Thesis RTvanGinkel

Modelling the Process

Modelling the Process

a study of Peter Zumthor’s use of models in the design process

A thesis presented to the Graduate Faculty of Architecture, Building and Planning at the University of Eindhoven Part of the graduation project ‘Masterly Apprenticeship’ Supervised by Dr. J.C.T. Voorthuis Ir. J.P.A. Schevers R. Vleugels

R.T. van Ginkel 01-06-2016

Foreword This thesis is part of the graduation studio ‘Masterly Apprenticeship’ led by Dr. J.C.T. Voorthuis and Ir. J.P.A Schevers wherein the principal undertaking was to design a building that would house an architectural education school at the Academy of Architecture Mendrisio. As a complement to this, throughout the one-year-long studio, the impact of the Master-Apprentice system on contemporary Swiss architecture and architectural education has also been researched in great depth. The master-apprentice system, furthermore, can be effectively described as an exchange of knowledge between a Master architect and their apprentice. Through an extensive research divided into four main themes – ‘Context’, ‘Architectural Education’, ‘Genealogy’ and ‘Learning’, the research has provided a comprehensive understanding of Swiss architecture and its multiple facets. Firstly, in the chapter ‘Context’, Swiss architecture was discussed as a response on the contextual circumstances being urban, geographical, economical, political and social context.

Secondly, ‘Architectural Education’ described the similarities and differences between the three most important architecture schools in Switzerland (EPF Lausanne, ETH Zurich and the AA Mendrisio) concerning the composition of the design studios. Thirdly, the chapter ‘Genealogy’ contained a complete overview of the numerous architects who have been involved in a masterapprentice relation; the nature of this relationship exists through either a university, in the professional world or as an autodidactic association. Finally, ‘Learning’ concluded the research by asking the specific question, “how does one learn?” in a master-apprentice system. These four all-encompassing chapters provided one with an understanding of the setting in which the design brief of the graduation studio was situated.

Alongside the research on the master-apprentice system in Swiss architecture, an individual research was conducted on a particular Swiss architect of ones choice. By creating a personal master-apprentice relationship with one of the many renowned architects, it provided a critical apparatus to approach the design process. Assuming the role of an apprentice, it required of one to think critically about what aspects of the design approach of the architect was essential for his or her own development. Accordingly, for this personal research component, I chose to study Peter Zumthor and, more specifically, his interesting use of models throughout his design process. The overall aim of the research was two-fold: to use his teaching methods at the Academy of Architecture, Mendrisio to form a position as to what the design must entitle, and secondly, to apply his unique approach to using models in my own design process.

Peter Zumthor was a highly regarded teacher at the Academy of Architecture of Mendrisio, teaching multiple design studios renowned for their creative process. Indeed through an analysis of these design studios and by assessing the work of students who attended these studios, it provided me with a framework to design an architecture school tailored to Peter Zumthor’s

teaching. Secondly, a study of the atmosphere generated by Peter Zumthor’s models gave me the inspiration to use models to design in a similar way to that of Zumthor. The research question necessary to explore these two themes was accordingly developed: How does Peter Zumthor generate atmosphere with his architectural models? Ultimately, the aim of this personal research is to enable the reader to gain an insightful understanding into the design process of Peter Zumthor and be able to identify the similarities between his methods of using models and my attempt at applying those methods throughout my design process.

Additionally, this thesis contains a description of the design brief predetermined by the Academy of Architecture Mendrisio. It must be explained that this same design brief influenced the project that we, as students, were to design according to throughout our graduation studio. Moreover, this assignment was also chosen to integrate and connect the various subjects mentioned above. The design brief explained that the AAM, located in the south of Switzerland, requires an extension to their campus and this extension needs to provide the first year students with a secluded but yet prominent place on the campus which integrates into the mountainous landscape. This was thus our year-long design challenge.

The design for the extension of the AAM is explained through a description of the design process together with the final design. The use of models in the design process is significant and therefore a separate chapter is dedicated to the process and various models used. Furthermore, this chapter reflects on the research conducted on Peter Zumthor’s use of models by explaining the atmosphere created with the models. The design shows how Peter Zumthor’s teaching is integrated into the design, connecting both aspects of the research to the design assignment.

