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Thinking Architecture
In order to design buildings with a sensuous connection to life, one must think in a way that goes far beyond form and construction.
-Peter Zumthor, Thinking Architecture Winner of the Pritzker Prize for Architecture 2009, Swiss architect Peter Zumthor is considered to be one of the most extraordinary and controversial architects working today. Thinking Architecture allows readers a direct glimpse into his mind through a series of essays, titles such as “The Light in the Landscape,” reflecting his minimalist style. Peter Zumthor articulates what motivates him to design his buildings, which appeal to visitors’ hearts and minds and possess a compelling and unmistakable presence and aura. Now in its third edition, Thinking Architecture has been expanded to include two new essays: "Architecture and Landscape" and "The Leis Houses.” "Architecture and Landscape" deals with the relationship between the structure and its surroundings, with the secret of the successful placement and topographical integration of architecture. In "The Leis Houses" Peter Zumthor describes the genesis of two wooden houses in the town of Leis in the Swiss canton of Graubunden, thus thematizing the special challenge of integrating contemporary architecture into a traditional architectural context. Thinking Architecture is a must read for any architect, student, or individual interested in stepping into the mind of one of the greatest architects of this century.
-Peter Zumthor, Thinking Architecture Winner of the Pritzker Prize for Architecture 2009, Swiss architect Peter Zumthor is considered to be one of the most extraordinary and controversial architects working today. Thinking Architecture allows readers a direct glimpse into his mind through a series of essays, titles such as “The Light in the Landscape,” reflecting his minimalist style. Peter Zumthor articulates what motivates him to design his buildings, which appeal to visitors’ hearts and minds and possess a compelling and unmistakable presence and aura. Now in its third edition, Thinking Architecture has been expanded to include two new essays: "Architecture and Landscape" and "The Leis Houses.” "Architecture and Landscape" deals with the relationship between the structure and its surroundings, with the secret of the successful placement and topographical integration of architecture. In "The Leis Houses" Peter Zumthor describes the genesis of two wooden houses in the town of Leis in the Swiss canton of Graubunden, thus thematizing the special challenge of integrating contemporary architecture into a traditional architectural context. Thinking Architecture is a must read for any architect, student, or individual interested in stepping into the mind of one of the greatest architects of this century.
112 pages, Hardcover
First published January 1, 1998
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8106 people want to read
About the author
Peter Zumthor
51 books271 followersFrom the Pritzker Prize website, http://www.pritzkerprize.com/laureate...
Peter Zumthor was born on April 26, 1943, the son of a cabinet maker, Oscar Zumthor, in Basel, Switzerland. He trained as a cabinet maker from 1958 to 1962. From 1963-67, he studied at the Kunstgewerbeschule, Vorkurs and Fachklasse with further studies in design at Pratt Institute in New York.
In 1967, he was employed by the Canton of Graubünden (Switzerland) in the Department for the Preservation of Monuments working as a building and planning consultant and architectural analyst of historical villages, in addition to realizing some restorations. He established his own practice in 1979 in Haldenstein, Switzerland where he still works with a small staff of fifteen. Zumthor is married to Annalisa Zumthor-Cuorad. They have three children, all adults, Anna Katharina, Peter Conradin, and Jon Paulin, and two grandchildren.
Since 1996, he has been a professor at the Academy of Architecture, Universitá della Svizzera Italiana, Mendrisio. He has also been a visiting professor at the University of Southern California Institute of Architecture and SCI-ARC in Los Angeles in 1988; at the Technische Universität, Munich in 1989; and at the Graduate School of Design, Harvard University in 1999.
His many awards include the Praemium Imperiale from the Japan Art Association in 2008 as well as the Carlsberg Architecture Prize in Denmark in 1998, and the Mies van der Rohe Award for European Architecture in 1999. In 2006, he received the Thomas Jefferson Foundation Medal in Architecture from the University of Virginia. The American Academy of Arts and Letters bestowed the Arnold W. Brunner Memorial Prize in Architecture in 2008.
