Materiality in the Art of Craftsmanship (Work of Shigeru Ban and Peter Zumthor)

Materiality in the Art of Craftsmanship (Work of Shigeru Ban and Peter Zumthor)

Written by Reuvie Barbon Critical Study in Architecture BA (Hons) Architecture

Abstract The study of Shigeru Ban and Peter Zumthor’s philosophy on the materiality.

Focussing on the craft of art where craftsmanship is applied through the work of the Tamedia Building by Shigeru Ban and the Thermal Baths by Peter Zumthor. Comparing Ban and Zumthor’s early experience of ‘architecture’, their memory and experience encompass beyond the material physicality. The inspiration that enhances the senses through space will be drawn.

The paper will further investigate the materiality and the immateriality of architecture: the ‘formless phenomenon’.

Contents

Introduction

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Chapter 1: Materiality and Craftsmanship

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Chapter 2: Shigeru Ban – Memory of Time

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Chapter 3: Peter Zumthor – Senses of Space

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Chapter 4: Conclusion – Materiality as Process

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Chapter 5: The Materiality of Space – Silence in Solitude

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Chapter 6: The Immateriality of Architecture

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References

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Appendix A

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Bibliography

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Introduction “How does the philosophy of materiality influence the work of Shigeru Ban and Peter Zumthor?”

Comparing the study of Shigeru Ban and Peter Zumthor’s philosophy on materiality, we focus on the first chapter entitled Materiality and Craftsmanship, where it presents definitions and description of craftsmanship as a way of life and is part of the basic human impulse.

The first comparison will be of Ban and Zumthor’s early experience of ‘architecture’. The second comparison is understanding where they draw their inspiration from.

The art of craft that both architects have lies on their memory and their experience of the senses. Based off the first and second research, the third will gain an overall conclusion on their philosophy on materiality shown in the case study of the Tamedia Building by Shigeru Ban’s Memory of Time and the Thermal Baths by Peter Zumthor’s Senses of Space.

Materiality is not forced to be an objective approach but as a philosophical language.

The essay will further investigate materiality and beyond by bringing the chapter The Materiality of Space. The understanding of concepts that architecture can create. The spaces of meaningfulness to the one that perceives anything of value. It will then end with the last chapter The Immateriality of Architecture, where it will explore the architecture of the material and immaterial. Focussing on discovering perceptions beyond material physicality, embracing the ‘formless phenomenon’.

Keywords: Materiality, craftsmanship, memory, senses, experience

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Chapter 1

Materiality and Craftsmanship

The aspect of materiality lies in the notion of adding meaningfulness to a material. To analyse its potential to create ideas of usefulness. To put the effort of one who understands their uses as well as the subjective, that encompasses its quality of being itself and having the physical existence.

Chandler (2007) presents when description becomes projected the material combinations under scrutiny adds value to which the idea extends to its potential.

In addition, the use of raw materials is to comprehend the knowledge of technique to make it purposeful. Chandler (2007) presents that the act of drawing is to be understood through information such as one’s own experience and the understanding of the material and the limitations of its description.

Craftsmanship is the desire to do a job well. It serves as a skilled craft, focussing on subjective and objective standards. Good craftsmanship creates a dialogue between practices and thinking, establishing sustaining habits and problem finding and problem-solving. It is a process whereby one’s own practice is doing the work that is of passion and setting standards of excellence. Inspiring others as equally as influencing those who are of the same position.

Craftsmanship is described as a way of life. It is part of the basic human impulse. Sennett (2008) shows that even the most abstract, that all skills begin as bodily practices, also the technical understanding which develops through the powers of imagination. One must become a student before becoming the master.

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It is to say that everyone starts from the basic of all practices and growing to learn and learning to discover.

Curiosity can ask ‘Why?’ and as well as ‘How?’ about any project. The good craftsman uses solutions to uncover territory intimately relating to their mind. It means that craftsmanship develops imagination as well as being creative in any field of work. The desire to do something well focusses on the individual’s objective standard as excellent, it can sometimes be impaired by obsession, frustration, or competitive pressure. The individual can still capture their sense of pride in their work, but the reward doesn’t come easy.

It is also the art of craft that leaves a mark on the object as to say that it is by them that created it. Their signature, statement or presence. “The maker leaves a personal mark of his or her presence on the object. In the history of craftsmanship, the maker’s marks usually have carried no political message… ‘I made this, I am here in this work’ which is to say, ‘I exist’” Sennett (2008:130).