To allow further clarity to the reader, the set up of this book is as follows. Firstly, the research question “How does Peter Zumthor generate atmosphere with his architectural models?” will be answered through an extensive essay on the subject. Secondly, the design brief of the extension of the AAM is explained together with the boundaries set by the landscape and surrounding buildings. Thirdly, my personal design process of the extension is illustrated by presenting several photographs of the models I used throughout my design. Additionally, this chapter reflects on the use of models and how they generate atmosphere. Finally, and most substantially, my design is presented through architectural drawings and images.

Table of Contents

Modelling the Process

Introduction p.

Peter Zumthor p.

Becoming an architect p.

Models p.

Inspiration p.

Atmosphere p.

4 8 9 11 14 15

Using Models p.

Atmospheric site model p.

Anatomical model p.

Interior model p.

Mock-up p.

24 25 27 30 32

Materials p.

Choosing materials p.

Materials in models p.

36 37 39

Presentation and Representation p.

Sketching p.

Computer drawings p.

Photographs p.

Presentation of models p.

Presentation models p.

Atelier Zumthor p.

Hierarchy p.

Master-apprentice p.

Starting the process p.

Models and meetings p.

44 45 48 48 51 53 56 57 58 59 62

Studio Zumthor p.

Site and Program p.

Models p.

Materiality p.

Critiques p.

Presentation p.

68 69 70 74 75 78

Conclusion p.

Comparing Studio and Atelier p.

Generating Atmosphere p.

80 81 85

Design

Design Competition p.

Process p.

Design p.

92 102 132

Appendix

Interviews p. 216 Paulo Moreira Student p. 217 Diego Calderon Ruben Jodar Giacomo Ortalli & Gaelle Verrier Daan Koch Femke Stout Raoul Vleugels

Student Student Architects Architect Intern Intern

Course descriptions

p. p. p. p. p. p.

224 231 238 251 263 283

p.

300

Bibliography p. 309

Figure List p. 313

Modelling the Process A research on the use of models within the design process of Peter Zumthor’s atelier and his design studio at the Academy of Architecture Mendrisio

Modelling the Process 3

Introduction All design work starts from the premise of this physical, objective sensuousness of architecture, of its materials. To experience architecture in a concrete way means to touch, to see, to hear and to smell it. To discover and consciously work with these qualities – these are the themes of our teaching.1 This is a quote of the renowned and highly influential Swiss architect, Peter Zumthor. It explores the notion that architecture is a living and mouldable discipline that requires both a physical and emotional connection between the architect and every stage of the design process. The quote also touches on the important role materials play during the course of designing as well as the idea that architecture is an ever-progressing educational development. These are merely a few of the many unique ways in which Peter Zumthor perceives the practice of architecture and, accordingly, how he teaches architecture.

To be able to comprehend the design process of Peter Zumthor requires an in depth understanding of the various elements within his design approach that stand out as being quintessentially ‘Zumthor’. This thesis’ first purpose, therefore, is to give the reader a understanding of Zumthor’s architecture - ranging from his architectural education to his use of models as well as the differences between his studio and his atelier. All aspects of Zumthor’s distinctive way of designing have been researched and most of the information available has, at least, been referred to within the chapters that will follow. However, due to the extensive amount of information available on this accomplished Swiss architect, it has been necessary to narrow down the primary focus and develop a research question that explores an area that is of a personal interest to me and an area has been used as a form of inspiration and guidance through my own design process during my final Master project.

The research question has thus been developed: How does Peter Zumthor generate atmosphere with his architectural models? As will be continually discussed throughout the thesis, architectural models are one of, if not the, most important components of every stage of designing at both Zumthor’s atelier and at his studio. They can be seen to be the consistent factor that determines whether a design is ready to move onto the next stage. The variety of models constructed under the watchful eye of Peter Zumthor each hold a specific purpose, thus their significance to the design is immeasurable. Additionally, the generation of atmosphere (as seen in the research 1.

(Zumthor, P. (2006). P. 66.

Introduction 4

question) is another area that is linked to Zumthor’s use of models. Atmosphere is a central and reoccurring theme in every design of Zumthor’s and therefore the exploration of how atmosphere is generated with models is an interesting way to appreciate the works of Zumthor.

