tts mood Anrl tl rtro so ltow tlttl about it? And then lthink yes.c I strirl llr. ir l)tuctl(l ltilt.itn Antl I llrtttk tto yoLr can'l And the reason Ican ts llcr. ollo ltl. lrhcre lrke that.rrytr. lrrtcclttl rtttrl iltr.it.l ttt tttt crrr. A scnlcnt. its rntensity. the magrc of the real world 'lrtrll tj l r)L lri { rl ll'rrr l.aust.rlly llrr' r.tlllti'l tLr I 1l i{.ltlotltl.tltrr rl ltrltr trrltrtlt 'tlttl lrrr. you r.rr wlrosc linr0 you'rc ltttlttttl lo (ltloliii.l what rs thrs <Magic of the Realr (lali: ll ir r. ll llrl Jl.rl'l.c lty it trtttl.rl l.) somethrng loften frnd even more incrcriilrlrt llttl tttltrltr.rlrr r llrr"'l. rr tr lr A questron A questron wonder lput to mysell as att itrl. lrlttttt.olrlrlisl wit:.rl lii l. srtting 1tt:.ltt I dents'hostel. rl:iirtltt.rtrrlrltr:tly rrtrrl lt.(rl.otltl)ol. ittttl ltr: lrttl tl llu.Itltott.l around and they're enloytng themsclvtts ltttt Atttl lask myself can lachieve that as an architccl irtt itlttttt:.'. ltttw wc'vll tlol lo wotkl lltc tnltsir.rvoro. l'vt: ltitt] it cnlirttlctl ittttl lrttl ttlt ott llrc wirll itt our ollir. wriltnrl ititttttl it (.lttltrt. tttclorltrr trlrtttly ltrttlttrrtttlt. (/\rtrltr" lir)ttr (rrltlr lrl lv rrtt . irrrolhcr quotation.tttrl 1.ltttt:ltvtr tltyllttttt url plolttlltt. ol thrngs.ltttr ltltlt.yr.rrl tlltltttn.lopacrlia oItnrtsit.tliil)irlrtny rrl lrir. tlrtl:.Peter Zumthor M. llttlrtt ltttt tlttttll llrrnrls and thrngs Lhatarc nolso qootl itt llttr worltl llr:ttr'r.

1rlll111111111 read What it tells me is something abotlI itltttltl.llt. arc all part and parcel oI my work l'vtt lttttttt kttcltttttl lttt 0yi) on mysell. rlrvidcd tnto ntne vr:ry shorl r.ltltt. ittttl looll.ltltlttt on ttt ltrr ir o l ttty lltttlrlttttl:. rl l)l('r.l . llrc l.w(rt l.hitltlrtrs.ltlltrttr lltrr corxp0ser's music has that qualrty too.r l) ('{ {' .lttlttltvtltll. t](l Ir| (lo llrttrrlr.tl r.l lr. rtl wltltl I'vl lotltttl olrt rtboitl the way It.Peter Zumthor lhe Bntly 'l /\r.ti:.l . and lfind that consoltng lhe rdea lhal lhc litsk ttl trtir atrng archttectural atmosphere also corlttls tlttwtt ltt t.rt.ttltr l.tr.tltll and graft Processes and inleresls. lir l tlttc:.rtl r tl .rrlvlr. lrllr < l ltr: llorly ol /\rt Ittlcr:lrrrr:r I lrr rrr. .tl rltrttrt ll Nillll.tr lttt trvtrlytttttI Il lr r rr1.l Iltrry ltttr lltly ltlrr lrtllr lltc lttotlttrtll. mc trrost wlrt.. r .rn.wrt l:. lttttl wltitl i.lrr '.iltvc ittttl tttiltvttltt.t. lrrrll.tl ltt ltrrrl rrlrly rtll.ty l l r. tttttr. tltt.ltlllll llttw. irtslrlttttttttll. ttl l..ctl.rlrtltl Ir.rt[.ir.ottitl I ltitvl ttollttttrl ltll.c itlll.ttt . and l'm goitrrl lo rlivl y.ltott irrc lttrlltly pctl. r) vr .lrtlli ltttl .t1 w. lll . rrl llrttrrl'.ctllttlt ltltttttl.o ltttlltly l. lIrrl. ttltiltly lo lottrrlr us to touch me withtn seconds of ltslctrtttrl llttl wltitl rlalso tells me is that a great deal of work ltits tlttttir tttltr rt. 0l t.1'r <the truly Russtan Spirit of lgor Strawtttsl<y'r.l1l llr .('tt( .rrlttl.r tl llt t. lltltttl.tt Llry lo tlctttttitlll it t..rtt.o itltttltl lltitttll.r.rl tl 1\lr rirlrl lr rlt mar>) That's nowuponthe wall in ottrtl[[it.

volvcl.tttt ittttttltttl ol oirk irtul rt riillcrcnl llritrry yor't1 illlotlnl trl lttl.rtl itrlt llttrl.'l. llrirl of thing has a sensual effect 0n me And thirl would call the first and the greatest secrtll ts. rlillrrrcttt materials.rlltrt .rrlr. srlk.r lltrt:r: rpittlr.a ol tlrt: ltorly llrc irtrtly rtselfl A body that cart loLtt.lil0ll. clolh.o wrl r:ottlrl r.'r f rame Here we are sltting in this barn.l tlt rrtlt .ttttttt cl:.tl wtrtlrl /\tttlwl wrrttlrillrrl .rtrrl Irl. are covered olr. krrrtl I L)rr nrltrl. around me The body! Not the tdt. it 1oy lot cvrrr <Material Compatibility> I lirkc ii t.rlntt rr1 Ilrlltl lirlrrrr.lrrl. I mean the word <body> quite lrterally lt's likc our owtt btrll res wrth thetr anatomy and things we can'I sr:r: ltttrl skitt covering us that's how - that's what archrtecturc mtlarls ltl rtll: tttlrl As a bodrly ntass.h ttto Sccond answcr a rlratttl s00rcl. it tlrt:itl I)itl.tltl rtltly :'. and combines them t0 create a spac0 lrkrr lhis To me it's a krnd of anatomy we are talkrng al. it licy itttylltttttl rlllrr trwltrtl ltkr/ lo tlo tl Iwrrrtlrl tttrtrtlrlttltttllrlttt lttittlllttt r. lr. a fabrrc. lttttl lltrltt. Iht.t. vtrw rrl lltl 1r rtrl illrttlt tlrttlt'l wltitl tll itrt.Peter Zumthor Matertitl ( ltttttl r.t'tlrlry lr t of beams and they tn turn. ol r.rl lor.oul llltrlly. that it collects different things in thc worlti. a kind of covering. ttlt.ltilt:t. ture.ttrt li't tt.tr tttwr.ttltl l. il trl(rlrl irll ltry to thrnk abouttt brane.tttrl rttlrtttrll llttttrlrr lltr.tlvct. rtttrl lltr:ttttt lltl tr'.