In the recent book published by Barrons Educational Series, Inc. titled, Architectura, Elements of Architectural Style, with the distinguished architectural historian from Australia, Professor Miles Lewis, as general editor, the Zumthor’s Thermal Bath building at Vals is described as “a superb example of simple detailing that is used to create highly atmospheric spaces. The design contrasts cool, gray stone walls with the warmth of bronze railings, and light and water are employed to sculpt the spaces. The horizontal joints of the stonework mimic the horizontal lines of the water, and there is a subtle change in the texture of the stone at the waterline. Skylights inserted into narrow slots in the ceiling create a dramatic line of light that accentuates the fluidity of the water. Every detail of the building thus reinforces the importance of the bath on a variety of levels.”
In the book titled Thinking Architecture, first published by [Lars Müller Publishers] in 1998, Zumthor set down in his own words a philosophy of architecture. One sample of his thoughts is as follows: “I believe that architecture today needs to reflect on the tasks and possibilities which are inherently its own. Architecture is not a vehicle or a symbol for things that do not belong to its essence. In a society that celebrates the inessential, architecture can put up a resistance, counteract the waste of forms and meanings, and speak its own language. I believe that the language of architecture is not a question of a specific style. Every building is built for a specific use in a specific place and for a specific society. My buildings try to answer the questions that emerge from these simple facts as precisely and critically as they can.”
Peter Zumthor was born on April 26, 1943, the son of a cabinet maker, Oscar Zumthor, in Basel, Switzerland. He trained as a cabinet maker from 1958 to 1962. From 1963-67, he studied at the Kunstgewerbeschule, Vorkurs and Fachklasse with further studies in design at Pratt Institute in New York.
In 1967, he was employed by the Canton of Graubünden (Switzerland) in the Department for the Preservation of Monuments working as a building and planning consultant and architectural analyst of historical villages, in addition to realizing some restorations. He established his own practice in 1979 in Haldenstein, Switzerland where he still works with a small staff of fifteen. Zumthor is married to Annalisa Zumthor-Cuorad. They have three children, all adults, Anna Katharina, Peter Conradin, and Jon Paulin, and two grandchildren.
Since 1996, he has been a professor at the Academy of Architecture, Universitá della Svizzera Italiana, Mendrisio. He has also been a visiting professor at the University of Southern California Institute of Architecture and SCI-ARC in Los Angeles in 1988; at the Technische Universität, Munich in 1989; and at the Graduate School of Design, Harvard University in 1999.
His many awards include the Praemium Imperiale from the Japan Art Association in 2008 as well as the Carlsberg Architecture Prize in Denmark in 1998, and the Mies van der Rohe Award for European Architecture in 1999. In 2006, he received the Thomas Jefferson Foundation Medal in Architecture from the University of Virginia. The American Academy of Arts and Letters bestowed the Arnold W. Brunner Memorial Prize in Architecture in 2008.
In the recent book published by Barrons Educational Series, Inc. titled, Architectura, Elements of Architectural Style, with the distinguished architectural historian from Australia, Professor Miles Lewis, as general editor, the Zumthor’s Thermal Bath building at Vals is described as “a superb example of simple detailing that is used to create highly atmospheric spaces. The design contrasts cool, gray stone walls with the warmth of bronze railings, and light and water are employed to sculpt the spaces. The horizontal joints of the stonework mimic the horizontal lines of the water, and there is a subtle change in the texture of the stone at the waterline. Skylights inserted into narrow slots in the ceiling create a dramatic line of light that accentuates the fluidity of the water. Every detail of the building thus reinforces the importance of the bath on a variety of levels.”
In the book titled Thinking Architecture, first published by [Lars Müller Publishers] in 1998, Zumthor set down in his own words a philosophy of architecture. One sample of his thoughts is as follows: “I believe that architecture today needs to reflect on the tasks and possibilities which are inherently its own. Architecture is not a vehicle or a symbol for things that do not belong to its essence. In a society that celebrates the inessential, architecture can put up a resistance, counteract the waste of forms and meanings, and speak its own language. I believe that the language of architecture is not a question of a specific style. Every building is built for a specific use in a specific place and for a specific society. My buildings try to answer the questions that emerge from these simple facts as precisely and critically as they can.”