The structure of the thesis is designed to guide the reader through various topics to understand the differences between models and how they are used to generate atmosphere. The thesis is divided into seven principal sections: Peter Zumthor, Using Models, Materials, Presentation and Representation, Atelier Zumthor, Studio Zumthor and a final conclusive part wherein my findings are elaborated upon.

The section entitled, ‘Peter Zumthor’ consists of four sub-parts: Firstly, the education and a brief biography of Zumthor is given to highlight the abnormal path he followed to become an architect. Secondly, Zumthor’s models will be introduced to demonstrate their significance as a representation of an imagined space. Thirdly, a discussion of Zumthor’s chief inspiration, Le Corbusier allows one to gain insight into Zumthor’s workspace and how he perceives the role of the model. Fourthly and finally for this section, an explanation of Zumthor’s definition of atmosphere enables one to understand the peculiar way Zumthor approaches atmosphere.

This initial clarification leads one to draw ones own conclusions as to how atmosphere could be generated through models.

‘Using Models’ is the next chapter, which, as the title suggests, discusses the various models used in the design process. There are four main types of models that are examined: Atmospheric Site model, Anatomical model, Interior Model and Mock-up – for each type, examples are given to highlight how they are linked to one another albeit on different levels.

The subsequent chapter, ‘Materials’ starts with an explanation of the process of selecting materials for a particular design. Materials are a fundamental aspect of the development of the model and indeed one could argue that it is one of the primary generators of atmosphere. The second part of this section adds to the understanding of how materials are used in models and their atmospheric qualities. As will be elaborated upon, there are three different ways in which materials are used: for representation, as printed textures and finally, as actual materials.

‘Presentation and Representation’ follows after ‘Materials’ to illustrate the various techniques used, apart from models, to create atmosphere. In addition, these techniques can also contribute to construction of a model and include: sketches, computer drawing and photographs. Zumthor

Modelling the process 5

has a tendency to overturn traditional design methods and this is particularly evident in relation to the use of these techniques. This chapter concludes with a description on how models are presented in atelier Zumthor.

The final two principal chapters namely, Atelier and Studio Zumthor provide an interesting insight into the similarities and differences between the workplace and education facility both directed personally by Zumthor. The chapters do not only describe the importance of using a model in the design process but also illustrates a master-apprentice relationship between Zumthor himself and his students/employees. This section aims to present the reader with an insight into the working systems and the hierarchical structure that is ever-present in both the studio and atelier.

A conclusion will thereafter complete the discussion on Peter Zumthor and the way in which he generates atmosphere through his use of models.

It is already evident that Peter Zumthor has a unique approach to designing - wherein models have a prominent role and how they generate atmosphere is an ever-present theme in every building. The claim of this thesis, however, to explain how Zumthor generates atmosphere, is that materials are a main generator of atmosphere. As will become apparent, Zumthor places great emphasis on the selection of the perfect material in colour, texture and appearance for each model so that it will, in turn, enhance the space and ultimately generate atmosphere.

Indeed, if successful, this thesis will first provide a holistic overview of Peter Zumthor’s distinctive approach to architecture and then prove that his continual use of models leave a resonating impact through the atmosphere that they generate.

Introduction 6

I.