litkc lt stone you can saw rt.Peter Zumthor Matertitl (.r'. lrclllt.ctl trtttl t.rttttrlltttttl hartlcr.ttls lltc r. |\/aterralis cntllcs:.l. thts happcncrl lu mc jlt:.. lo r. rtttlrlltlv. llttr.tlr o r.tlr.tt w. ilotttil lrt ttcctl l. ltow thrnqs wrll turn up - 0ut And whcrr onc at. grtnd rt.oll t.lttttlxl. splrl il.'rl.rr .1tl Ilrltt wr' lrrok llrtl lrr lltr tr.c livintl burldrnq ll wits loo stlll lwiu.tl tl rtlrly ")4 'r'l. il r.t:.ttrlrlltrly r. drrll rnto rt. to become 0ne ts always havtncl tdcas itnitrlintttt.ttttnlrtItr:l lltc wctrlltl ol lltl rrrltttt. or hugc amoltttls.rclc wlttclt .'.rrll .rrttr.lltitlly 1.rll | .rlrlr' lttr.tt w.l lil.ctl t:ttttt:tcll quite sure I wouldn t bc ablc lo llslr l.o llr.rllrt . Materrals reactwillt ttnr: rltttllnl and have thetr radtance.crlltt lrt surf accs tn at hltr. sotttcllrinl nttttc ltkr rlrotty wtllt rttottrllt rllttrl ly itttti tttil. cxltir.l wcck lwiu.ottt1 r. ttr lroltslt rt it wrll become a different thrng each timc lltctt lirkc il tiny amounts of the same stone. so that the maIcrtal t.tlxtl qives rrse to somethrng unrque.tl lrttilrltttrl r. itttrl wrll turn into somethtng else agatn Then holtl il ttp lo lltt: light drfferent again Ihere arc a thousirltl tlillcrr:ttl possibilitres in one matertal alone Thrs rs lltc ktntl ol wotk llove. I see how these thrngs reacted togethcr Atttl wc rtll kttow there would be a reaction.tw ti lltl r.lrtll llrl r lrl. rotttl tn lltl.otnc r.lttll In fact. and the longer ldo rt the rlt0r0 mysl0tirtu.

rlrlrcrr llo lwent and took all the palrsander stulI orrl . lll r ri.' / and had n0 trouble at all asserting rtsell in llri:.rtr lrtlr'r l . lrl1.ryr.lr ttrr:inl.r lrr'trttt.Peter Zumthor |\/atttrtitl (.. lr.rll.0ne year later dark.lr.rl .lor.lr't lrrrtlrlr'r llll ttrl llr. .rl. irtrtl tltal krlls thom Wlrit.tt ltotit Ycl.r.lrly grained precl0us woods were reintroduccrl. willr softer. paler ones ln the end the cedar wrlh rls slirrk.rrlirrrr.1 llttttry.rc's lr r.r ('r.c lorlirllrirr.l . yotr Iot lttttlltcT Nrr ollrcrwl.lrr. and thr..r'. iirrrl lhere's a pornt lrlo wltr:nr llrr:y'rc loo r.' . lrr:r:.r rr:.ttt. .rttr llr.l'rrllrrrlro.l)r'( r rllV /\trrl Ill lrr:. lrlrrrlr: clll(ly yor lttrrl ttr l'.l lr. a crrttcal proxrmrty between malcrrals.rl rl.vr. Ivc wttllcrrrlowtr.r rrl rl r. rlcJrcttrlilrl otr llrc lype of material and rts werght You cirn r.omlrrrrc ilrllcrcrrl rnaterials rn a burldrng.1.ttrtlrlr::..' lv. ' rl r..rrrr I il{l. llrc jt tr ll I r r. hirrrl.. r trl.rrrllrir porrrl wlrcrl yoir'll frnd they're too Iar awuy lrottt crtclt ollrct lo ririrr. lirr ear structure was seen to be too brrttle ltwas nr.c l'il lrc lrl.rrl llr.r:rl That rs JUSt one example oI why lhin0s oflcn s00rl rj0 rnysterious to me And there's somclhinr.rrl. rrrr:rrlrlrr llr.rl .lrrrl. l lr rt mahogany we'd used.iltrrl:.rvrr rrr.ll r Llll NilL.rtrrr' lrlr. wlrrr:lr n wlrrrl Ilrrrrl llrr:.rll llrr' '. r tr lrt 1:r)l.lr.Lltr111..rlni.ltr r1 r. '( . irlorrr. clslr loo llrr:rr'l.r'. lrrril ol wlrr:rl'vr :.rtir. rrt.tll. llurl prlllrrl llrlrrlr ll rlclitrrr tn a brttltlmtl ltirs ir lol lrr rlo krrow wltirl I rrrcirnl wtllr ol<rry.rrrrl rrlrlrl llnr lt.

'r.tlrtr. rlcitl lritll llrc lot:ioti ttt llttt tllttxltttlcttttt ol .hcn Iht.t t. irtttl wltitl ltitvll ytttt llttl llntrl lllc l. Take a wonderfulspruce floor like thc top rll a vitt lrn and lay it across wood Or agarn: stick i[ [o a t.ttrlitttt rooms speaking personally. indeed of the very lhirtrls lrrr ltytntl lo lrlll{i Vir ri I ir rrrlrrrrrrllrr talk about Thirdly: <The Sound of a Space> Listenl Inlcriors itrt: likc large instruments. 'n I l"r have had an extraordinary sense ol lhtl Jtrttscttt:t: itttll llrrrrrr. rrr yor lrcirt r.rttltt slab. amplilying mitting it elsewhere That has to do wrth 1ltre il.lttltttll.rnttrlr.1r't /ttlrllrrl werqht of materials.ttttl rltt ott llrtl . and the way those materials havtt llccrt applred.p. lccl hirppy ll lwas in tltc lrottt room litlwitys klcw ltty tttttlltct witl. collecting sound.rl. pittl. pct.ttlwity tl Icttttttltl.y tlitrit: tttt. irtrrl ttr ir itl Irorrrc lrcr.tt liar to each room and wrth the surfaces ol thc nralcrirtls they contain..trl. The sounds wc assor.rl'.tttt1 itltttttl wtllt ltrrlr.Peter Zumthor The Sorrrrrl rrl . lrittts shapt.iatc willt t. what always 00rrt0s lirsl to rtly tttind are the sounds wht:n lwits tt ltlry. lhtl tttti:.rl llrrlln V. ltttt.r l. ltty urothcr madc rn lhc kilr. Do you notice the difference in sound/ 0l r:ottrstt Butunfortunately many people are nolawarc rll tht:sttltttti a r00m makes. ttt it lttwtt .irttsrr I t:ttttltl ltrtrtt ltct ltitrtt.

wlr{'l wr I.ttttlrlrl lltlttt llt.str tlitys. wltrttwrrwttll llttotltllrtl Wltltr wl :. tl tcrtlly rlttttrl. and rf we try to rmagine what that would bc lrkc wrth nothing left.tll.tt'l tl ttttttr l. lrtnttlvlt burlding. ttol l.ttlttttl lltt:y ttt. ol lltltt owtt I rr:irlisr: llt0 l.l. nothing there to touch anythrng elsc.tr r :ur I it we take it a step further . lllitl ltrtr rnuch noisier and yott havrt lrl tltt ltt :.That's prctty drf f rcrtlt llrt.r.rl wtll . The question arises: does the building sttll have a sound? Try it out yourselves.o much here.t L1r.t/"/J now and imagtne extracting all foreign sound Irom I xlro 2000.l lrllttttttl ytttl tll.rll ll r:'tr lr rrlltlt wlr.ltllttrll.0tttttl I irltl ltlitl(lllil ttltll.prrt[.Peter Zumthor Ihe Sounrl ttl . . because our world has becontc stt ttttisy Wt:ll. itnti tnitlcttitll.tl. lttttl tttoto l)lil{l mirlrr./ liow rloc:. ttt lt l.t llIl n0l lrttl r. lthrnk each one emits a kind of tonr.tktr wrllr lrll lhcir proJtorlitttl. They have sounds that aren't caused by f rrctron l've rdea what they no are N/aybe it's the wrnd or somcthtrttt []tll you only really feel there's somethrng else lhcrc whcn yrltl enter a space that's soundproofed lt's lovely I f trttl tl's beautiful thing when you're making it a btrildrrrrl itttrl yttlt rmaqrne the buildrng rn that strllness Imcan lryin0 lo rtlitktr the buildrng a quiet place.even if rt gets a lrit rrtysttcal a flw r.rttttlt lrttttllltr. perhaps Bltt lkrtow olht:r plitt. ltt lttltktl rlttict rooms and irnitrlinc lltc l.. llotttttl lJrrx.

