PETER

ZUMTHOR
Born -1943 Basel, Switzerland

“My buildings are

declarations of love for
their sites…”
Yogesh arya (17001475)

Contemporary architecture
 PETER ZUMTHOR
Introduction :
■ Zumthor founded his own firm in 1979.
■ He won Pritzker prize for Therme Vals in 2009.
■ His buildings explore the tactile and sensory qualities of
spaces and materials while retaining a minimalist feel.
■ He believes that in the end of every conceptual thinking
starts real architecture which is based on structure and
materials.
■ Zumthor foregrounds the materiality of his buildings, so that
this and his wonderful feeling of materials is what probably
strikes first, and then perhaps the beautiful, understated
‘rightness’ of his details – all of these the products of a master
craftsman who studied to be a cabinet maker and then learned
about materials and construction from the restoration of
historic buildings.
■ His work on historic restoration projects gave him a further
understanding of construction and the qualities of different
rustic building materials.
Design quotes -

● “There was a time when I experienced architecture without thinking about it. ...
● “I've said goodbye to the overworked notion that architecture has to save the world.” ...
● “Architecture has its own realm. ...
● “Details, when they are successful, are not mere decoration.

Awards :
•1987 Auszeichnung guter Bauten im Kanton Graubünden, Switzerland.
•1989 Heinrich Tessenow medal, Technische Universität Hannover, Germany.
.•1992 Internationaler Architekturpreis für Neues Bauen in den Alpen, Graubünden, Switzerland.
•1993 Best Building 1993 award from Swiss tc's 10vor10, Graubünden, Switzerland.
•1994 Auszeichnung guter Bauten im Kanton Graubünden, Switzerland.
•1995 International Prize for Stone Architecture, Fiera di Verona, Italy.
•1995 Internationaler Architekturpreis für Neues Bauen in den Alpen, Graubünden, Switzerland.
•1996 Erich-Schelling-Preis für Architektur, Erich-Schelling-Stiftung, Germany.
•1998 European Union Prize for Contemporary Architecture (aka Mies van der Rohe Award) for Bregenz Art Museum.
•1998 Carlsberg Architectural Prize.
•2006 Spirit of Nature Wood Architecture Award.
•2006 Thomas Jefferson Foundation Medal in Architecture, University of Virginia.
•2008 Praemium Imperiale, Japan Arts Association.
•2009 Pritzker Prize.
•2013 RIBA Royal Gold Medal for 2013, announced September 2012, award ceremony February 2013.
 Principle works:
•1983 Elementary school Churwalden, Churwalden, Graubünden, Switzerland.
•1983 House Räth, Haldenstein, Graubünden, Switzerland.
•1986 Shelters for Roman archaeological site, Chur, Graubünden, Switzerland.
•1986 Atelier Zumthor, Haldenstein, Graubünden, Switzerland.
•1989 Saint Benedict Chapel, Sumvitg, Graubünden, Switzerland.
•1990 Art Museum Chur, Graubünden, Switzerland.
•1993 Residential home for the elderly, Masans, Chur, Graubünden, Switzerland.
•1994 Gugalun House, Versam, Graubünden, Switzerland.
•1996 Spittelhof housing, Biel-Benken, Basel, Switzerland.
•1996 Therme Vals, Vals, Graubünden, Switzerland.
•1997 Kunsthaus Bregenz, Bregenz, Vorarlberg, Austria. 
•1997 Topography of Terror, International Exhibition and Documentation Centre, Berlin, Germany, partly built,
abandoned, demolished in 2004.
•1997-2000 Swiss Pavilion EXPO 2000, Hannover, Germany.
•1997 Villa in Küsnacht am Zürichsee Küsnacht, Switzerland.
•1997 Lichtforum Zumtobel Staff, Zürich, Switzerland.
•1999 Cloud Rock Wilderness Lodge, Moab, Utah, United States.
•2007 Bruder Klaus Kapelle, Mechernich-Wachendorf, Germany.
•2007 Kolumba - Erzbischöfliches Diözesanmuseum, Cologne, Germany.
•2011 Steilneset Memorial for the Victims of the Witch Trials, Vardø, NorwaY.
•2011 Serpentine Gallery Pavilion, London, England.
•2012 Werkraum Bregenzerwald Hof 800, 6866 Andelsbuch, Austria.
Thermal Bath at Vals -
■ Location: Graubünden, Switzerland

■ Design and Construction: 1986-1996

■ Client: Municipality of Vals, Graubünden

Approx. Size: 4000sm (35000sf)