Peter Zumthor

Education, Inspiration, Models and Atmosphere

Becoming an architect In order to completely comprehend the design process of Peter Zumthor and his seemingly artistic approach to designing, one must first consider his architectural education, or lack thereof. Although today he is currently one of the most renowned architects in the world, the path he followed to become such an architect is truly unique. Indeed most architects begin their architectural education by first attending an architecture school. Conversely, Peter Zumthor’s education consists of numerous studies, which in a similar way to architecture, all focus on the creative process and the ‘craft of making’. However, even though he did not study architecture in the classical sense, it is important to note that Peter Zumthor does not think of himself as an autodidact.1 Rather, he maintains that while originally he did not choose to become an architect, he in fact became an architect because of his biography.2 Peter Zumthor was, during his adolescence, highly influenced by his home environment. His father was a cabinetmaker, who forced him to work in his workshop and as such wanted him to follow in his footsteps. Although during his time as a cabinetmaker he learned “to aim at quality and precision… with endurance and persistence”3, young Zumthor aspired not to be a carpenter much to the disappointment of his father. Thus in an attempt to “escape his father”, he attended the Kunstgewerbeschule in Basel (The Academy of Applied Arts) from 1963 until 19654, where he studied furniture making and interior design. This school was set up in a similar way to the organization of The Bauhaus, where students had to undertake a one-year course (Vorkurs), learning the basics of design, before choosing a specific trade (Fachklasse). During this course he learned about the principles of composition with lines, areas and volumes together with the principles of writing and typography as well as the techniques for recognizing and mixing colors.5 According to Zumthor, everything that he learned at the Kunstgebewerbeschule, he learned during this Vorkurs.6 After attaining his degree in furniture making and interior design, Peter Zumthor decided to move to America to become a furniture designer. However, before he even arrived in New York City, he thought about becoming an industrial designer instead with an objective based on continuing his education within the creative process. Zumthor accordingly became a student at the Pratt Institute in New York from 1966 until 19677, enrolling in the Masters Degree of Joseph Parriot (chairman of industrial design at Pratt Institute from 1966 to 19908). Nevertheless, due to his experience and skill in the field of carpentry, Zumthor found he was far more knowledgeable 1,3,5,6. Priolo, P. (March 6, 2013) 2. Wagner, M. (May, 2015) 4,7. Thorne, M. (2009).

8. Honan, W. (March 19, 2000)

Peter Zumthor 9

and therefore superior - in comparison to the other Master students. Consequently, due to the clear difference in expertise between the other students and him, Zumthor felt that a new line of studies would present new opportunities and challenges.

During the years following this Masters Degree with Parriot, Zumthor enrolled in interior design, which he found “rather superficial”.9 He wanted “to design the building, not the interior of a bad building”.10 Therefore he joined the architecture department, wherein he wrote two papers and thus became interested in architecture. However, when he wrote to his father, telling him that he wanted to stay and study architecture, his father told him to return home because there were no longer the means to support his studies abroad.11 Accordingly, Zumthor was obliged to go back to Switzerland, leaving his architectural education unfinished.

After his return to Switzerland, in 1967 Zumthor began working at the Department for the Preservation of Monuments in the Canton of Graubünden.12 During his ten years at the department, he catalogued four thousand different farmhouses in different settlements and wrote several books on the topic. Furthermore, he studied the structures of historical settlements and analyzed historical art forms from inside buildings; for instance the decoration on the façade of farmhouses.13 Although his aforementioned job was closely linked to architecture, Peter Zumthor decided that just looking at houses was not enough to satisfy his professional desires; he wanted to become an architect. Accordingly, it was at this moment that he began looking at competition entries with a close friend, whom was an architect and had entered that specific competition. Unimpressed by the entries of the twenty-four architects, Zumthor thought he “could do better” 14 and therefore decided to compete in the competitions himself. This decision to compete marked a pivotal moment in the career of Peter Zumthor - a moment that can be said to have marked the official beginning of his long and successful career as a renowned architect.

9,10,11,14. Wagner, M. (May, 2015) 12,13. Priolo, P. (March 6, 2013)

Becoming an architect 10

Models Having established himself as a successful architect throughout his career, Peter Zumthor is today well-known for practicing ‘slow architecture’ during a time in which speed and money are becoming more important than quality and craftsmanship. This extensive process is marked by an ever-changing design, where Zumthor seeks to answer the questions which arise and, simultaneously, evolve during the process. By asking the ‘right’ questions he is able to redefine the design-brief and therefore design a building that, during different steps of the process, has the capacity to look totally different. These numerous changes to the designs are made visible through a collection of models, where each model illustrates the decisions that are made during the process. This can be seen through a close relationship between drawings and models in Atelier Zumthor because the drawings are directly visualized through means of a model.

Changes to these models are made with extreme care, where he examines the height of the space to the proportions and placement of a peculiar item, such as a closet. These changes are measured and, in their turn, altered in the drawings. However, there is no rule determining which comes first during the design process; either the model is based on the drawings, or the drawings derive from a previously made model. Nevertheless, Zumthor is notorious for practicing ‘real architecture’, in which the model is an essential form of representation of an imagined space that will eventually become a reality and be occupied by its users.