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Displaying 1 - 30 of 146 reviews
August 13, 2014
Not a great piece of architectural writing. Repeated over and over again, the handful of thought provoking ideas began to feel cliche. The entire argument of this book can be boiled down to this: Peter Zumthor practices an architecture of experience. This experience is articulated through material and joints--in other words, how the materials come together. Both the experience and material should be sensitive to the physical and cultural landscape. If you're a 'good' architect, then doing so will evoke an emotional response from user. Zumthor supports these claims by providing a slough of personal journal entities describing 'good' experiences that he's had. However, in the majority of instances, Zumthor's attempt to share phenomenological experiences didn't translate well because of the disconnect between actually experiencing architecture vs. reading someones experience of architecture. As such, half of "Thinking Architecture" was rendered boring and useless.
Want to read
May 1, 2009Zumthor just won the Pritzker Prize. This book reminds me of 'Basic Writings' by Martin Heidegger. There is an essay by Heidegger call "Building, Thinking, and Dwelling." I had a hint of the relation. Then I found a Wikipedia article that mentions Zumthor mirroring Heidegger.
Zumthor mentions the term “presence” of the materials in his work. I remember reading 'Building, Thinking, and Dwelling' and try to grasp Heidegger's meaning of the bridge as the beginning of a 'presence'.
Is Zumthor a senualist? In a sense he is but not the same as those that sprouted in the Roccoco period. Later Modernist such as Adolf Loos strip the ornamentation and the buildings became bare until it was cold. Zumthor seems to bring the warmth back with out all the ostentation. Architecture has always been about light, material, and sense. Zumthor finds innotive ways to let the material speak, or he treats the ordinary material into exterordinary ways. He seems to use material the way a writer uses words to compose a poem.
Basic Writings 2nd Edition, Revised & Expanded
Zumthor mentions the term “presence” of the materials in his work. I remember reading 'Building, Thinking, and Dwelling' and try to grasp Heidegger's meaning of the bridge as the beginning of a 'presence'.
Is Zumthor a senualist? In a sense he is but not the same as those that sprouted in the Roccoco period. Later Modernist such as Adolf Loos strip the ornamentation and the buildings became bare until it was cold. Zumthor seems to bring the warmth back with out all the ostentation. Architecture has always been about light, material, and sense. Zumthor finds innotive ways to let the material speak, or he treats the ordinary material into exterordinary ways. He seems to use material the way a writer uses words to compose a poem.
Basic Writings 2nd Edition, Revised & Expanded
December 16, 2018
a "must read" book for any architecture student, or anyone who's interested in it.
last two chapters seemed so narcissistic for me, he explained every single emotion he felt everywhere he went in 15 different examples, i mean i get that he wants to tell us we should be more observant about our surroundings everywhere we go, but writer's personal experience in 15 examples was a bit too much for me.
this is more of an essay than a book about architecture, i definitely would have used it a lot more if i have read it couple of years ago, now this book only talks about stuff that i learned during my work and education as an architect.
last two chapters seemed so narcissistic for me, he explained every single emotion he felt everywhere he went in 15 different examples, i mean i get that he wants to tell us we should be more observant about our surroundings everywhere we go, but writer's personal experience in 15 examples was a bit too much for me.
this is more of an essay than a book about architecture, i definitely would have used it a lot more if i have read it couple of years ago, now this book only talks about stuff that i learned during my work and education as an architect.
April 23, 2007
if you're an architect and interested in phenomenology and personal context, this is right up your alley.
in fact, if that describes you, this is your bible.
so simply written, i could give it to my engineer/accountant parents to understand what it is that i aspire to. this is a man who knows what he's talking about, that zumthor - he's right on. prove it to yourself - go to the baths at Vals.
in fact, if that describes you, this is your bible.
so simply written, i could give it to my engineer/accountant parents to understand what it is that i aspire to. this is a man who knows what he's talking about, that zumthor - he's right on. prove it to yourself - go to the baths at Vals.