To learn a craft is to learn a skill, implementing all elements of the human body and mind. Dormer (1994) presents that learning a skill is not a mechanical motion, it embodies emotional as well as the processes of the physical and intellectual.

To some extent self-control and understanding, the principles are the needs to combine elements of skill and precision. We must embody the knowledge to learn the procedures, entering the free choice by committing to the work and to embrace the necessity of process.

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Chapter 2

Shigeru Ban – Memory of Time

Shigeru Ban’s approach to material comes from the experience of youth.

The first time he became aware of the notion of ‘architecture’ was the work of the builders that had been working on an extension added into their house. The curiosity of Ban became an interest in constructing elements out of wood, its offcuts as well as the smells it gave. From an early experience, Shigeru Ban had been influenced by the sense of material, the texture, the smell and well as its appearance. The exploration to which he would create these components held stories that come together piece by piece. It is what he knows, his emotions, his own memories all swiftly moving into a time that interprets into later known as architecture. He sees the architecture and the material as equally as the materiality to which ideas would become spaces of transparency and lightness as well as the movement of flexibility and fluidity.

Being involved in humanitarian projects gave Ban an eye-opening experience and inspiration to create better living for people. He sees materiality as a way of considering its physicality, its matter and equally applying its practicality. Focussing on the simplicity of material, it provides usefulness to create a place where people feel the warmth, as opposed to coldness, lightness rather than darkness, and a sense of security rather than oppression.

As Corkill (2013) states that Shigeru Ban’s subjective influences come from helping others, it is from there that sparked contentment in him, realising that the goal is not always to build buildings for privileged people or for those of a higher class, but when disasters strike that is when architects are able to help and resolve for those who are in need.

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Napiza (2014:3) says “even in disaster areas, as an architect I want to create beautiful buildings. I want to move people and to improve people’s lives”.

The act of the humble character of Shigeru Ban presents this aspect of understanding self as equally as of a material’s state.

That it is in its truest form. The rawness and the flexibility to become of value for the ever-present and future challenges of self and of design. The synergy between creating the craft of material is appropriated from the designer itself, the ideas and innovation to create experiences through material structures.

Shigeru Ban’s philosophy on the material and architecture encompasses the approach of combining the function, as well as the senses of material integrity, as Ahching (2014:17) says it “depends not on the quality of materials but the quality of the space that is created by volume, light and shadow”. This means to be able to construct these materials through these spaces. Understanding the contextual approach of the environment is as important as the building form that sits on it. It is to suggest that Ban produces the architecture that aid people, demonstrating that paper or wood elements are as feasible as concrete or steel.

As well as Ban’s childhood and humanitarian influences, he has designed the Tamedia Building in Zurich, Switzerland where its entirety is made out of wood, similar to the traditional Japanese timber construction.

The choice of material plays a part in telling stories, the accounts for others to understand. In a personal interview (see Appendix A) Nitsch introduces how the use of timber has its sense of meaningfulness, in every element, in every component where the building itself does not play the role of being dominant, instead, it is plain and honest. The exposure of structure stands out to which it does not need to impress. It does not hide, it is transparent.

The idea that Shigeru Ban focusses on is the rawness of materials. It appreciates the value that it can give within the architectural spaces, exposing the sensual qualities of timber and the smell to create the ambience of relaxation and nature. The senses are stimulated by the material presence themselves.

In the interview (see Appendix A) Nitsch explains that timber is the most appealing to people because it gives a satisfying ‘aura’ of smell that people are enchanted by it.

Photo 1 and 2 shows where the users are able to interact freely and at ease.

The atmosphere of what these timber elements can be in the presence of space is something that Ban admires. It is ever – present and it is true.

Photo 2 presents an open hallway zone between the cafeteria (on the right) and the vertical members such as the lift and staircases for ease of circulation around the building.

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Photo 1: Tamedia AG, ground floor. Source: Reuvie Barbon (2018)

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Photo 2: Tamedia AG, open space circulation. Source: Reuvie Barbon (2018)

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Photo 3: Tamedia AG, neighbourhood views. Source: Reuvie Barbon (2018)

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The perspective of Photo 1 shows depth, where it shows sufficient daylighting from the foreground to the background. The light hits the terrazzo floors exposing the smoothness of the stones laid out. Though we see a juxtaposition of the material elements, it is equally as balanced.