The plethora of models in themselves can be considered as an evolving work of art, wherein different scales of the building are studied but are together unmistakably part of an ensemble.

Although they show varying amounts of detail, when placed together, the selection of models illustrate every single aspect of the building forming one complete design. The diverse use of models can be seen to one of, if not the, most unique qualities associated with the name ‘Peter Zumthor’ and its architectural legacy.

Peter Zumthor 11

Fig. 01 Model studies for Atelier Zumthor, Haldenstein

Models 12

Fig. 02 Le Corbusier gazing onto his model

Peter Zumthor 13

Inspiration The way in which Peter Zumthor uses models within his design process is quite distinctive, often recognized for blurring the line between architecture and art. Indeed one might say that an architect can only work and design like Zumthor when he has certain affection to both art and architecture.

Another Swiss architect who had a similar love for art and architecture was Le Corbusier; a distinguished writer, painter and designer. For Peter Zumthor, Le Corbusier was a principal inspiration to embrace a similarly creative and, therefore, artistic approach to architecture. In an interview with Klaske Havik and Gus Tielens (Concentrated confidence: A visit to Peter Zumthor1) Zumthor states, “The so-called father of this kind of work is Le Corbusier. Le Corbusier’s way of working was about building, about real architecture.” Moreover, Le Corbusier’s atelier was full of 1:1 details such as door handles and doors; details which can also be seen in the atelier of Zumthor. Le Corbusier adopted an approach wherein he was interested in the building process of the various designs that he made; specifically how they performed in reality.2 It is this same kind of curiosity and passion for design elements to be lifelike in scale, material, proportions and even to touch3 that Le Corbusier explored, which motivates Peter Zumthor to use models in his process of design. Evidently there are many elements within the design process of Peter Zumthor that could be seen in the works of Le Corbusier, thus making Le Corbusier an influential figure for Peter Zumthor.

1,2.

Havik, K., Teerds, H., Tielens, G. (2013). P. 71.

3. Priolo, P. (March 6, 2013)

Inspiration 14

Atmosphere According to Peter Zumthor, a design can only be successful or express quality when associated with the atmosphere created by the design.1 By ‘atmosphere’ he means the physical relationship with a place. Zumthor considers that architectural atmosphere can be broken down into nine themes which help to define this relationship2: ‘Body of architecture’, ‘Materials compatibility’, ‘Sound of space’, ‘Temperature of Space’, ‘Surrounding objects’, ‘Between composure and seduction’, ‘Tension between interior and exterior’, ‘Levels of intimacy’ and ‘The Light on things’.

Within his book entitled, ‘Atmospheres’ he describes these elements in further detail, elaborating on how they effectively relate to his own architecture. These nine details will be hereafter discussed in turn to understand Peter Zumthor’s definition of atmosphere, and to accordingly use his definition to relate the nine elements to his use of models.

Body of Architecture The first element to generate atmosphere - the body of architecture - describes the anatomy or construction of the building: where it acts as a bodily mass, covered by a membrane, a fabric and a skin.3 It is not the idea of a physical body as such, but rather a material presence. Peter Zumthor describes the body of architecture in his book ‘Atmospheres’ as: “The material presence of things in a piece of architecture. And that is what I would call the first and greatest secret of architecture, that it collects different things in the world, different materials, and combines them to create a space.”4 However, the body is not to be confused with the form of a building, which has no influence on the atmosphere of a design. Form changes continuously during the process, but the atmosphere generated by the body remains constant. To most architects, form is an element that is decided upon rather quickly within the process, but Zumthor argues that “form is the easiest element to control and so it can be done at the end.”5 This inversion of the form’s place in the process is yet another distinctive aspect of Peter Zumthor’s designs and use of atmosphere. The form of the building has no affect on the atmosphere itself, but rather it is controlled by the spaces in the form.

1,2.

Füzesséry, S. (September 30, 2013) 3. Budel, R. (Febuary 23, 2013) 4. Zumthor, P. (2006). P. 23.