September 5, 2016
جایی که همه چیز معنا و جایگاه خود را از دست داده، نماد ها و نشانه های فرهنگی بدون هیچ دلالت خاصی دست به دست و گرفتار مد و مصرف شده اند. واقعیت های زندگی حای خود را به واقعیت های مجازی داده اند و تن طرد می شود. زومتور میخواهد برای معماری پایگاه و نقطه اتکایی پیدا کند جهانی! از این رو به واقعیت ملموس مواد و مصالح و ادراکات حسی آن پناه میبرد. زومتور میخواهد این بن مایه های مادی معماری را دست مایه ی افرینش اثر هنری و معماری خود کند.
این توجه به امکانات ذاتی معماری (به تعبیر نویسنده) البته نه از روی ناچاری است بلکه نویسنده رسالت معماری را نیز در همین میبیند و مینویسد: :
«در تصور من، معماری، در درجه ی اول، نه پیام است نه نشانه، بلکه پوشش و پس زمینه ای است برای امور و رخدادهای جاری زندگی، ظرفی حساس برای ریتم گام ها روی زمین، برای تمرکز کار، برای سکوت خواب.» ص 17
جای جای کتاب دعوت به کیفیت های از دست رفته و فراموش شده ی حسی معماری است . زومتور ما را به کیفیت های مادی و ملموس و حسی مصالح و مواد فرا میخواند و حتی گاه از کیفیت هایی غریب سخن می گوید:
«من به صدای فضا گوش می دهم، به صداهایی که مواد و سطح ها بر اثر تماس و ضربه ایجاد می کنند، و به سکوت به عنوان پیش شرط شنیدن. من به دمای فضا اهمیت می دهم، به سرما، تازگی، و سایه روشن های گرمایی که تن را نوازش میکنند. ...» ص 97
به نظر میرسد حداقل دو سوال اساسی میتوان پیش کشید:
1
یا مساله ی معماری ما همان مساله ی جامعه ی غربی است که زومتور بدان تعلق دارد؟ آیا ما نیز دچار سرگشتگی، عدم توافق های فرهنگی، بی معنایی شده ایم و متعلق به دوران پست مدرن هستیم؟
2
سوال دوم که از راه حل زومتور به آن مساله میپرسد این است که آیا ما نیز به واقعیت و هستی هم چون زومتور نگاه میکنیم؟ یا این که مواد و مصالح، طبیعت و زندگی آیه، نشانه و اذکار الهی است؟ آیا معنا عین صورت است؟ و ...
تفاوت ها و نقد دیدگاه نویسنده را این جا به صورت مفصل مطرح کرده ام:
http://ganje.blog.ir/post/22
این توجه به امکانات ذاتی معماری (به تعبیر نویسنده) البته نه از روی ناچاری است بلکه نویسنده رسالت معماری را نیز در همین میبیند و مینویسد: :
«در تصور من، معماری، در درجه ی اول، نه پیام است نه نشانه، بلکه پوشش و پس زمینه ای است برای امور و رخدادهای جاری زندگی، ظرفی حساس برای ریتم گام ها روی زمین، برای تمرکز کار، برای سکوت خواب.» ص 17
جای جای کتاب دعوت به کیفیت های از دست رفته و فراموش شده ی حسی معماری است . زومتور ما را به کیفیت های مادی و ملموس و حسی مصالح و مواد فرا میخواند و حتی گاه از کیفیت هایی غریب سخن می گوید:
«من به صدای فضا گوش می دهم، به صداهایی که مواد و سطح ها بر اثر تماس و ضربه ایجاد می کنند، و به سکوت به عنوان پیش شرط شنیدن. من به دمای فضا اهمیت می دهم، به سرما، تازگی، و سایه روشن های گرمایی که تن را نوازش میکنند. ...» ص 97
به نظر میرسد حداقل دو سوال اساسی میتوان پیش کشید:
1
یا مساله ی معماری ما همان مساله ی جامعه ی غربی است که زومتور بدان تعلق دارد؟ آیا ما نیز دچار سرگشتگی، عدم توافق های فرهنگی، بی معنایی شده ایم و متعلق به دوران پست مدرن هستیم؟
2
سوال دوم که از راه حل زومتور به آن مساله میپرسد این است که آیا ما نیز به واقعیت و هستی هم چون زومتور نگاه میکنیم؟ یا این که مواد و مصالح، طبیعت و زندگی آیه، نشانه و اذکار الهی است؟ آیا معنا عین صورت است؟ و ...