Every other element apart from the timber is of a similar colour palette, visually it works. The arrangement of these structures and the material elements are shown as if they carefully crafted together.The art of the materials themselves.

Ban’s philosophy of the material comes within the understanding of the process. To touch the material physically and to see that it can be of value, it becomes a sensuous part of space.

We look at the stones laid out (seen in Photos 1-5).

(See Appendix A) Nitsch implies that for weeks the Portuguese craftsmen would work endlessly to make sure that every stone was to be laid out perfectly. It is a skill that encompasses the focus on great detail as well as incorporating the patience of the material craft itself.

The balance of creating pieces of artistry. When the stones are laid out, polished and finished the light would shine on the surfaces creating beautiful gestures of patterns and aesthetic quality. The material of the stones themselves are not only exposed through its physicality or primary function or performance but gleams of vibrancy, where it shows its true form, its rawness and yet encompasses the beauty of itself.

The radiance of stone is exactly that, the exposure of the pure and the sensual as if to say it is alive and valued.

Antemann (2014) points out that Shigeru Ban focusses on the detail of each component. For example, the use of beechwood is to support structural loads and the spruce is used as the main aesthetic function. The construction is as equal as the integrity and plainness of its material, creating no rigid or forceful boundaries. Antemann (2014) shows that the atmospheric quality of the building interior fascinates employees as well as visitors. In Photo 4 the raw exposure of the surface creates a pleasant spatial impression, the symmetry and repetition of the timber enhance the space by giving the suggestion of form and structural simplicity.

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Photo 4: Tamedia AG, meeting spaces. Source: Reuvie Barbon (2018)

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Photo 5: Tamedia AG, raw exposure of timber structure. Source: Reuvie Barbon (2018)

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To value a building is for it to be loved by others. To give respect and appreciation. In every material, every component has its right to be cared for and to be present, telling stories throughout time.

The memory that was constructed from Ban’s encounter of his earlier ‘architectural’ experience became a realisation of what the craft of a material can be.

(See Appendix A) Nitsch expresses that Shigeru Ban’s admiration for the craft making of wood of the Japanese tradition is to show the level of passion, precision and simplicity. It is appreciated by the carpenters who worked on the building, attaching each component and elements one by one, the craftsmanship itself is seen as a work of art. The materials themselves become authentic in their own right. The approach of the materiality is beyond the material itself. It is the experience of emotions, curiosity, and imagination. The memory that it holds, the exchange of knowledge from one to another, story-telling and inspiring to create spaces of energy and where that space of activity happens.

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Chapter 3

Peter Zumthor – Senses of Space

Peter Zumthor’s material approach comes from his deep understanding of architecture through memory, space and time. Zumthor (2010) presents his early experience, such as taking a grip of a peculiar door handle that shows a special sign of entry into the different spaces of moods and smells. The sound of gravel under his feet or the touch of soft gleamed waxed oak staircase, walking through a dark corridor and into the brightly lit room called the kitchen, the small hexagonal tiles on the floor, dark red and fitted. All of these memories correlated on his idea of a kitchen.

Zumthor (2010) expresses that memories contain the deepest architectural experiences he knows. The atmospheres and images that he explores are the reservoirs of his designs. He finds himself sinking into old, half-forgotten memories. He recollects these memories and remembers the architectural situation to what it was like, what it had meant to him and try to ponder how it could help the experience be revived into a vibrant atmosphere. It pervades in him the simple presence of things, to which everything has its own specific place and form.

Zumthor’s approach to materiality is the contact of his past architectural experiences. He immerses himself in spaces where he had been before, the emotion he recalls, the smell, texture and even the ‘aura’ of those spatial qualities that enhanced his perception of space and the senses.

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Photo 6: Zumthor Residence. Source: Laura J. Padgett (2005)

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Photo 7: Zumthor Residence. Source: Laura J. Padgett (2005)

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Zumthor’s inspiration comes from music. Zumthor (2010) expresses that there is magic in music. Through the sonata where it begins, firstly descending into the lines of melody from the viola and the intricately placed rhythm and structure of the piano where it sets in naturally. The presence of distinctness of emotions are exposed and transcends into a special mood that is touching and personal. Zumthor (2010) portrays that the ability to invent harmony, melody and rhythm amazes him in a way that he is moved by the human voice in certain songs.