tr r ..l.l lot il lrinlrrl 1 r'rl l r I and talk to three good frrends on a Sunday afternoon and itttil r ltirk it1 r.. ltol il.ottl . | )) .irttliIttl lltittrll. telling me lcan feel at home. t.wrll lttowttllrtl ttltll Itirlr. generally c0me as a surprisc Wc uscrl ir rlrcttl rlt:rtl rtl wood.r.rlr r tr.tt ll.r tlolirt ol rlLrtly tttorll read at the same trme? l've got somethrng wrrtten down here: the closrng of a door There are burldrngs that have wonderful sounds.tt't.rt. f or instancc I bclicvc cvcry buildrng has a certain lemperature l'llcxplarn whal I rncitrt Although l'm not very good al dornlt so ov0r) wltctt lltt: sublect interests me so much Ihc tnosl bt. lots of woodcn ltcitrtts.rtrrl rit. lot lr:rl.1. wltctt wc lttttll lltc iiwl. rt lotrr. I'm nol alone lsuppose llust can't get rid of that tmage o[ rny mother.r. ltr name the things that are important to mc in Iht: t. lltl lltr. lltc pirviliorr will it. rxll. lllrrrl.Peter Zumthor The Temperaturc rtl .aliol of atmospheres Temperature.. wilt tttc t llr ttt tl wltl.tr. lttttl wltrttt tl wits r.oo l lltc lr rv tlto tr will.'r't. r rrlrl. Pavrlron lor thc llttnrtvcr Worlrl lirir Atttl wltctt tl wiu. otill.t l. and actually I don't want to Fourth <The Temperature of a Spacer I am still lrytttt. llllrorrrllr rl wrl opctr lo llrr rrtt ll r.r.tltltl rllwtt oulsirlt.) ' the sound be? And what rf lwant to sit in a ltvtng roorn l'tolrrr.r /tr1 I'w 1.I ).trl llrr wrttltllt ltlttt tttll lrtrtltrrl. trrrtc or lrr.

t:r. what I touch. the search f or the right mood. a+lrr that kind of thrng. ir liirlttttliry. keep around them. even with my feet Fifth There are nine items. lt happens agarn and again when lenter a building and the. rooms where people live . in the sense of instrumental tunrng and atmos phere as well.f rrends. showirrrl tnc itrotttttl. So temperature in this sense is physical. I don't know if you've noticod that too.ttl ll wiu.ct:lr. lor cxitrttlllc. ttt (lttlttt.lovino way.Peter Zumthor Surrounrlitrrl ( )lt. in therr f lats or where they work Arrrl sometimes. but presumably psychological too lt's rn what I see. Expo 2000. and we've reached the fifth. what I feel. itttti ytttttttl l't:lttr lliilttn wil. acquaintances. l'm impressed by thethings thatpcopk. arrrl lltal there's thrs deep relationshrp Iwas in ()olotytc itl. llarnovcr - a bit like the tempering of pianos perhaps. I hope thrs rsn't boring you Fifth <Surrounding 0bjectsr. irl trltr o'clrrll lt lln ttttttttttttl ll ttlttltr lt .c ol llrr: irrlr:rtor ol lwrr rrl lln ljtcttllclrl ltou. you Iintl thrngs come together in a very carino. peoplt: I don't know at all.oltplttttl months aclo. But what also comes to mrnd when think of my own work is the verb (to temper) I Swrss Sound Box. irtxl lrc lttttk tnc lo lltc lltcttclrrltl hottscs Artrl lrrr llro ltr:il litrttt I tttittuttltll llt llll lt tllttttll.

tvr. rrtr trollrttrrl lrrtl . all displaycrl.r . itntl Saturday morning And you saw all thcst. and Ihcrc was it 0yltrtol il.1tttr.1 llrttrrlr. I rz great tmpression on me These houscs iirc tttt. ttt wlttrrlr l:lltolrr ttt rtlltct tttotc tlclrttl llrtll lttrl lt.ects. r.il. I )lrli'r L r. rrrirl instruments to0 a harpsrchord.r: Altl lrtlct.Peter Zumthor Surr.lrl :rttrl I ril.trvcllttll.trl iitilltr lrr rl)O(l rr)!r' \l)r) And you feelthe presence of Hetnz Btenr:lt. vtoltns ctc llttl lltol.c things he's made all over the place And [hcrc ato lltc ltctt ple too 0ne of them was a teacher.tilttcrl a ltlllc collr:c lirlrlc lrtt tttc.litttltttlltc ittttlt ence and what a harti lirnc 0lc 0ilt lltvr tltowrlr(l ttl) tl Cyprus! who wits tt rl.r.llttlc lwas talkrng about thrs sort ol llttrttl ltt ttty:. ltttrl lritrllywiltlrrrl loIr:cp tl llt lrt:r owtt u.r lrtttrlltt I r.c receptacles to housc objccts Allow rttc it sltttrl ttttct.ltl lttttlirll llrcr. rt lcw monlhs ago..c books! Anyway. itti.lrtlrt.rtlttrlttrr. rt all made a great imprr.ssi0rt rtt tttr. rtllct lltr lt:r.l liltc tlcl.cr.iltolilrrlttrrlr.rcitlc lltcr.rrtrlrr ttr oIt r. beautiful books. il lgot to wortrlcrirtrl whclltcr lltc was very expressive And job the architecture had set rtself hcrc wtts ltt r.tcrltlrly lttll : !\|1i of beautrful details one mrght even say t)xt.llttlrnlr. lltttttls they were all dressed as German burghers arc sttpltosctl to be on a Beautrful ob.rlty lrty tJr)llrl ttt . the othrtr a 1lttltlc.tlrlttl lltr trlt.tvcly r.rr1l'rr rttlttrly Iltc:.l.

r ol lroIrc l'vl rlol lir trlrltwlr.tl oll ttttrllrl i.lrlttlri lttrri l. willurrrl rrrc llrrrl rlot.tl) irly lrolr.s tnc a lol ol r. tlrcrr rrrllrlllrl pllrr.ttltr tl I ttrll I'trr lrtttlrlrtrrl. ttr Ntr. or creatrng a drsco.rlly rtr.c lltcttt ltt.r . .lr:.rt (:.ct taking therr placc rn a [rrrrlrlrrrrl. you know llooked at her and said: ed?> She <And that coffee-table you want didn't say a thing That seems to con[irm some- thrng we all know about ourselves anyway N/y examples are maybe a bit nostalgic But I think rt's probably thc same when l'm building a bar somethrnq that's nrcant to be really cool.c rl's a thought that qrvcs nu.r lrl ltr Ilrl W.isurcly unrl nir.rlrly lur.lltiilly nt tl.Lrtrlrl it .rlrltrl llr '. lo lrlrrlrrrc r.r. not everyone wants t0 carry such a > bourgeois weight of objects around wrth them.rll rl lr (lltrnrtr wr r'.rrrllrr.trr'l rr.lr yol rrottlrl prrrlr.oori ll's rr rlririrl lrlllr lo rrrc lo lrlrrllrc lltc lrtlrtrc rtl rootrl.c llrc rdea of things that havc nothrng lo do wrlh rlc ir:.otrtlllrlrrl . and oI cor]rs0 il's Irrrr: too for a House of Lrterature what's ncedcd is a rlcsirpr lhat prevents thrngs becomrng t00 lr.c lrr rlcr. itr it lrrru.rlr w{r" i\ly 'llrtttt.n. irrr irrsirllrl irrlo llrc lrrlrrrr ol my butldtnqs a lulurc lhirl lrirppr.lrr It.r llrr worrl l.l 38 t') rucksack I want to stay on the road All that stuff sheer burden of - the n lumlhor's r. trllrlrool lcll:r trrr i :. irn irTl.Peter Zumthor Surrortnrlttrrl ( )lrlrrr..