تفاوت ها و نقد دیدگاه نویسنده را این جا به صورت مفصل مطرح کرده ام:
http://ganje.blog.ir/post/22
June 27, 2021
«...زیبایی، آنگاه که از دل یک کمبود زاده میشود، بیش از همه زیبا جلوه میکند. ...» ... «هرچه بیشتر کمبودی را احساس میکنیم، به همان نسبت، به زیباییِ آنچه برای تحملِ آن کمبود دست به داماناش میشویم، افزوده میشود.»
نگاه پیتر زومتور به دنیا و معماری و کاری که انجام میدهد، شاعرانه و رمانتیک است.
بیشتر کتاب دربارهٔ خود زومتور است و نحوهٔ نگرش او به محیط و مکانها و هر آنچه از معماری برخاسته است.
کتاب دیدگاهی متفاوت و شاید کمتر متداول را دربارهٔ طراحی و معماری نشان میدهد و از این جهت میتواند تجربهٔ خوب و جدیدی برای معماران، طراحان و حتی مخاطبان اینها باشد.
نگاه پیتر زومتور به دنیا و معماری و کاری که انجام میدهد، شاعرانه و رمانتیک است.
بیشتر کتاب دربارهٔ خود زومتور است و نحوهٔ نگرش او به محیط و مکانها و هر آنچه از معماری برخاسته است.
کتاب دیدگاهی متفاوت و شاید کمتر متداول را دربارهٔ طراحی و معماری نشان میدهد و از این جهت میتواند تجربهٔ خوب و جدیدی برای معماران، طراحان و حتی مخاطبان اینها باشد.
February 2, 2024
Kinda underwhelming. The first chapter? Solid. The rest was just to fill a word count.
August 12, 2021
کتاب خوب، قلم خوب، ترجمهی بسیار عالی
September 15, 2019
معماری ساحتِ وجودیِ خود را دارد. او در یک رابطهی مادیِ خاص با زندگی است. در تصورِ من، معماری، در درجهی اول، نه پیام است نه نشانه، بلکه پوشش و زمینهیی است برای امور و رخدادهای جاریِ زندگی، ظرفی حساس برای ریتمِ گامها روی زمین، برای تمرکزِ کار، برای سکوتِ خواب.
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به اعتقادِ من، یک اثرِ معمارانه تنها زمانی میتواند از کیفیتهای یک اثرِ هنری برخوردار شود که ترکیبِ فرمها و محتواهایش اتمسفرِ پر قدرتی بیافریند که بتواند ما را تحتِ تأثیر قرار دهد. این هنر، یعنی تبدیلِ عناصر و فرمهای مادی به حسها و دریافتهای بشری، با پیکربندیهای جذاب یا نوآوری نسبتی ندارد، بلکه با بینش و شناختِ شهودی، فهم، و بیش از همه با حقیقت در ارتباط است. و چه بسا شعر همان حقیقتِ نامنتظر است؛ حقیقتی که برای آشکارگی به سکون و آرامش نیاز دارد. شکل بخشیدن به این توقعِ آرام، وظیفهی هنریِ معمار است، چرا که بنا خود هرگز شاعرانه نیست.
