Thinking Architecture by Peter Zumthor
In order to design a building with a sensuous connection to life, one must think in a way that goes far beyond form and construction. In these essays Peter Zumthor expresses his motivation in designing buildings, which speak to our emotions and understanding in so many ways, and possess a powerful and unmistakable presence and personality.
This book, whose first edition has been out of print for years, has been expanded to include three new essays: Does Beauty Have a Form?, The Magic of the Real, and Light in the Landscape. It has been freshly illustrated throughout with new color photographs of Zumthors new home and studio in Haldenstein, taken specially for this edition by Laura Padgett, and received a new typography by Hannele Gronlund.
If its body is sensitive enough, it can assume a quality that bears witness to the reality of past life. Thinking Architecture , Peter Zumthor. On the other hand, it is a collection of spatial impressions; absorbed moods and design approaches. It is also a book about the presence; the absence and about the act of remembering and observing as a device for triggering human emotions. Zumthor writes books in the same way he designs buildings: by creating a highly atmospheric experiences. It is part of thinking.
Peter Zumthor's Thinking Architecture is a quiet, unassuming book, just as Peter's architecture, a collection of well-grounded, serene and.
lets go dancing house song
Aug In this book Peter Zumthor expresses his motivation in designing buildings that speak to our feelings and understanding in so many ways and that possess a powerful and unmistakable presence and personality. Photo: Laura Padgett. To me, buildings can have a beautiful silence that I associate with attributes such as composure, self-evidence, durability, presence, and integrity, and with warmth and sensuousness as well; a building that is being itself, being a building, not representing anything, just being. The sense that I try to instil into materials is beyond all rules of composition, and their tangibility, smell, and acoustic qualities are merely elements of the language we are obliged to use. Sense emerges when I succeed in bringing out the specific meanings of certain materials in my buildings, meanings that can only be perceived in just this way in this one building.