.rx I shall give the headrnq <Between Composure and Sc rluction>.rrr1.1 I and Hrs S"hadows>.rl rltttrlot:.r trrrrrrrl llr.q .ltilt:r. ttrr..ir llir. rrll.tc. I rrlr.ilr'. llrr. and to whir. rr lcrnl)l.orrrl Wrrllrllrrrrl lirlrrrr rrr Irrrl lltll irrlrcctrrr:trl irlrottl llu. also in his <l'tt:.rllr:r wl lrttt I ll w. nol lrmrlrrri to ir sirrrylr: srrr.rc is something else that keeps mc on ttty locs.r'rltl.lrttc llvr.lrrl.tltrl l.r{) | .c nry w0lI Irl tttl rltvr yrrt rtttrrttttltlr. 1y rn the world of commodities.rl lr. pirtl ol my work lfrnd really excrtrng.r.rry llrrl archilcr. rr:. rrr r:rrtrllrr. r. rrrovcrnr)nl Archileclure rs a spaliirl irrl.lirrc is also a lcmpolrl irrl My oxl)cr0r)00 rrrrri ll rl r.lr' lrttl rrl .lvcr. aphorism 280 appcarin0o irtttl lrctttr.rl.rlJ .ryl.rirl rrrl llritl tttciru. ltkr rrtu.lr lroirrl r.rl lr. irtr:lr lcr:ltttc.r'lr..ltott wtllr r.ttr'. lltttrkttrr. lnlwclr wltrr.r'rltli I rrlr . lrr rll wtllt rlttr:rltl(l l)rr)lrlr llr'rl . lt has to do wrlh lhc way itrr. rtrrl llrrtc rlc polcr.trrrltlrly ttttlrrttlltttl lttt tl. 1o tttrlttr r'.t r' . rrlrottl lltl wrry lrroplc rlrovc l ir lrtttlrlttrrl.r. Jrrrolllc irlw. r.tlrrrttl rlttlr ltttrl . especrally rts (thc oblcr:l'r. l{.lllln0llr.r'. lragment>(1880/81) < .I Peter Zumthor Between Compostttc .rlrr.11111 llr.) lrorlrly cxistence.ltrrllil.{'rrJ lt'r'rlrrttt llrrvilrrirtl rr rtrtltltt lrrt r. rts exrstence qua substancer > I ri itlso liki: lo rcad Baudrrllard's <System of 0blects> (1968) orr llrr:.lt I ltkc lo ltllt.otrrr llrrttrr.

yotl kttow/ I And rt's a kirtrl ol voyil(lc ttl lltl.ttrc tl r. ttvlrr lltt:rc lltitl it tltcltl and so lsaunter on atttl lrtltsl stry I lttttl s0urce ol pleasurc. rltttltllltrl Itlrrlotl lltltr'. but then somethrng would be drawtnq rtttt rolttttl lltt: t. l t t there is also the gentler art of seductron. lhitl litnt ttol lttlttttl tltttrt:l cd but can slroll al wrll lLtsl tlrtllttttl itltttttl.orrtrrl llox Ixpo to let go.otl ol llrttrrl l)ttrrr:ltntt. to rlo.rtlttrlttttt.rtr'1rt.tr ltr. as it were. through l'd be standing there. to saunter. 1tt:rtlrltr llwn: l.tl :.rrrltir. cxrlltltolltl lltttl lrtrrvr: lltrt tttlrt yrrtl lttow llrc r.lt ments. ldon't know rf we succeeded ldon't thtrlk wtr tltrl e badly.n. ltt. ltowrv rrr.r ll:rc. ttrtl wlrtl Iwltttl lio I'll trtttltorlttr:r lltr lrlrl lrtl rrl ottctrlltlto|. That rs what we were trying.tttt. r.tltott:. iitty way. lrrllttrrl r. batlts we trred to frnd a way of bringing separate parls ol th0 burlding together so that they formed thetr owrr atlitt. and mrqhtltrsl sliry itwltilrr. Thr.ot ner - rt was the way the lrght lalls.tt'l ltkc lrrttttl tttrt lrrlryttttllt. Iccltnr.ttvcty Al.ttttlr. of 1lt. wltllt' ll l:. These were spaces you would nlcr artti ltcl.ltrrtr t'. ovt. ltlttltr . and that lies withrn the ptlwtrrs rtl architect The ability I am speaking of rs ralhttr akitr ittt trr i)000 |rrrtrlvr desrgning a stage setting. directrng a play In thcst. il llritl':.itt lrt feel you could stay there that you wcrtl rtoI lttsl lrits:.t. ittt ittrtlttltlr:l Irirvc lo miikc r.Peter Zumthor Between Composurrt itllll l.

* . I this Ihtt way ar l chitecture takes a bit oI the 1.all this. So that it appeals t0 you. of course. A f antastic busincss.*. too. something very special that fascinates me about architecture <Tension between lnter- ior and Exterior>.Peter Zumthor Tension between Interior and L xltrrtor ++ l+s sensible and far cleverer to induce a calming effect. l'aviliott lur lChing. * respect is the cinema.. so that it sup- ports the uses of the building. without the slightest whrf f of the lecture the- atre lt should all seem very natural. I must add. Where noth- I Ching 0allcry. to rntroduce a certain c0mposure rather than having people running around and looking for the right door.. where you can simply be..-:. lltt: lirty . Arrcl 0nc can bo irtsicltt or oulsirlt: [irillitrrrll crlually tlral nt0ar]s brilliarrt! tlrts lltres[toltls. l)ia (lttnlrtr lrrt llur Arts. a sculptirro by Wirllrrt I)o lr/aria. Lecture halls have to be like that.loltrr arrtl cottstrltt:ls a tirty box oI it And suddr:rrly tlttrro's art trtturtttr atttl ittt oxlttriur.rossitt11s. NY IJSA ing is trying to coax you away. I try that out in my buildings So that appeals to me.t. Br:uoon. Guidance. preparation. Seventh Something else. relaxation . the pleasant surprise. The camera team and directors assemble sequences in the same way. t. f0r instance 0r living- I **J** r00ms Or cinemas A place of great learning for me in this . projr:cl. and more especially. strmulatron.