5. Frearson, A. (February 6, 2013)

Peter Zumthor 15

Materials Compatibility Of the nine elements, materials compatibility is one the most essential in relation to the architecture of Peter Zumthor. His architecture has a certain architectural quality concerning the materials used, which are difficult to reproduce or imitate. The search for the right materials to use for every specific project requires lengthy research, where thousands of different finishes of one material are considered: “Materials are endless. Take a stone: you can saw it, grind it, drill into it, split it, or polish it – it will become a different thing each time. Then take tiny amounts of the same stone, or huge amounts, and it will turn into something else again. Then hold it up to the light – different again.”6 Additionally, the thorough research to find the perfect use for each material is compounded by another difficulty: the connection between the different materials. The designs of Peter Zumthor are not notoriously recognized because of the use of one material, but because of the compatibility of the multiple materials. For example, stone and steel were used in his building, ‘Therme Vals’ and burnt wood, that was designed to leave an imprint in the concrete, was interestingly applied to the building, Bruder Klaus Kapelle. Zumthor illustrates that between materials “there is a point where they are too distinct from one another to react. Equally, there is also a point where they are too close together and that kills them.”7 Zumthor evidently strives to find the perfect balance between different types of materials in order to create his desired effect.

Sound of Space The ‘sound of space’ highlights the interior of a building as a large instrument, wherein every space is unique and therefore reacts to sound differently. Each ‘instrument’ collects and amplifies sound and transmits it in its own way. Correspondingly, Zumthor often questioned: “What sound will the building make when walking around or when two people are talking to each other?”8 “I listen to the sound of the space, to the way materials and surfaces respond to touching and tapping, and to the silence that is a prerequisite of hearing.”9 Again, this discusses the unique properties of each material and how it responds to sound; whether it absorbs, reflects it or amplifies it. By understanding and actively designing with these 6.

7.

Zumthor, P. (2006). P. 25.

Zumthor, P. (2006). P. 27.

8. Budel, R. (Febuary 23, 2013).

9. Zumthor, P. (2006). P. 86.

Atmosphere 16

Fig. 03 Bruder Klaus Kapelle model research

Peter Zumthor 17

properties, it is possible to alter the behavior of those whom use the space and to change the atmosphere of a design.

Temperature of Space Similar to the ‘sound of space’, there also exists a ‘temperature of space’, where a body reacts to the material it touches. For example, steel feels cold and it extracts warmth from our bodies, whereas wood radiates warmth and feels warm when touched. Wood has the ability to adapt to the temperature of the body. Peter Zumthor used this phenomenon in his pavilion for the 2000 Expo in Hannover. Although this building was completely open, it was cooler inside than it was outside of the building. The opposite occurred when it was cold outside: it felt warmer on the inside.10 This process, however, is not only physical, but it is psychological as well: “Searching for the right mood entails more senses than only touch, it’s also about what we see and feel in a more psychological manner.”11 “It is also about what we see”, and what we associate with a certain material. A room will have a completely different feel to it, when it is entirely made out of concrete in comparison to stone or wood. So in the end it becomes a combination of a physical and psychological connection that determines the atmosphere of a space.

Surrounding Objects ‘Surrounding objects’ describes an element over which the architect has little control. It embodies a building, which is in use by its owners or visitors. This includes the personal things that people surround themselves with in order to gain a sense of home.12 Although the architect does not have control over these objects, he can design preemptively, designing according to the future needs of the users.

“The idea of things that have nothing to do with me as an architect taking their place in a building, their rightful place – it’s a thought that gives me an insight into the future of my buildings: a future that happens without me. It’s a great help to me to imagine them actually in use.”13

10. Lynch, P. (April, 2009) 11. Budel, R. (Febuary 23, 2013) 12,13. Zumthor, P. (2006). P. 39.

Atmosphere 18

Peter Zumthor spends a great deal of time thinking about the use of his designs and tries to accommodate the needs of the users. He designs with specific questions in mind: Where will people walk? Where will they sit? Where will they go to read a book? Thus by thinking about these scenarios, he is able to accommodate the people in their eventual use of his design.