■ Special features –

– MOUNTAIN :GEOLOGY OF THE SITE BUILT

INTO THE MOUNTAINS

– MATERIAL: STONE

– WATER:FUNCTION___BATH
 ■ The Therme Val's is a hotel and spa for which the
idea was to create a form of cave or quarry like
4 structure. The idea of a quarry , were cut out of
the single blocks, so that between the stacked and
cut out block caves are created.
4 ■ The Therme Vals is built from layer upon layer of
locally quarried ValserQuarzite slabs.
■ The ‘natural’ thermal water which comes from the
3
mountain just behind the baths has a temperature
1 of 30°C.
■ There is no directly visible entrance to the building
2
- the visitors are access to the complex through a
tunnel.
■ Architecture is bridging the gap between the
randomness of nature and man-made
construction.
■ Building siting. Therme vals sits in the hillside as a natural
rock outcropping, balanced between the existing buildings on
the site, navigating views and visits.
■ Vals at the base of the swiss alps is about, water, and the
landscape. Therme vals is about water, in the landscape.

THE BUILDING TAKES THE FORM OF A LARGE, GRASS

COVERED STONE OBJECT SET DEEP INTO THE MOUNTAIN

THE BLOCKS WERE FORMED WITH 15-CENTIMETER-THICK PLATES, STACKED

BY HANDS, WHICH IN TURN CONSIST OF THREE LAYERS OF DIFFERENT
THICKNESSES SLABS.THIS ENABLED A SIMPLE CONSTRUCTION, ALTHOUGH
THE ARRANGEMENT OF THE EYE LOOKS RANDOM.
■ The spa building is made up of 15 different tablelike units, 5 metres
in height, with cantilevered concrete of units supported by tie-beams.
■ The roofs of the units don’t join, with the 8 cm gaps covered by
glass to prevent water ingress.
■ The composite masonry blocks are 60,000 cut to one meter length
slabs (metamorphic rock of feldspar, quartz and mica formed). GAP BETWEEN THE BLOCKS
■ Whilst these initially appear random, like an ashlar wall, there is a
regular order. The cladding stones are of three different heights, but
the total of the three is always 15 cm, so it allows for variety in
arrangement, whilst facilitating construction.
■ Each block carries a respective roof section of concrete that juts in
some places up to six meters.
TOP VIEWS OF BLOCKS AS
■ Since the underlying blocks are smaller than the roof plates,
ARRANGED
intermediate spaces through which the bath is accessible.
■ The blocks form the facade of the building. A SECRET HIDEAWAY-THE ROOF PANELS ARE
■ The building is divided into a bathing plane above and a therapeutic EXTENSIVELY PLANTED WITH GRASSAND THEREBY
and operational level below. INTEGRATE INTO THE LANDSCAPE.
LONGITUDINAL AND CROSS SECTIONS SHOWING EXPANSION JOINT

BETWEEN THE BLOCKS

 4

5 6 7

2 1-Terraces
3 2-Indoor pool
3-Outdoor pool
4-Showers
1 1 1 1 5-Changing rooms
6-Make up room
Plan at upper level 7-Entrance from the hotel

Plan at Lower level

Functions:
Massage room, Rest space.

BETWEEN THE BLOCKS

Construction of each unit
• The overhanging concrete slab is held in
the horizontal position by metal cables.
• And these cables are invisible due to the
second layer of the concrete and this units
look like a single stone unit.
• The overhanging roof of the each units
doesn’t coincide with each other it creates
a beautiful natural light effect in the
building.
• In each unit zumthor has created a
surprise.
• Architect creates a single sensation in
each block, Like in a unit the temperature
of the water is 40 degree and the color of
that unit associated with the temperature
for example Red means hot water and blue
means cold.
• Even In a unit you can hear the music of
stone.
• The roof of each unit covering the whole developed
site fit together like a puzzle.
• While the smaller units beneath them don’t quite fill
the whole surface area and that free space allows the
movement within the building.
“My buildings should have an
emotional core –a space which, in
itself, has an emotional nice
feeling.”
Brother Klaus Field
Chapel
Eifel, Germany