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من مدام با بناهایی مواجه می شوم که با زحمتِ زیاد و با نیتِ یافتنِ فرمی خاص طراحی شدهاند، و اوقاتم تلخ میشود. معمارِ بنا در محل حاضر نیست، اما از طریقِ یک یکِ جزئیات با من حرف میزند، مدام همان حرف را تکرار میکند و حوصلهام را سر میبرد. معماریِ خوب باید پذیرای ما باشد و اجازه دهد که ما در او سکونت کنیم و تجربهاش کنیم، نه این که با حرافی خودش را به ما بپذیراند و حضورش را به ما تحمیل کند ... در نظرِ من بناها میتوانند سکوتی زیبا داشته باشند، سکوتی که من آن را با مفاهیمی چون آرامشِ درونی، خودپیدایی، دیرند، حضور و یکپارچگی پیوند میدهم، و نیز با کیفیتهایی چون گرما و حسبرانگیزی؛ چیزی جز خود نبودن، فقط یک بنا بودن، بازنمودِ چیزی نبودن، تجلیِ خالصِ ذاتِ خود بودن.
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من هرگز ناظرِ خوبی نبودهام، در واقع هرگز نخواستهام که باشم. من دوست دارم حال و هواها را جذب کنم، درونِ موقعیتهای فضایی حرکت کنم و همین برایم کافی است که احساسی قوی، تصویری کلی، از آن موقعیت در خاطرم بماند ...
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به اعتقادِ من، یک اثرِ معمارانه تنها زمانی میتواند از کیفیتهای یک اثرِ هنری برخوردار شود که ترکیبِ فرمها و محتواهایش اتمسفرِ پر قدرتی بیافریند که بتواند ما را تحتِ تأثیر قرار دهد. این هنر، یعنی تبدیلِ عناصر و فرمهای مادی به حسها و دریافتهای بشری، با پیکربندیهای جذاب یا نوآوری نسبتی ندارد، بلکه با بینش و شناختِ شهودی، فهم، و بیش از همه با حقیقت در ارتباط است. و چه بسا شعر همان حقیقتِ نامنتظر است؛ حقیقتی که برای آشکارگی به سکون و آرامش نیاز دارد. شکل بخشیدن به این توقعِ آرام، وظیفهی هنریِ معمار است، چرا که بنا خود هرگز شاعرانه نیست.
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من مدام با بناهایی مواجه می شوم که با زحمتِ زیاد و با نیتِ یافتنِ فرمی خاص طراحی شدهاند، و اوقاتم تلخ میشود. معمارِ بنا در محل حاضر نیست، اما از طریقِ یک یکِ جزئیات با من حرف میزند، مدام همان حرف را تکرار میکند و حوصلهام را سر میبرد. معماریِ خوب باید پذیرای ما باشد و اجازه دهد که ما در او سکونت کنیم و تجربهاش کنیم، نه این که با حرافی خودش را به ما بپذیراند و حضورش را به ما تحمیل کند ... در نظرِ من بناها میتوانند سکوتی زیبا داشته باشند، سکوتی که من آن را با مفاهیمی چون آرامشِ درونی، خودپیدایی، دیرند، حضور و یکپارچگی پیوند میدهم، و نیز با کیفیتهایی چون گرما و حسبرانگیزی؛ چیزی جز خود نبودن، فقط یک بنا بودن، بازنمودِ چیزی نبودن، تجلیِ خالصِ ذاتِ خود بودن.
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من هرگز ناظرِ خوبی نبودهام، در واقع هرگز نخواستهام که باشم. من دوست دارم حال و هواها را جذب کنم، درونِ موقعیتهای فضایی حرکت کنم و همین برایم کافی است که احساسی قوی، تصویری کلی، از آن موقعیت در خاطرم بماند ...
October 21, 2009
I read this book expecting something like an enumerated insight into Peter Zumthor's design process and theories, but "Thinking Architecture" is more of an organization of miscellaneous observations and descriptions of Zumthor's architectural experiences. I hesitate to say the book is not useful because it's very well written and his thoughts are unique and intriguing. It's more that the book is useful in the way a fiction book is useful, but not in the way a non-fiction book might be. If Zumthor's work (google: Zumthor Swiss Baths) didn't stand as an unshakable testament to his abilities as an architect then I might have dismissed this book as lots of worthless colorful language.
It's a brief book that can be read in an afternoon ( about 100 pages). I recommend reading it a well designed space.