The world also embraces the opposite. There is the brokenness of rhythm, the disharmony of melodies and the fragmentation and clusters of sound we call noise. These elements work with contemporary music, although contemporary architecture should also be just as radical as contemporary music. The disharmony and other opposites, the clustering and structural disruptions may be competent in conveying a message.

Architecture has its own realm, the connection between the physicality and the emotions. The materiality of space conveys this element that it is not primarily a message or symbol but as a background of life to which that goes on in and around it.

A container of these spatial qualities such that of the rhythm of footsteps on the floor or the sense of touch on the door handle. These portray the essence throughout time, the materiality where one’s subjective approach is rippled into fragments of stories held in the inspiration of music. The overflowing of these melodies and harmonies are as equal as the opposites held into the account of setting moods and atmosphere within the architectural spaces.

The Thermal Baths in Vals, Switzerland entices the aspect of sensuousness through the material. Murray (2015) presents that within these dark spaces known as the ‘sounding stone’, the recorded music is played by the composer, Fritz Hauser. Peter Zumthor uses audio as part of enhancing the senses, linking back to embracing music, not as a mere separation from architecture, but combining thes two disciplines to work in harmony, grasping the rhythms of space.

Shown in Photo 8, Zumthor (2010) conveys his sense of materiality by believing that materials can have a poetic quality in them. This means that materiality is seen as though it is ‘alive’ or has lived. To be poetic in its own right through materiality is to be set free, as though it is not hidden from anything. Not from the forms of shadows or gestures of a false façade, it lies in the depth of what is true in its nature.

Materiality generates meaningful narratives as to say that materials themselves hold sensuousness. Its honesty in them brings out its own condition to which they are made to shine and vibrate in a space of atmospheric tangibility.

In order to recognise the materiality of things, one must go through the experience of emotion and sensitivity. When does a material prove its natural state of either calmness or oppression? Materials themselves do not hold the authority of exactly what one should feel.

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Photo 8: Peter Zumthor Thermal Vals. Source: Fernando Guerra (2004)

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The form and quality of a material expose its hidden layers between what one may feel or not to feel, still, it is only from a subjective experience that one can choose to feel.

In Photo 9, Zumthor (2010:66) reveals “to experience architecture in a concrete way means to touch, see, hear, and smell it – to discover and consciously work with these qualities”. It is the need to study all the human senses of what the quality of material can deliver within the spatial realm.

For instance, to touch means to understand its texture, the smoothness or roughness. Its solidity or its liquid composure, lumpy or gritty. The fabric build-up of thickness or thinness, the type of fibre, woven material, the process of knitting or the fabric finishes. These are what Zumthor encompasses for the sense of touch.

The negative spaces that constitute a peculiar form or that of composition, colour, lightness or darkness is more than the visual perception.

The verticality or horizontality, big or small, the depth of an object, the material we perceive. These are the elements based off what we know and what we experience… What we see and how we see these things affect our judgement of reality and beyond.

The energy of sound where matter moves or vibrates transferred to another medium is to hear the echo of materiality, to be silent and to hear the space within. Quietness, softness in the vibration of objects, sweet, uplifting and rich. It is the impression of materials that instils beyond the rules of composition. The acoustic qualities, the wholeness of the intangibility, they are elements of language that we use. Zumthor (2010:10) succeeds in bringing out these senses of specific meanings of materials within his building, “meanings that can only be perceived in just this way”.

This elaborates that the details are expressed through ideas: the belonging or the separation of the design, the lightness or tension, solidity or fragility. The fundamental of craft lies from the particular use of each material to distinguish the whole of which they are of an inherent part.

Zumthor (2010) claims that a variety of material within a building is as important and as equal to each other. If one is to be taken out, the rest would collapse. This is a similar analogy of the human body, it should be built accordingly, though balanced or unbalanced is not the question but the statement of stability throughout time. Both for a human body as equal for a building. “as anatomy and skin, as mass and membrane, like fabric, shell, velvet, silk, and glossy steel”. The human body is the perfect craft. It is a work of art. These elements hold true to its right to being itself. Its rawness of form to which they are attuned to each other and radiate.

Similarly, as the materiality, it is composed of many elements, beyond the material itself. It is rich, enticing and imaginative.