● Architectural style : Modern

architecture
● Project Year : 2007 
● Architect : Peter Zumthor
• The field chapel dedicated to Swiss Saint Nicholas von der
Flüe known as Brother Klaus, was commissioned by farmer
Hermann-Josef and constructed with help of his farmer
friends
• Zumthor used a technique called “rammed concrete”
where farmers poured a layer of concrete over a tepee of
timber.
•In its irregular five-sided form, rising starkly above the
surrounding landscape, there are virtually no clues to what
lies within.
•A narrow gravel path leads from the road directly to its
massive, triangular steel door.
•The tower rises 12 meters in 24 layers of concrete each of
50 cm. thick.
• the interior of the chapel had to be shaped for that, 112
slender tree trunks, cut from trees felled in a nearby
forest, were arranged in the shape of a tepee over a
concrete platform.
• And after that 50cm layers of concrete, each layer
poured one per day for 24 days
•The timber was then burnt out by colliers, using the
same process as making charcoal, leaving a charred
inside.
•And concrete has taken the shape of tree trunks
giving the similar effects as tree trunks.
•Three hundred and fifty holes punched into the concrete shell are filled with
plugs of mouth-blown glass; the light passing through them, dancing and
sparkling out of the blackened walls.
•The space is tiny and offers no obvious sense of comfort. barely large enough for
two or three people at a time.

Sections showing 24 concrete layers.

“Architecture is exposed to life. If
its body is sensitive enough, it can
assume a quality that bears witness
 

to past life.”
Kolumba Art Museum, Cologne,
INTRODUCTIO
N
❏ The Kolumba (previously "Diocesan Museum") is an art museum in Cologne, Germany.
❏ The site was originally occupied by the romanesque Church of St. Columba, which was destroyed in
World War II and replaced in 1950 by a Gottfried Böhm chapel nicknamed the "Madonna of the
Ruins".
❏ The new structure Zumthor built for the museum now shares its site with Gothic church and the
1950s chapel, wrapping a perforated grey brick façade. Construction of the Kolumba began in 2003
and was completed in 2007.
❏ The 21 1/4 inches long and 19/16 inches high bricks were handmade in the region, a process which
took over two years to complete.
Contextual Complexity:
•Throughout the history of Cologne, churches have stood on
this site
•It might appear to be hopeless to reconcile these many
layers of history, but it seems Zumthor chose to to see it as a
challenge and he has intelligently managed to add to the
architectural continuum, while keeping and embracing the
pre-existing fragments.
•Zumthor was able to turn the ruins of the city into an
opportunity to embrace the past and look towards the future
with beautiful and poetic results.

A Mysterious, Timeless - Space

•The building does not reveal a lot from the outside. •From
the foyer, a zigzagging pathway guides you through the
archaeological excavations between slim concrete columns
pinning up the ceiling.
•As you stand amidst the room with all layers of history
exposed, protected by the outer walls that gently wraps
everything together, there is a serene calmness and odd
timelessness.
❏ Zumthor has spaced the bricks apart in irregular
patterns allowing diffused light to permeate the
gaps between the brickwork and give a dappled
light quality to the interior.

❏ Because in churches, light is given greater

importance as it comes from the heavens and
represents the divine.

❏ At the Kolumba Museum, the architect has chosen

to craft how light enters the building not because
of its spiritual significance but instead to give a
dynamic quality to interior spaces.
 These bricks were specifically developed, was built in
Cologne in 2007, “seamlessly fuses with the outer walls
of the ruined church, recreating its former mass.”

 The uneven nature of hand-made brick and the thick,

horizontal mortar joints allowed the brickwork to fit
seamlessly around the ruins.

 The bricks are a calm grey which contrasts with the

stone of the foundation walls and the mortar joints are a
matching colour which lends the building a monolithic
feeling.

 Kolumba Brick dimensions are 528 x 108 x 37 mm

(similar to roman brick), giving a much different feeling
compared to the standard 215 x 112.5 x 65 mm.
Kolumba bricks are
available in their
classic dimensions
and in over 30
standard colors, as
well as customized
options to match
project’s needs.
 ● Micro piles are small
diameter piles,
typically 2-6 inches in
diameter, which can
be installed in almost
any type of soil where
piles are needed.
● In areas where
conventional
methods cannot be
used such as
restricted access or
low headroom areas,
micro piles are a
good solution and are
appropriated for a
A museum has now been built on the historic grounds, at 12 m above ground wide range of ground
level. Realization of this ambitious building was only possible by the use of micro conditions.
piles bored into the sandy ground all the way through the over 600-year old walls
of the destroyed church. The two-storeys of the Diocesan Museum exhibition
rooms are constructed on top.
Relationship with
Neighbours:
The composition of elevation
follows a line guides the
environment exists allow
continuity with the nearby
buildings.
PLANS
1ST FLOOR PLANS
2ND FLOOR PLANS
“I am convinced that a good building must be
capable of absorbing the traces of human life
and taking on a specific  richness.”

THANK YOU……..