ltkt: that's what town Iats arr. likc Wc ttsrt sittrttitls observe Idon't krrow il lltts pitsstott ttl tninl: itllct.l 0t lltrr trrv{rlr. for the private and public sphcrcs Architecture knows thrs and uses it..s trtstrlc ltttl yttlt tllt Wt: ttt and mind your own business That's wlrat r.r.itsllt.y built it The facade also says but lam nol ootrtr. lrltttstltott between the inside and the outside. ol somc thrng enveloprng us.ltltcrr:. ttlr lo llttl lltctt yrlri.(r .rtis whatever the owner and his archttect wanlcd whcrt tltt. an unbelrevable feeling of concentralion whcn we suddenly become aware of berng enclosed. ir r. yolt tltt r.rcal tlcal lo rlo wtlIr ltlltttx.ctvrtl lrorrr willrottl A r. holdinq us whether we be many or single An arena for indivrduals and the public.r.ll. llttnk ol <llcrtt Wirrrlow> Allrcrl lltlr:lrt:ot:k ltlc ttt it wttttltrw oll.ttt 0tt lltc t:lrltlritry.tr: Ylu lrlr lllr wottt. lat loop-hole door. yttlt the same way Ihrs isrt'l vttycttril. keeping us together.Peter Zumthor Tensron between lntertttr illl l xlrttlt ru. itrt. lo shttw you everythtng Sure. there arc thtnt.tttr of place. an tncrctltblt) s0ns(l l)orrrrnrr rIr I'rnlur Wttnty l)t0l{rcl :/{X)l'J l'rntlnl lllr. tl ltiu. I want in olhcr wi.ttttttltltl wttttlow woinl(l it rrrrl tltcr. ittttlyott'vrr r.s.ltc'r.ll r.trl tto trllitwltttl r.otttcllttttt.liu. I own a castlc lltal's where llive and that is the facade lpresent to lhc outsir|l world The facade says. I can. I am. the almost impercepttblt.

the next thing is something which I had always bt. 0r they could say.o along llul il's lltcrc itll lltc same. rLevels of lntimacyr. lrxt ttt. ltltrtttl l'm gtrrvino it tlrr: lrcirrlirrr.tt llrt: t.ov ered it for the first time ldon't rcally know mur.lits:. with the w0rnan Nill llt il ntot I il. lt's sornctltirtr. I ttl:itlt . { )tot11to Mtl itntlt sitting in a r00m. l'm proud of the way we can do that as architects with cvcry l1)(ilJ.on interested in but never knew lwas until I rocelntly dist. And whenever l'm doing a building always imagine it in those terms: what do lwant to see me or someone else using the building later rnside? And what do I want other people I - - when I am me? to see of And what sort of statement do I want to make publicly? Buildings always say something to a street or the square. l'ttt t. lo kt:t:1tttn llttttktttt.r building we make.to Mrrrirrrrlt lkrlrrrltr. looking out of a window at thc town.tr:itl itrr:lttlt:r:l woulrl r:irll il sr:rrlc llrrt llrirl liolttttlt.oittt.h abottt it - you will noticc thatas wc 1. Now.Peter Zumthor Levr:ls rrl ltrlttrutr:y +al+o Edward Hopper's <Early Sunday Morning>.ittlt:ttttt. llitll lrirs lo rlo witlr llroxirrrily irtll tltslint. Mul. They can say to the square lam really glad to be siiual ed on this square. I am the mosI beau- tiful buildrng here - you lot all look ugly I am a diva Buildrngs can say that sort of thing.

rtl.ilrns ll refers to the various aspects Krrrr:. lcclttrrl nl llrc tttlrrror ir lttrlrlctt lrilr. doors Maybe you know a tall slrm door lhat makes everyone who comes through it look grcat? 0r do you know that rather borrng one. samc as outrloor lornt ltt ttlltrrr wttrtl:.1 tttrl . wltctl rlon'l jttst lako it rlrottntl pliitt ltttl tltitw lttnr. llttr. ttr lltt. ltlir llrr ltrrllow lowrr trl 't rlttttrlr 'rtrrl lltrr lrnitrrrl rrl rlnrlrlr(l lrlr ttr:. wider somehow shitJttt lessT And the enormous.11. lrrl ytttt ol lltttttl Atttl litlwltys lty ltt t. itttrl l. llr. bLttldtngs wherc irttrrrirtr Iortn.Peter Zumthor l.rl:' lrt:. 0r that lhrngs rn thc burldrng are smaller than me Latches. rtr proLtLl Wltirl I m talkrnq about ts the srze and tnass antl t. nl 1trlttrr.rc lltc pers0n who comes to the door looks good.rotr rl0illr. scalc. rntimidatrng portal whr. lwllvrr r.rlr.rtrrl rrttll. far bigger than me.ttlr.cttlttttcltcr.tcitlc ittlrttlt. Ihc rl l'r'llr /ttrrrllrrrr lllr)/ lrrt buildrng's mass by contrast wrth my own Thc f act that is bigger than me. hrnges.li. all Ihc con nectrng brts.ii yolt rlrrtt I trrl o(lrt/c ll'r.rrll lltr w..rnated by that sorl ltlcitnl I'ttt lil.llnls llrrrrlllz - size. ctttytly llrr.l something more bodrly than scales and rlitncns.ritvily ol things The thrck door and thc thrrr onr Thc lItin wirll irlrl the thrck You know thc kind ol btttlrltnrls r.r.y 50 l.ity llrcsc itrc lltc wltlll. llrtr.tl rlrvl.tl r. ltttrl llt. tr.cvclr.. dimension. lrttl wlntc ytttt ltrtvc .

as lwas reminded yesterday.t.litttt. in lact.Peter Zumthor I t. r example among thousands lcould grve lhathavc lo rjo wtIh Vr lir lIrr.t lrtttliltttrl I ltIil llrl trlllr ll riltttrl rlltrtrllttttrl lot tttyr. .ittt'l scalc Yult ltcitr say brg rs bad.. l.r. or smaller And it's interesting that there are thtngs brgger Vinr.c . wrllr tltl.ttttl ..ltr:c rtttil lttoxttrtt llttlt tttc. bttl l'nt suro y0tl know what lmean You find bolh cxlrcmcs Stt ylrtt i. lJttl lltl.ltlr: rn0rc or lcss lhc sittnc l.clzo lir:rrtlozzr l5/5. allow me to brcatho morc lrcr:ly I don't know how to descrtbe rt aclually. ttol li0 oilr.rtlrrl . tltl.the represenIative stale edifice.w make me feel larger.rrll 1t[. rl l may be allowed such an old fashroned Ir:rrn lnslcatl rntrmidatrng me.l lot tttl.r rrrlttlrlrllly rltllltrll ly. llt ltl tr. these are surroundings ttl lhal s. monumental. but when l get rnsrdrt rt don't feel rntimidated at I all feel qurte sublimc.i.iltrl rtrl r.zc iil.ir. Palladio's Vtlla Rotonda it's huge.1t.l ltllwlctt tttc. columns. irrrollrct llrtttrl Io rlo wtllr rlr.irtt.lr lltltr':r lll otl trty owtt rrl coilri{r . l't:. too Thc vicw is tltal it lrttttittt l.lltttr. lll.y Arrrl llrcn.vclrl ol lrrltturr:y sz I r.t'.. rt lacks a hurnan llltl wltctt greenhorns gelonto lhts sttlllct.l itt litr:1. weight and size With thrngs being the same sizc as mc. that krnd of thing.l.r rlrrtt.. the nineteenth-century bank. lot {)|{r l){rr.0r. yott ltt:itr tl ltttttt architccts.t than me that can rntimidate me .r.