Between Composure and Seduction Architecture involves movement: It guides one in their path; it refrains one from moving or it creates a space to reside. Peter Zumthor believes that a building should “give the user the freedom to meander and saunter.”14 He therefore designs buildings wherein the visitor feels free to “wander and discover”; ultimately allowing oneself to be “seduced” to unearth new aspects to his design.

“I like the idea of arranging the inner structures of my buildings in sequences of rooms that guide us, take us places, but also let us go and seduce us. Architecture is the art of space and it is the art of time as well – between order and freedom, between following a path and discovering a path of our own, wandering, strolling, being seduced.”15 ‘Between composure and seduction’ discusses not only the process of guiding people through the design by means of architecture, but also encouraging them to stay at a certain place. This is evidently visible within Therme Vals, where he introduced “a sense of freedom of movement; a milieu for strolling.”16 He did not want to direct people into a certain direction, but he wanted to make them feel like they could stay in one place, and not just pass through. These two different ways of moving throughout the space created by Zumthor enables a sense of guided yet intentional freedom when visiting a particular building.

Tension Between Interior and Exterior Inside and outside; private and public; enclosure and open-pan: these contrasting descriptions illustrate the tension that is created during the transition from interior to exterior or vice versa.

One can be inside or one can be outside, but to go from one to the other requires an awareness, which needs to be accommodated through architectural design.

14.

Füzesséry, S. (September 30, 2013) 15. Zumthor, P. (2006). P. 86-87.

16. Zumthor, P. (2006). P. 41-43.

Peter Zumthor 19

Fig. 04 Interior model House of the seven gardens, Dohe

Atmosphere 20

“The almost imperceptible transition between the inside and the outside, an unbelievable feeling of concentration when we suddenly become aware of being enclosed, of something enveloping us, keeping us together, holding us whether we be many or single.”17 However, this tension between interior and exterior is also evident within the facade. The facade portrays a connection between what has been made visible from the outside and additionally what can be seen from the inside when looking out. The facade works together with the entrance to make both the user as well as the by-passer aware of the stress that is put upon their boundaries.

Levels of Intimacy The classical architect would call it scale, however ‘levels of intimacy’ entails something more physical than measurements: It refers to the various aspects – size, dimension, scale, the building’s mass - by contrast to that of a person.18 Moreover, ‘levels of intimacy’ considers what makes a person feel secluded, lost or, contrarily, safe in open space. Peter Zumthor clarifies that – next to size and mass - intimacy is closely related to proximity or distance.

“My dedication to finding the right size of things is motivated by the desire to create degrees of intimacy, of closeness and distance.” 19 An object with a certain mass will create a different intimacy when it is closer to a person rather than further away. The same thing occurs when a small object is placed at the same distance as a larger object; both scenarios are related to each other. The user becomes, through this element, aware of ones position within the building and the kind of atmosphere that results from it. Whether this is a small chapel or a museum, every type of building requires a different intimacy.

The Light on Things The last element to generate atmosphere is one that Peter Zumthor expresses to be one of his greatest fascinations 20: light. According to Zumthor there are two ‘ideas’ in which light appears in his architecture. The first idea is “to plan the building as a pure mass of shadow. Then, afterwards, to put in light as if you were hollowing out the darkness; as if the light were a new mass seeping 17. Zumthor, P. (2006). P. 45-47.

18. Zumthor, P. (2006). P. 49-51.

19. Zumthor, P. (2006). P. 87.

20. Zumthor, P. (2006). P. 91.

Peter Zumthor 21

in.” 21 The second idea is “to go about lighting materials and surfaces systematically and to look at the way they reflect in the light.” 22 In other words, the architect is required to choose the materials with knowledge regarding the way light could be reflected and hence to design on the basis of that knowledge.

This principle of design is closely related to understanding the individual properties of each material and making decisions based upon these properties. To actively design with light means adding to the individuality of a space and consequently to generate atmosphere. Every site is unique and has a different relationship with light, and therefore the same building in a different site will create a dissimilar atmosphere.

Connections of Elements Throughout this chapter ‘atmosphere’ has been divided into nine different sections or elements.