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Photo 9: Peter Zumthor Thermal Vals. Source: Fernando Guerra (2004)

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Photo 10: Peter Zumthor Thermal Vals. Source: Fernando Guerra (2004)

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Chapter 4

Conclusion – Materiality as Process

To conclude this essay, it will answer the thesis question of: “How does the philosophy of materiality influence the work of Shigeru Ban and Peter Zumthor?”. This will be done by the conclusion of three chapters: Materiality and Craftsmanship, Shigeru Ban’s Memory of Time, and Peter Zumthor’s Senses of Space.

Materiality and Craftsmanship The chapter focusses on these definitions. Materiality is adding meaning to a material. It is analysing the potential to create ideas of usefulness and engage in the imagination of more than a material’s physicality. Craftsmanship is a way of life, where it is part of the basic human impulse. It is the art of craft that leaves a mark on the object, the impression it gives that it has been created. Their signature, their traces, marks, statement or one’s own presence.

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Shigeru Ban’s Memory of Time Ban’s curiosity of constructing elements made out of wood interested him from his early experience of his memories. Ban had been influenced by the sense of material, the texture, the smell and its appearance. He explores the element and captures the stories to come together piece by piece. It is what he knows, his emotions, his own memories. He sees materiality as a way of considering its physicality, its matter and equally applying its practicality. Focussing on the simplicity of the material, it provides usefulness to create a place where people feel welcomed. It is the inspiration to create better living for the well-being of people. Ban introduces how the use of timber has its sense of meaningfulness. The Tamedia building does not play the role of being dominant, instead, it is plain and honest. The exposure of structure stands out to which it does not need to impress. It does not hide, it is transparent. The materiality philosophy of Shigeru Ban believes that to value a building is for it to be loved by others. To give respect and appreciation. In every material, every component has it's right to be cared for and to be present. The craftsmanship lies within the skill of passionate work and practice, through the objective as well as the subjective goals, and the art of the material through the processes of one’s own experience and joy. It is what we know of Ban’s Memory of Time.

Peter Zumthor’s Senses of Space The understanding of architecture and the materiality lies in the notion of Peter Zumthor’s memory, space and time. Memories contain the deepest architectural experiences he knows. The atmospheres and images that he explores are the reservoirs of his designs, and he finds himself sinking into old, half-forgotten memories (Zumthor 2010). Taking a grip of a peculiar door handle showed a special sign of entry into the different spaces of moods and smells. The senses are enhanced by the simple ‘touch’ of a material.

Zumthor’s inspiration comes from music. Zumthor (2010) expresses that there is magic in music. Presence of distinctness of emotions are exposed and transcends into a special mood that is touching and personal.

The presence of sensuousness through a material is what entices Zumthor.

The Thermal Baths in Vals, Switzerland enhances the sense of hearing by placing recorded music within these spaces.

Embracing music should not be a mere separation from architecture but combining these two disciplines to work in harmony that grasps its rhythms and plays accordingly. The work of art lies within the elements that hold true of being itself. The philosophy Peter Zumthor is more than the physicality, that are attuned and radiate through the senses. The beauty that lies in Peter Zumthor’s Senses of Space.

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Chapter 5

The Materiality of Space – Silence in Solitude

To further investigate architecture beyond the material, we will look at the materiality of space. Hertzberger (2000) shows that space, relative to freedom, is difficult to get hold of. It is intangible, though you cannot define it in one concept, you can describe it at most. Space consists of depth rather than flatness, its dimensionality is greater, an openness to meanings of multiple interpretations. Ambiguity, transparency and its layers instead of certainty tself.

The value of architecture beyond material is more than just a visual representation of space. It is the connection of imagination, to dream and desire to direct our conscience to the world of our sense of self-being.

“Architecture relates, mediates and projects meanings […] profound architecture makes us experience ourselves as complete embodied and spiritual beings”.

Pallasmaa (2012:13) shows that to understand architecture is for us to dwell in the spaces themselves, it is for us to relate through our senses. The significance of the spatial awareness belongs to those who silence themselves and let architecture speak for itself as though it is the one confessing its hidden layers of truth through the material and the immaterial.

As Peter Zumthor (2010:87) expresses that “Architecture is the art of space and it is the art of time”. To build architecture we must know the context of space. We must examine the need to create ‘enhanced architecture’ where people are the main focal point, to address their needs as well as wants. The art that we stimulate through architecture is the play of light, texture, smell, and sound… these are the elements of the immateriality of architecture.

Space is present to make use of the embedded existence more than the form of architecture.