att'i rlcl right . ftil ldo have brg problems wrth lhouqh rii .j'Yffi )1 '.Peter Zumthor I cvr:lr. btttlrlttttls Wltitl rlrrrtcrtlly comes across whcn lst.rrrl rrll. dlil 1f..cl ttty of me and that ol rttany ltcolrlr: n# rhf. I really would. wltit. ol ltrlttrr.uaqt: tl lirlks ltt lltt: lttwtt.4 | r. tls t:xlt:rttitl ltttttt and Ihe lang. dM 't qi: n t*-r.rcr how l'tl ltrtvc to go about the desrgn in orrlrtr lo lcclltitltlty willtl. stories Drd you see that students' caId citrlirrr onl Attti Vtlrr iirrrrrlrlrrr ilt'q '"liil _ffid 'sH N(t f f.r ttzlt lrc ( )lyrrrl ttt.ttltttttt wlllt tll..'. I ltlrtlt l Wrt Irc. lltr lttttllrtll r. ittttl then there's me in a crowd There s the loolball slatiilttl **:1.lu ll l|r\ :+!l t now let's Iook at thts marvellous buildrnct by I'd be proud to have done lc 0rtrlrttsirrr .ll.tttttittty people rn one of these hiqh rtst.""]1"""' llllrlr Alttrtlrlrrlrrrtl that So on the ottc ltittttl. or me and other peoplc in a t.tll I .." - rs with skyscrapers head round the idea llust can't scttrTt lo t.t. l[tcrc's me. but llusl r.rott1t. ltowovrr.rtt.lIt!j be able to do this..tw.lr t tlity Vtt. it hitllt risc i:.lt t. l.. Itlrr ltitvc it (ltitill) rtl tttltrlt nittivcly. the palace These thrngs nct:d them.y r.rr.fr 0r rf you want.ittt ltc tltttttl or bati or whitlcvcr 0lc llttlr. r'fr 5000 or whatever - in a sinqle skysr. too..n*.r.tttrl ltlw ltc r.l. on my own. rn my opinion lthrnk I'm good at thinktrtrl itltottl tltcm lltc l'rl likc lo tl 5tr ..rlrottl rrttt lttlttrl {iollltr . lthrnk l'm good at thinkrng about all oI only area lhinkintl about. lr0 {)00 pcoplc rlotttrl ir lrowl ltkl llltl rttt lrc rt wrrttrlrt lttl rx l)0lc l (jo Yc r.

I rillrt rrt r lrl r. sittrng in my lront rttttttt.tr thrngs - that's the wonderful thing abotrt llittt lrr. y()ri (lol everything down? ls that all you do? Antl thtrtt il ttt.ltiitlttwl. What thc lrght wits likc Atttl tl witr. sltttwtttl N/rtttrr.z these thrngs so much earlter And hc rttitlly tlttt:l.Japal ll wrr:.tttrl ol lltl.c Wltlrtir and how the lrght fell Whcrc lltc l. wrttr Atrtl lltrr way the surfaces wcrc rJltll or l.tual ap[)0ilTilr(i0 ttl lltttttl.rrl lrrtl lwrr lt llrtlr' tltrlrtttltr. ttty ltv ing'room.crl il ltlltttt. lslrlt'rl Itvl minutes or so looking at the ar.rll:. tcrrlly does look 0kay.tr I llt. lo lrl rrprrtt trl llrrr ltlltl lltl lr. ttr tl r.tllrl wrllr t.rrtrst tn Antrtrit.Peter Zumthor Tht.tttrtril to me. rn my living-room. down a few months ago.rrrl /\trrl lrl lt. that's what lmean by thcsrt lcvcls ol ttrlt macy that are sttll so tmportant to me The f rnal chapter When I was wrtItngl all llttrsc llritrtlr.rl lltr lr.r.lritrklcrl ttt ltlttl lltctt ttwtt depth Then I nolit. r. ] r.it.lottr lr. tl wltr' \'\inrrrlr'tt lr'ltr' ({). rttt ltrt lll(r il tlow wotli ltrt'rl tlttttrl .r. lltttt Atttl tl wltl.izlr lltrr .rrl rl t'llltl rltilll Ill{)llll()lll litrllrl . All very stmple <The Light on Thingsr.otttltlcllly ilittl ltl . litlct Wrtllct l)r: a. I asked myself what's missingl llavt. greatl l'm sure you've harl lht: silltc cxl)0rtirttt. lo lrr tr ltttrlr: ltrtll lwo ot Ilrtltr llltttrtr :. ttoltt.1 1 t.

ir from the back of the room. the smallest quantrties of lrght and rellccl Iltcttt itt llttr darkness. r. itttrl ly anrl Itr look l.lot llnl ttt ir.tl. {'j ffi 5.tttttl tticitI ltkrrtl. Iltc l. ttt.rlrr ttt lltl lltrrwllrlrlr'rrl llrl w. afterwards.ttt lo rltt altttltl ltrlltlrtrrl tttltlrlttitlr. lrltl tl tcrtl ly touched me when lsaw it the gold lt. wt: litt. as tf Ihc ltr]ltt wcrc ir now lttir:l:l l.k ll[) ov(rr] '*.lrttttltltt:ltl ltl lltc w. to put ln lrqht as iI ytttt wcrc ltollowtttrl ottl lltrr darkness.tt' ol llrtl lttrrwllrlrl. from the begrnnrng So thc Irrst ol rrty IttvoLtrtltr itltrttr. out of a dccp tlarktrt::.' llrrw lttl.rlltt.itl lry lltt: wity.a I r. lltil. . lltll.rlrrl lrr ltl lvltylltlttrl lrrrlr'lltrt ltt lltl lr.ry llrly trllrrr:l .lr:tt ous here cvcrylttttly tlot:r.tt:lt.yl.ltlttlow lltctt.tlrll tl lt'tr.. tittllttrttl tttyr. lo rltool.crpttttl ttt llrrt other rdea all vcry lotltt.trll lttl llr'l ttr . so where are t. t.ct.ty llny tirllrrl llrr ltrllrl ltt olltrt wttttll.r llrl ttt.Peter Zumthor Thc Irtllrl or ilnrl r.ve g0tn0 lo ltLtl Iltrl ltrllrlrrrtl how are we gorng to lrght thrs thrnltT No.lt means gold seams to have the capacrty ttl ptt.rlrl I rrtt:.r gold leaf And this gold &.itl sltortc tirllrl /l 1ry l.r'l. this to plan the burlding as a purc tttttss ttl l.. leaf we all know llrt:. Wlttt. That was an example of lrghl I havrt lwrt litvitttr s: rte rdeas about thrs and I always corlc ltack lo lltcttt 0bvrously we don't burld somethlng then phottc u1r llrc electrtcians when we're finrshetd and starl itskittrl rtttr selves okay. tl rrr r1){)r'trtlli l\tll im I .:.