It's a brief book that can be read in an afternoon ( about 100 pages). I recommend reading it a well designed space.
August 19, 2015
اگر تمام معمارها با همین دقتی که زومتور دارد به طبیعت و محیط پیرامونشان نگاه می کردند و اصالت وجودی هر چیزی را درک می کردند شاید جهان زیباتری داشتیم.
July 10, 2018
کاش تموم نمیشد. قراره بارها بهش برگردم و بخونمش.
آقای زومتور تو واقعا میفهمی. یعنی واقعا میفهمی.
لذت بردم از تک تک صفحات.
آقای زومتور تو واقعا میفهمی. یعنی واقعا میفهمی.
لذت بردم از تک تک صفحات.
February 20, 2017
A beautiful meditation on architecture at the intersection of craft and inspiration. It is in many ways an exploration of the emotional intelligence necessary to make great architecture. I would give this to other architects, but I would never give this to any but the most intelligent architecture students.
August 17, 2017
Made me love architecture again.
October 5, 2024
,,myślenie obrazowe jako metoda projektowani’’
,,piękno wynika z niedostatku’’
,,budynki w pejzażu muszą się pięknie starzeć’’
,,piękno wynika z niedostatku’’
,,budynki w pejzażu muszą się pięknie starzeć’’
April 19, 2024
poético
"cuanto más le falte a uno, más hermoso puede hacerse lo que uno ha de movilizar para soportar esa ausencia"
"cuanto más le falte a uno, más hermoso puede hacerse lo que uno ha de movilizar para soportar esa ausencia"
April 28, 2022
I must admit some of his takes were interesting - but mostly this book is just repetitive. The gripping material from it could've been put in 30 pages - this act would definitely help this book.
But here we are, with almost 100 pages of Peter's good and slightly worse experiences with architecture. Maybe if he got deeper into meaning behind those experiences it would have been more absorbing and thought provoking.
As a reader I sensed the disconnection between actually EXPERIENCING architecture and reading someone's experience of architecture.
Of course he is often right - but there's no support behind his rightness. I felt like I was reading about Zumthor's stories without any of his explanation or thoughts included. I don't know, for me he was just stating the obvious.
The entire piece could be boiled down to one conclusion - Zumthor practices an architecture of experience. His work is based on how materials work and come together. Honestly, that's it - it felt like I was reading his silly little journal.
But here we are, with almost 100 pages of Peter's good and slightly worse experiences with architecture. Maybe if he got deeper into meaning behind those experiences it would have been more absorbing and thought provoking.
As a reader I sensed the disconnection between actually EXPERIENCING architecture and reading someone's experience of architecture.
Of course he is often right - but there's no support behind his rightness. I felt like I was reading about Zumthor's stories without any of his explanation or thoughts included. I don't know, for me he was just stating the obvious.
The entire piece could be boiled down to one conclusion - Zumthor practices an architecture of experience. His work is based on how materials work and come together. Honestly, that's it - it felt like I was reading his silly little journal.
January 16, 2021
زومتور علاقهمند به زیبادیدن و دوستداشتنه؛ بعضی جاها حس میکنی میخواد به یه بنایی خرده بگیره یا درباره روش یا طرز فکری غر بزنه (همون کاری که بیشتر همکارانش انجام میدن)، اما در نهایت به زیباییهای هر چیز بیشتر توجه میکنه، سخت نمیگیره و احساساتش رو راهنما قرار میده و خوندن تفکراتش خوشاینده.
August 13, 2025
Zumthor's depth of understanding architecture and design exceeds that of most architects...or at least, he's better at verbalizing the moments in the design process that aren't often described successfully. Those difficult to describe moments are the greatest contributors to the "wholeness" of a project. A good floor plan can only go so far as to make a building feel complete. Rather, it is the intention of the design that allows a patron to fit into a pocket of time or space within a building. A space becomes real once it is pushed past its initial design, and once it has space to materialize as a standing building. A structure will endure the influence of its site, the people involved in its development, and the environment in which it lives before it is granted its reputation in the architecture world. Even then, the structure will still undergo changes according to its surroundings, its age, and the people that inhabit it.