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Where there is light, the objects within the space is shaped by what it is that surrounds it, only to where it is perceivable by us. Architecture brings out other spaces, creating other experiences and meaningfulness to the one that perceives it as anything of value. (Hertzberger, 2000).

Zumthor (2010) shows that architecture can have a beautiful silence of composure, associating the attributes of integrity, presence and with the warmth and sensuousness. Architecture is about being itself and inviting one’s own subjective to experience these spaces. Silence focusses on the attention to our very own existence. It is responsive, encompassing the emotional senses that take away all other external noise. (Pallasmaa, 2012).

The beauty of silence comes from the construction of matter that is pierced through space and light. It is time that we must anticipate. A time that is not in its generality but the concept to which architecture can stand alone, it is present and the desire of being silent in the space of solitude.

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Chapter 6

The Immateriality of Architecture

The notion of the immateriality of architecture lies from an idea. There are many ways to approach the immaterial of architecture, one consisting of a ‘formless phenomenon’.

Hill (2006) introduces the idea that immaterial architecture focusses on the perceived absence of matter as greater than the actual absence of matter.

The concern is not the immaterial and material that stands opposite of each other, rather it is advocating architecture that embraces the immaterial and material.

It is the form and the formless combining the realm of ideas. Many of these ideas have been grounded in one’s own experience and interpretations. It is often personal and subjective, fiction rather than facts. The user’s experience of architecture depends on their awareness of all the senses.

Smell is associated with immaterial architecture, though touch is associated with the material. To engage in architecture is to actively and creatively find one’s own interpretation of what is present and absent. Where lightness meets darkness, where warmth can no longer be felt but the coldness of air…

The space in-between. These are appropriate for the juxtaposition of the sensations that can lead to speculation of the imagined space.

Immateriality of the architecture looks at multiple gestures of space that cannot be filtered into only one concept or category. It creates, it evolves, changing, adapting. Immateriality never stops because the hallway ends where a room enters and starts all over again. A puzzle, but not quite.

Complex and simplicity. Immateriality is the material composed of more than what is beyond of architecture that we see. It is more than the visual capacity to comprehend. It is materiality evolved into thought, a formless idea, inspiration as well as the imagination.

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The sound is the immaterial of architecture. It cannot be seen, however through consequences the vibrations are present on a surface. Sound constructs the form of materiality that it can be heard, as equally as immaterial that is, silence. Hill (2006) shows that the visual and aural that is in the immaterial of silence. Through absence, the attention on the senses increases as well as the materials that are present.

To experience and understand space we must hear the structures that articulate them. The significance of hearing within the spatial experience is not often aware. Sound provides the continuum to which the impression on the visual is embedded.

Pallasmaa (2012:55-56) “The sound of the organ makes us immediately experience our affinity with space. We stare alone at the suspense of a circus, but the burst of applause after the relaxation of suspense unites us with the crowd”. Hearing creates a sense of connection as Hill (2006) constructs that the visual and the aural perception are complementary of each other. It is not one being better than the other, they fit together purposefully.

Space is appreciated through its echo. It is understood as much as through its visual shape. The acoustic remains as a background but also it has its own characteristics, “the intimacy of sound, the invitation or rejection, hospitality or hostility” Pallasmaa (2012:54) refers to the everlasting impression of one’s subjective matter and expression of self through the eyes of the world.

The body focusses the energy of space and through space, it begins to unravel that we, ourselves hold our own locus of reference, memory, imagination and integration.

The actions of recollecting, remembering and comparing are the experiences that embodies the essential role of memory in a space or a place. The entire bodily existence that we behold, touch, listen and measure is articulated and organised around the senses of the centre of the body. Through our interaction with our environment, we are constantly in dialogue. Our domicile is the refuge of our identity, memory and body. It is impossible to detach our self-image from our spatial and situational existence (Holl, et al., 2006).

The product of experience comes from the state of character and the conscience. It is the dialogue between the material environment and the immateriality of architecture. Both are equal in their own right. The material and the immaterial stimulates our being through what we call as space, through this, we enable ourselves to immerse and anticipate what is under us, in front of us and above us. We use all our senses to grasp and understand the complexity of these spaces. Our interpretation lies from constructing images, ideas and concepts so that we are able to gain the knowledge to understand that there is more to than the physicality of matter. Through our memory, experiences and the senses, we are able to grasp the quality to give a meaning of self. To disengage the rational half of the mind and explore the horizon of curiosity as equally as the craft in the material and the immaterial to discover.