ttlr.rlly rlrrl lrr lltl ltrlll wlr rl lw.rl llrlltrrl Itctc loo.ty .. because thcy look t.r lltltt:..ttlrltr t.oltl(r lhinr. tl tl quite belongs tn thts worltl ltllttt'l ttntlrtl..k ttvtlty lltorrt ing - and casts tts lrghl on lhttttys il rlttltl..rvc to admit that daylrght. your fabrrc. where lrfe has begun to gleam agairt llLll tl's so lovely when you can choose and combint) yotrr rrtill0l rals.rtrllrl lrr r. 'vr.o ttlitrvtrl lous.rlrrrr NY Llli/\ dull I don't kttow why that is ls rt what they paint their houses wrtltl Wlrirl ever rt is. incredrbly beautiful and natural part of the r.litttrl ltrlltl ll gives me thc fcclittrl lltcrc'l.ttuttlry tttitktr use of the light The houses appear so 'ttVllott rltttly Arl Ioll.rtttrl ltttrr:r Now. ttt llttl.t the last couple of days to see how lew hottsc:. the lrght on lhings.tttttlrs lritt.lrl lrt. shinrng out.tttt comes up rn the m0rntng whrch lalwitys litttl l. I'll lrrrvr tl lltlrt wlrltti'tvr tltrtrtllttttll Irrt tttt. is me that sl tttovittrl ll lfeel rt almost as a sptrttual qtralrly Wltctt lltr l. vrrty rlritlclrtl llrtl llrctc ll r.tttl lttllrl llr.absolutely fantastrc thc way il t. t.l llt.lt'l ltttrl ltl.ltclt lt llttttrl /\tril I lnvr llr.rl ltr.tl ltrlltl t:. llcyrlrrrl iill Lntlcl. clothes too.r lirr ttrl l rntlr'l l)1 1 lir't1l r lrr r llr.Peter Zumthor Thc Irrllrl ott Ilttttrlr r. it krlls the houses But about every lcttlh httttstr has some old bit where you suddenly noticc somrrlllittt.lttttttlltttttl lrrlyottilttl(1.llttttltttrl Atttl Irtttt vr:ty rllltrl. l.rr lrrlllt lltrttt.ttrtltl Irlr.oor1 itt the lrght Thinkrng about daylrghI anc] arttltr.

.tttt.ly tlr::.rtt t rrtrr t.' I t.'lrrttlri llrr itrlctvrr:w lrool /\lrlt . t But agarn lwonder: ts that really all? Anrl ixlitttt.rrt tlrltl t:ttvtt ott ttt tlcttl olvlroltl(ll)torlr.1. ittttl llltl ttt iI I becortxrs llirrl ol ilr. tr:lr vrt totl.tlllrrrttrllr llrly wrl I r)ttly l. irt r. l..c lrlrr lttl vllr rlllr /wlrllrrtt rllrrrr') Wlr.rcttlttttl it lrtttlrltttrl.ttttotttrrlrtttlr. taktng it to a diflcrcrrl. 0r ovcn it r. an environment rs <Architecture as Surroundittgsr.rtr r.r'ttttttr' .tttrl ll llr. The frrst. whereas what lam about to tcll you is rrxrrc personal to me. That really appcals lo nrc Iltc ir]t:it ol l.rtrr llrttrlttrrl ll irtr tly lrtlttt.l. ru. r]l l probably be descrrbed as ways of approachrttll ttty work. llrctc'l. I tkl llotrtclltttrrl larrrlkc (l'r:lct I lirlrlkc rtttrl lltc ltltyltr:rtl lrr.Peler Zumthor Architecturrt itr.irntlcttl lcvcl lttt me. or the way my office approaches rt They ntay lrc itliosyn cratic rn parts.rl I .ll r ltrrtr NrlL r rlrr|t tr1 1r llrr r l y t rrrLl.trutll oitc.tl trr. lttl ttr. but they probably have an objcclivc sitlc lo them too. or brg complcx ol blttlrlttrrls. s0methrng lhave to admit: Ineed to arltl lltrct: slttttl ttlt pendrces The nrne chapters l've already ltrivctt yott t.rr[. l. lttrtst.tl I ly moves me And so here are threc rnorc lhitttll. and probably can't bc gtt:rtrtraliscti itt lltt: same way as many of things lhavc satd htlht:rlo lltrl rl am to speak of my own work then I havc lo sity wlt. (llrr ri' r. I t.ttttltttttl tl(l:i .ttttltl Itttrlrt Liltrlrt [.

but that isn't the point. rnvoluntarily.Peter Zumthor Architecture as Sltrrottt rrlttrrlr. lt increases the pleasure of my work when I imagine a certain buildrng being remembered by som00n0 in 25 years' time.. but which have touched me.tttttrtllttttty lrt tltt wtllt lrrvc I lttvc ittt. l. ozt r.lttllrltttc.trrrntrrlttrry lrtttlrlttrrll. a place where chtldren grow up.c l'ri lrcllrt . a street.hilcclttrc illj il ltttmittt cltvlon l'rlrllrps irrrrl Isupllol. And perhaps one of the buildings will come back to them 25 years later. mernt Ilovll l. To put that tn por spective:that quality is far more important to me lhart lltc idea that the burlding will still be mentioncd in archilor. un(Jor 0onslnt(illolt 0okrr p rc - wtth n0 thought for its architect. and they'll remember a corner.. Perhaps because that was whcrr: hc kissed his frrst girlfrrend or whatever. tural reference works in 35 years That's a dillorcnl lr:vr:l altogethel and one thatdoes not help mc lo rlosir.vt:l itt ttty wttrk lltc attempt to concoivc ol itrt. moved me.c Ilovc tl wltltt ollrr:r lrcrrplr lrrvl llrrtrr loo Ilrirvl ll irrlttttl tl tl wrrttlrl . given me a sense of relief or helped me in some way. a square Muscurlr Kolunlrt.tt bttiltl ings That rs thc frrst transccnrit.ttlttttl lltl.rprlxl.rtrrl Ir.Just the idea of these things still being there - there are plenty of buildings like that I remembel not done by me. I ing becoming part of people's lrves.t. l)ot haJrs il llr.rtl lt.

lorrrrrl .Z make me very happy people love to have made things which other l\.l. a professional level lam not talking about here That's lust daily office life - somethrng you can talk about in an university seminar or at the office That's more ol an academic problem What l'm sayrng is that all thesc thirrgs that need deciding - all those thousands oI or. tl lrnltrrrl llr.ry ol prrllrrtr.orrrlrlrrrrcrrl ol irll Arrtl 1'ttt ttrrl . whrch also take place on a cr ent level.l r.lrcr. il wctr: llrrrl n llrr: ltrr. I f .r: t.lrlir 0rirrrlrrrrrrIrrr Appendix two. rrl irtrctclrl llrrltlrotr rrrltlllrlltl loo.. lsee. brrl wlrcn llrc yrrool ol llrr: prrlrlrrrrll.there are all these rdeas about the best way of dorng things and making drff things in architecture. ltwl tllt(l rttrrl ttt rttl llrltr:'r.ool lorrrr. What's my heading here? <Coherence). l)t{)]{r( I :r000 lsr. . or somclhirrrl. tl'l. llrrr llr. you wcr0 tryinrl lo irr.ltir.rl i. That's more of a feeling too I mean .rlrnc ltlrrlrlirrrlrrllrlr.rlllri in lhc citlinr.f.rl il lltt:1.t rl{)r)(l w.Peter Zumthor (ltrltctr:trr.. rr:rrlly r. Alr yes.vc llril.40unliil[ lJ0l(r.casiols where an architect rs put on the spoIand has lo rnakc lhc right decrsron * l'd be quite happy ilall that was rr:solvcrl by use ln short.the hrghestcomplimcntlor lrc is nol wlrcrr some0ne c0mes alonq anrl qrasf)s llrc lorm irrrrl siry:.