July 2, 2020
کتاب با اون چیزی که قبل خوندن راجبش فکر میکردم تفاوت هایی رو داشت،شاید بهتر بود.
از این نظر بهتر که به مسائلی مثل فضا و اتمسفر با دیدی شاعرانه نگاه کرده ،کلمه ی شاعرانه رو اینجا بکار بردم چون کلمه ی "احساسی" به نظرم مفهوم رو نمیرسوند.
بیشتر بخش های کتاب به توصیفات زومتور از بناها و مکان هاییست که به نظرش مارو جزئی از محیط میکنن ،نیازی به رمزگشایی ندارن و در عین سادگی میتونن قصد سازندرو به خوبی نشون بدن و عملی کنن.
در وبلاگ گنجه مقاله ی نقدی رو خوندم راجب این کتاب که به نظرم نیازه بعد خوندن به سراغش بریم:
http://ganje.blog.ir/post/22
از این نظر بهتر که به مسائلی مثل فضا و اتمسفر با دیدی شاعرانه نگاه کرده ،کلمه ی شاعرانه رو اینجا بکار بردم چون کلمه ی "احساسی" به نظرم مفهوم رو نمیرسوند.
بیشتر بخش های کتاب به توصیفات زومتور از بناها و مکان هاییست که به نظرش مارو جزئی از محیط میکنن ،نیازی به رمزگشایی ندارن و در عین سادگی میتونن قصد سازندرو به خوبی نشون بدن و عملی کنن.
در وبلاگ گنجه مقاله ی نقدی رو خوندم راجب این کتاب که به نظرم نیازه بعد خوندن به سراغش بریم:
http://ganje.blog.ir/post/22
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December 2, 2022Peter Zumthor has produced aspirational work and this book dips into some of his methodologies. 🤪 I appreciate his perspective and leads into his own relevance to architecture and design based off of research from the sources he referenced. 🤩 have a few marked pages with things to look further into. 🤓 also love to see another successful designer start their career off with a type of craftsmanship 👀
October 8, 2019
Sobrevaloradísimo «libro» de arquitectura que basa toda su estructura en el carisma y la imagen de Zumthor. Es «El Alquimista» de la arquitectura, da para citas en redes sociales y para una mesa coja pero parece difícil entenderlo como un libro para arquitectos. A lo sumo para estudiantes fáciles de impresionar.
August 31, 2021
As an architecture student, I like to get inside an architect’s head. It always feels like I am reading the perspective of the antagonist, and learning their backstories, thoughts, and emotions that I misjudged before.
March 12, 2025
The content of the book lives up to the name on the cover. Zumthor talks about architecture in all its different forms and where he and his colleagues encounter it in their lives.
Moments stick out where he discusses his design process and the feelings he wishes to evoke in those who occupy his buildings, weather through material, light, or construction.
Moments stick out where he discusses his design process and the feelings he wishes to evoke in those who occupy his buildings, weather through material, light, or construction.
December 28, 2019
Fantastic read. Didn't expect anything less
August 6, 2020
Der harte Kern der Schönheit
October 24, 2022
Très poétique. Plutôt une collection d'essais qu'un tout cohérent.
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September 16, 2014A set of brief, impressive thoughts on architecture and architectural thinking. Very rarely is the architecture itself addressed. Instead, we get glimpses. A wooden banister here, a William Carlos Williams line there. I've recently been disappointed by a lot of writing by notable non-writer artists who were still interesting thinkers (Klee and Cage come to mind). These people, I thought, geniuses though they were, were not narrative thinkers and could not express themselves accordingly. Zumthor, however, shows that it's possible to do both.
March 15, 2019
"...Una belleza que surge de la ausencia. Siento la ausencia de algo, un vigor en la expresión, esa suerte de empatía que, súbitament, me asalta en una experiencia de la belleza y que aún no conocía antes de experimentarla, que me faltaba, y de la cual ahora creo saber de nuevo que me faltará siempre en el futuro. Nostalgia."
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