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reader.action?docID=896076 [Accessed 11 February 2019].

Sennett, R. (2008) The Craftsman. 1st edn. London: Penguin Books Ltd. Zumthor, P (2010) Peter Zumthor Thinking Architecture. 3rd edn. Basel: Birkhäuser.

Photo Reference

Barbon, R. (2018) Tamedia AG, ground floor. [coloured print] 10.8 cm x

19.7 cm on 14.6 x 23.5cm paper. Reuvie Barbon copyright: Photo:

Reuvie Barbon photos.

Barbon, R. (2018) Tamedia AG, open space circulation. [coloured print] 10.8

cm x 19.7 cm on 14.6 x 23.5cm paper. Reuvie Barbon copyright:

Photo: Reuvie Barbon photos.

Barbon, R. (2018) Tamedia AG, neighbourhood views. [coloured print] 10.8

cm x 19.7 cm on 14.6 x 23.5cm paper. Reuvie Barbon copyright:

Photo: Reuvie Barbon photos.

Barbon, R. (2018) Tamedia AG, meeting spaces. [coloured print] 10.8 cm x

19.7 cm on 14.6 x 23.5cm paper. Reuvie Barbon copyright: Photo:

Reuvie Barbon photos.

Barbon, R. (2018) Tamedia AG, raw exposure of timber structure. [coloured

print] 10.8 cm x 19.7 cm on 14.6 x 23.5cm paper. Reuvie Barbon

copyright: Photo: Reuvie Barbon photos.

Guerra, F. (2004) Peter Zumthor Thermal Vals. Available at: http://ultimasre

portagens.com/16.php [Accessed 14 February 2019].

Padgett, L.J. (2005) Zumthor Residence. [coloured print] na/ x n/a on 14.6 x

23.5cm paper. Laura J. Padgett copyright. Photo: Laura J. Padgett photos.

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Appendix A Interview Transcript - Tamedia AG Interviewer: Reuvie Dyann Barbon, Student Interviewee: Andres Nitsch, Corporate Communications Manager Student: Can you tell us about the Tamedia project by Shigeru Ban? Communications Manager: We had a proposal, we had a project, if you look at this whiteboard [points at the project information board] on the other side you have text, also in four languages including Japanase, so many Japanese tourist come into this building. These are the original sketches, you see at the bottom the original shape of the roof at the beginning [is a pitched roof] because they [the family] had a couple of wishes, one wish was that the roof [should] be shaped like the other roofs in the neighbourhood.

Student: So yes, it relates to the context?

Communications Manager: Yes. What also is typical for the neighbourhood here is that there is a high ground floor, very typical for the neighbourhood.

You have the solid window [at the bottom to the top of the first floor] to give an impression, the visual impact of a very high ground floor. This was the two issues, the sort of design aspect which was taken out from the neighbourhood, you know the existing architecture here. The first project was very straight that was cut in a 90 degree angle and you see this very special shape form, that we used every single square inch [for the proposed building]. There are buildings that already existed such as one built from the 60’s, one from the year 2000. One additonal floor was added. We had two projects because the request was 480 places to work, but we didn’t get that in the main building, so we had two floors on an existing building, just to make sure we get that 480 places to work. Here inside the main project we have 380 places to work. What you see here is 80% prefabricated. The whole structure works as an assembly. The main highway coming from the South, the only road we could use [for transportation]. It was made piece by piece in a warehouse.

Student: This structure here [timber column] does it go all the way up to the top roof Communications Manager: Yes, it was all fabricated and then assembled to make one single element. In February 2011 we distroyed the old building.

It only took 22 months and the building was finished. In June 2013 it was finished, the process of assembly was really fast, we moved in and five years now it is in operation.

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Swiss timber. Nice tree, a lot of branches. What happens is, you have so many branch holes. At the end it looked awful. What you see here is a tree from Austria. From the province called Styria. They have high trees with less branches [therefore] less branch holes. It worked perfectly fine, visually. It was just the quality aspect, the visual impact. To prevent breakable spots due to heavy loads from the building, the boards are in different lengths that are connected to each other. The boards are then manufactured in Switzerland from the warehouse [there] which is in the Eastern part of the city. And they are glued together, solid tree, through and through. Spruce from Austria. It was glue together and then processed using a Computer Aided Design.

