Archive for the 'peter zumthor' Category

façade

2012/05/01

Hiroshi Sugimoto Kunsthaus Bregenz

 

The façade says:                I am

.                                              I can

.                                              I want…

… The façade also says:  But I am not going to show you everything.

Peter Zumthor Atmospheres

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resistance

2012/04/04

In a society which celebrates the inessential, architecture can put up a resistance, counteract the waste of forms and meanings, and speak its own language.

Peter Zumthor A Way of Looking at Things

material

2012/02/28

Rooms may owe their existence to an idea but, in the end, they consist of physical matter, of material that often obeys no idea at all and only wants to exercise its own rights.

Peter Zumthor Therme Vals

zumthor’s kolumba – art museum of the archbishopric of cologne (ii)

2011/09/05

Whilst the exterior of the building and the photogenic grotto housing the excavations were the images most commonly represented in the architectural journals, the most moving spaces in this multi-layered building were found at its summit. What with its tall, slender columns, the cavernous excavation room is vaguely reminiscent of a petrified version of Terragni’s Paradiso, housing remains dating back to Roman times, including the mediaeval church, and the post -WW2 chapel by Gottfried Böhm (son of the renowned ecclesiastical architect, Dominikus). This chapel was built to house the Madonna in the Ruins, a late-Gothic Madonna and Child that was found miraculously standing amongst the ruins following the Allied aerial-bombardment of the city.

The next level up is a purgatorial experience (architecturally) due to there being no daylight in order to protect its delicate exhibits – including: cassocks, mantle, rochet and Cappa Magna of Josef Cardinal Frings, Archibishop of Cologne; and an armarium containing the Reliquary Cologne, monstrance, relic monstrance, and processional cross.

However, if anything the experience of transferring through this artificially-lit level only serves to heighten and emphasise the architectural feast in store above. With a little indulgent license, we may consider the 2nd exhibition level as an asymmetric nave, bounded by three aisles (referred to as cabinets and highlighted blue in the plans). These are stepped up from the main floor and serve as a preparatory ante-chamber for the side-chapelesque towers. The three towers each differ slightly but share in their tall proportions and diffuse clerestorey, which draws the eyes heavenward, and the feet onto tiptoe, the light giving these spaces a sacred quality. It is these peculiarly intimate spaces that are the architectural tour de force of Zumthor’s building.

Zumthor’s Kolumba Museum, Köln

2011/07/31

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garden

2011/07/04

There is no hidden, or even obvious meaning here. This is a place for you to be. To be. Nothing else.

Peter Zumthor on the Serpentine Pavilion

Every time I imagine a garden in an architectural setting, it turns into a magical place. I think of gardens I have seen, that I believe I have seen, that I long to see, surrounded by simple walls, columns, arcades or the facades of buildings – sheltered places of great intimacy where I want to stay for a long time.

Peter Zumthor on the Serpentine Pavilion

endoscopy

2011/01/11

Interior of Zumthor’s Bruder Klaus Chapel

Bruder Klaus Kapelle (details 2)

2010/12/22

More details of the interior of Peter Zumthor’s Bruder Klaus Chapel.

Bruder Klaus Kapelle (details 1)

2010/12/16

Strange details of Peter Zumthor’s Bruder Klaus Chapel:

With Brother William (by Bruder Klaus)

2010/12/06

With Brother William (Wim Johannesma) inside Peter Zumthor’s Bruder Klaus Chapel.