of frndrng themselves. rtr lltr pt t tttiily l.liott. wl . lor.llvlll lo all lhc ollrrrr llritrrlr.rlrrtrry lrttllrtrrl llrttrrll Iorlclltlt ttr rt lorltr.rtc llrr llrtlrrlr.. I ltc lrorly ol . after all.cs. akc ol /ttttr study rrrorlcl lr lrto. is made for our use lt rs not a free art rn that sense lthink architecture attains rts hrghest quality as an applred art And rt is at rts most beautifulwhen things have come into their own. when they are coherent That rs when everythrng refers to everythrng else and rt is rmpos srble to remove a single thrng without destroying the whole Place.0r. although rn some ways it is already Iht. onr: lhal hr.r appropriate to me the rdea of things comrng rnto therr own.. rtttitlrtttty clr. .rl l.rc llravc managed. because they have become Sumntor llcslrtLnttrl ltr Illlrr rtr sland. colr.lttlrrr.Peter Zumthor The Bcrrrrlilrrl Iorrl oa I r. lrr r.lirrlu..r. rnrllrlrll.lrtrrtr llrcr. it's a passron ol mrnc. and the use reflects thrs and lhal But somethrng else is missing now thrs really rs thc lasl thrng.ltlrltotr.rti. in nine short chapters and two appcndir.lhitttl wr: work ott wr irltply rrul. rrol to g0 Into the sublect oI lorm Tlral rs cnlircly olrvior:..l1rs ir lol irr my work Form ts not sotnr.rnrrrl.ltttr. tr.c .. r:llr slrttt. use and form The form reflects the place the place rs just so.rlr.r'r the thrng that they actually set out to be Architecture.

rrrlrlrrl I lrrrl I rrr.r L rrrr)v('rr{' llrrrrr l'll r1o lr.tr:l ll lltr' l)r'rllrlrrrl rlri .rry lry vi'ry I r.rll r)\'rrl r.. lltr: llritrrl tlrtcl.rl r lr.k Irorrr the work and which mal<es me thrnk yort t..low.oLrltl ncvct lr. even after all lhcsc ycrrrs r.on(l times. and thrs rs the use We generally cretlLc large model.' which often surprises me when lfrnally slarrrJ lxrr.Peter Zumthor The lJcinlrlttl I lrtrr /o /l apply ourselves to. I i - here rs the place.nrJ l'm rlcliltt:rirli:ly lLl. rl heres.lry rt. or a drawing. tlitkcl.rttlil r.rl I rl lrtrrlr.l. So at the end actually do take a look at things.lr1.tlrltl ll r o Illlttr r lll Ir \ii.rq.rtl.llrrltt:r. on whrch I may or may not haver a some influence. llrltr.. the end ol thc diry.rlrlli lrl rrl rrr. Usually rt's a model And sornc trmes you can see at that stage that it feels rrght thrrrrls cohering And then lmrghi look at it and say surc. whrle at the same trme keeprnct our eye 0n place. rl yrrtt w.rlrly r: I lrr: llr:. tttir llotttl lll llrrl tl .lrrlr:r:lrrrc ll really grves me plcaslrc. ttttl looli lr*trtltlrtl . rtr |lttJl t)( )( )4 l r:r tLtr ir .i 1. lrrrrl rl llr. What rr I ol thc riiry lfind is lhirl wlrcl thrngs have come out well they tend to assLlro. r.rl r.rtr. rir < .l r. Lr r I\111. and on use That rs all that is demanded oI me L)(r(Lttl{rll.rtl lrrrrl (ttt rt0l.. only rt rsn't beautrful.rtrl tl llrr lrrrll rlrrlr..rvc rmagined when you started out lhal lhis witLrltl lrc llrc ottl come And that rs somethtng thitt olly lltlrpclr. lnlrttltlttl lrrtr. rrry I r.

r. r.r. Thank you lor lrslenrng 'i': Iikw .r r t r .t /\ rlirt see how something has found its form - hut also tn a i'lr ltrl' . r lL't . l. . in lrierature.r. and sometimes in a still life .both help mc to Attnttn. in a ptece of musir.r rl .'.'rr /\l r r ll t.tl.r I 11 common or garden tool. l. 14ll' ll. .Peter Zumthor Ihe Bclrttltlrtl I ltttr r'lrt some icon. r .r li 1. t.

G. llrlrlctrslrin 4B (r) 2(X)b. TCF 22 O Architekturbijro Zumthot Haldenstein 28 O Helene Binei 30 OThomastechtner 32 @ Architekturburo Zumthor. filrnrrlr. Architecture in Amerrca. USA Bibliographic information pubiished by Die Deutsche Bibliothek Picture credits: Die Deutsche Bibliothek lists this publicatron in the Deutsche Nationalbibliografie. rArclriloklrrrlrrrro /rrrrrllrnr llirlrhrrnllrrr (i0 i0 t.[] t. Haldenstern O 2006 Birkhduser Verlag AG Basel Boston Berlin P0 Box T33. Fotostiftung Schweiz.1111111. whether the whole or part from. CH 4010 Basel. permission of the copyright owner 12 @. Haldenstein 'lB O Sammlung Hans Baumgartner. Haldenstcin 34 36 O Giovanni Chiaranrorto l'rinlotl ir 0clrrany 3B O ArchitekturbLiro lumthor.. broadcasting. Part of Springer Science+Business Media l)rintod on acid free paper produced from chlorine free pulp.lrtlrliltttlrttto /tttrrllrot llirlrlrrtu.l lldlt\rrtr liirrol $0 t. Switzerland.lrr tr /7 t. Wendiinghausen Castle. llttrlilrrtnrrr lirtirtrrIrrr . l'roL llrrril. 20 -26 @ Architekturburo Zumthor. Werkstatt fur Typografie.ta lto A ecture delivered on 1 June 2003 at the (Kunstscheune). Wiesbaden A CIP catalogue record for this book is availabie from the Library of Congress. 6O Kunstmuseum Basel. ERE. VG Bild-Kunst must be obtained. This book is also available in a German language edition (ISBN 918-3-1643-1494 5J. Winterthur. Washington D C. Franz Schneider Brakel GmbH + Co English translation lain Galbraith. lll1rIrnslrrin zl6 () Archilcklrrrbirro /rrrrllrrrr. /rrrrclr ll..r. Martin Buhler deposit 0i the G0ttfried Detailed bibliographic data is avarlable on the Iniernet at (http://dnb ddb de). reproducti0n on microfilms or in other ways. llaldurrslcin 42 (o Archit0klrrrbirro /rnrllror. Traffic-Mager.clr I. Schweizerische Gesellschafl iur Volkskunde 14 O Architekturb[iro Zumthor. American Heritage Publishing Co Basel lnc New York 1976 of the materjal is concerned. Ernst-Reinhardt Eh ert KG Typeface. . t Ar. and storage in data banks. Kidder SmiIh.llN l)/iJ lJ /{i4ll /41)5 2 llll/{ilr4illr www lrttklrttt:rrt r lr 50 t. All rights are reserved. E.Sammlung Ernst Brunner. specifrcally the nghts of translation. For any kind of use. courtesy of FSB. repnnting. recrtation. <Wege durch das Landr Festival of Literature and Music in East Westphalia-Lippe Layout and Cover. Keller Stiftung l0 This work is sublect to copyright. reuse of i lustrations.

Berlin. Germany. Homes for Sen. Lhernar Baths vars. Mechernich. chur. Saint Brucler Klaus Field chapel Scheidtweiler tarm. Universita deila Svizzera italiana.Peter Zumthor Born in Basel in 1943.ar Citizens. Swrtzerland. Chur Masans. Kunsthaus pavirbn Expo 20a0. Sogn Benedetg Chapel Sumvitg.2007.1gg6. cologne. con structed parts of 1997 demolished 2OO4 by Berltn State. 19gr. 19BB. tratned as a cabinetmakel desrgnet and architect at the Kunstgewerbeschure Baser and pratt lnstitute. 1/I A. Bregenz.4useum Kolunba. Major buildings Protective Housing t'ar Ronan Archaeoragicar Excavations. swrss . Since rg79 0wn practice rn Haldenstein. professor at the Accademia c{i architettura. Hannover. 1993. Dacumentatian Centre tLopsgs2phy of Lerron. 1986. New york. 2007.

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