Student: Why is the slot oval shaped, as opposed to circular?

Communications Manager: Shigeru Ban didn’t want trusses in his design. He and an engineer got together and posed some design solutions for structural joins. The oval shape stiffens the whole structure, to stabalise and to prevent the structure from moving due to loads such as wind loads. The whole building is also attached to the concrete wall for overall stabalisation. This had to be done to fulfill the earthquake requirement.

Spruce is not a hardwood, you can’t use this material for this joint. The main material inside is not spruce. It’s beech. It is covered with the spruce, on both sides. A template, if you take the spruce apart you will see the beech template inside. The whole static works like beech on beech.

Student: So therefore it’s like sandwiched between two spruces.

Communications Manager: Exactly. The second important material is stone. You know he [Shigeru Ban] tells stories and thats quite interesting.

Back in Japan there is a lot of wooden structures even from their traditions, historically it is something special and when the Japanese tourists come over to see this building they’re not so surprised because they see it back in Japan.

For us, we haven’t.

Communications Manager: This is the main entrance, the lobby section, the reception. This is the staff restaurant, this is where you get to know each other, where you have a drink together, where you eat, where you discuss, exhange views, so the picture you have is the piazza the ‘main square of the village’.

He [Shigeru Ban] wanted to have this technique called terrazo, it is in fact 100,000 stones being delivered from Southern part of Switzerland, province is called Ticino. These are the beautiful stones you see on the floors here. The colours of the stones represent the colour scheme of the building. The beige stone stands for the timber, the green stones stands for the glass and the grey and black stones stands for the metal and the concrete elements.

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We had a group of Portuguese craftsmen on their knees for weeks laying out each stone. The white cement are poured surrounding the stones and then they had to ground it back to make the surface smooth for weeks. The floor is the most expensive and yet one of the most beautiful aspect in the building. The materials are not treated. No paint, no laminate. Allowance of thin oil to cover and protect. The timber and stones are not treated whatsoever.

Student: How does craftmanship apply to this building?

Communications Manager: You see the stones laid out on the floors. It’s very beautiful. For weeks the Portuguese craftsmen worked very hard to make sure that every stone was laid out perfectly. It was a process but it was a good outcome also. The balance of stone placement on the floors and the light shining on it is what makes it beautiful. Even the carpenters or workers who attached the components of the building elements are good craftsmen, it was a sense of appreciation with the materials, work, art and this building. Also the building is very authentic and people pay respect to this. They value this building very much. It is also the good will of this company, to share knowledge, stories and just about this building.

Communications Manager: Its much about looking back in the past techniques, structures, processes and bringing it into the future. Innovation is sort of looking back and applying it in the present and towards the future.

Timber? You must be kidding me. But if you look at the old towns of Europe.

Londn, Zurich. All these are in timber, it is the oldest most valuable, most cheapest and best material to build. The second thought is he [Shigeru Ban] is fantastic. He is fantastic and he is brave. We have the experience of building timber for so many years. This Architect is redefining [what timber could be] such as what I told you about the oval shape template slots, instead of using trusses for structure for stabalisation. He is looking at the past and bringing it into the future... Innovation is not so much the making of something [completely] new. It’s about brining something from the past and using that aspect towards building or making something better, a modern use.

The most interesting, the most appealing is when he [Shigeru Ban] talks about that [timber] material as being forgotten and lost, as an office structure, to bring back material which is wonderful to work with. Instead of concrete or metal. He tells so many stories. Every elemenet every component, there’s a story to tell. It is touching. It is meaningful.

This building doesn’t need to be a dominant building, it is just a plain, honest building, everything has a meaning, it doesn’t want to impress, it doesn’t hide anything, it’s transparent, sustainable.

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Student: To summarise this talk, what do other people say about this building? / Do they like the atmosphere here? / How do they feel towards this building?

Communications Manager: Timber is the most appealing to people because it’s so natural, people even say the smell of timber they are enchanted, it feels so natural and cosy. People have also said that they have been extremely grateful that the family [the building company is owned by a family] stayed here. 125 years continuation of the company through generations. A nice environment to work in. They invested a lot into this building. The building became an everyday life for everyone. ‘A part of the family’. A strong link to it’s history and the tradtitions through the family company since back in 1908.

Bibliogaphy De Botton, A. (2006) The Architecture of Happiness. 1st edn. London: Pen

guin Group.

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