However, one must recognize the correlation between the nine and understand that the experience of atmosphere lies in the simultaneity of all these elements. Nevertheless, it is not uncommon to look at each of these elements separately. Peter Zumthor upholds the belief that during the design process one should be able to completely focus on one aspect at a time.23 Indeed inside his architecture firm, Zumthor deals with these many different elements such as materiality, sound, light and intimacy independently. Zumthor differentiates these aspects of design because he fundamentally believes “You have to look at all different layers and levels separately.”24 However it is important to note that it is almost impossible to keep all layers and levels completely isolated due to the fact that the nine themes all possess an inherent connection to the materials used. Materials have the capacity to influence sounds, movement, atmosphere, and it is for this reason that it is of paramount importance and is intrinsically linked to each of the nine aforementioned themes.

23,24

21,22. Zumthor, P. (2006). P. 59.

Havik, K., Teerds, H., Tielens, G. (2013). P. 71-73.

Atmosphere 22

II.

Using Models

Atmospheric models, Anatomical models, Interior models, Mock-ups

Connecting Scales The use of models in various scales and levels of detail define the design process of Peter Zumthor. The many stages of the process demand a different model, which are each distinctive for a particular phase. These include: atmospheric models, anatomical models, interior models, and mock-ups. In order to illustrate the relation between a design and the model, a discussion of these four diverse model-types will be discussed and complemented with examples of how they are used in the atelier. This chapter will give a thorough understanding of what makes the models designed by Zumthor unique, and why they are essential in the design process of his atelier.

Atmospheric Site Model A design project at Atelier Zumthor starts with an extensive analysis of the site and context.

However, this does not mean acquiring numerous drawings and trying to decipher these images, but it requires a physical presence in order to understand and extract the most essential aspects of a site. A more grounded understanding of the context is gained by visiting the site and that understanding is then translated into an atmospheric site model. This first model is of significant importance because it needs to give an accurate representation of the site, whilst also allowing a certain ‘abstraction’ to take place. An abstraction is generally defined as, taking away insignificant details, which will have no influence on the ‘to be’ designed building. This similarly includes choosing a material with which to build the model. Every site is unique and contains a distinctive terrain or material. The atmospheric site model needs to convey a similar atmosphere without it having to be specifically built with the same materials as the landscape. This is visible in the model for the ‘Summer Restaurant’ on Lake Zurich, Switzerland. The model is made out of twenty layers of wax, to capture the right colour.1 Even though it is not the actual material of the site, it does capture its atmosphere. Moreover, the process of building an atmospheric site model can take months in order to get the materials, colours and finishing just right.2 This is justified by the fact that is not merely used as a site to place the model at the end of a design project, but it is used throughout the entire process of designing.

The first ‘design-model’ is positioned in the atmospheric site model to see how it reacts to its surroundings. A connection between the two needs to be created, explaining why the design model shares the same kind of accuracy as the site model. Again, when examining the 1. Vleugels, R. (January 14, 2016).

2. Koch, D. (November 24, 2015).

Using models 25

Top Fig. 05 Atmospheric site model for the Summer restaurant Bottom Fig. 06 Various samples for the roof and volume

Connecting scales 26

atmospheric site model for the summer restaurant, it is evident that the design does not contain a lot of detail but it does explain the main elements: an overhanging organic roof together with a more angular volume underneath. Even though the shape of the design seems quite undefined, numerous samples of different shapes and materials have been tested to obtain the atmosphere evident in the photograph.

Finally, this model has one more function: communication. During the first stages of a design it is difficult to produce enough material to show to client and to convince them of the quality of a design. Zumthor accordingly uses this atmospheric site model as a form of communication between him and the client by showing them what the final design will look like without giving too much detail. This is most important during a design process wherein, for longer periods of time, smaller aspects of the design are considered in comparison to the discussion of the complete building. Throughout the process, the atmospheric site model is placed central within the atelier to ensure a regular engagement. Even when models on a larger scale of the interior space are being built, a reflection onto the site model occurs to see whether an identical atmosphere is realized. The atmospheric site model is most distinctive to the design process of Peter Zumthor, whom overturns the traditional use of a model and transforms its role to become an ode to the landscape on which he builds.

Anatomical Model Zumthor continues the design process by approaching the building from the inside. The ‘mass’ placed in the context is hollowed out to “reveal the interior, functions and atmosphere”.3 An anatomical model is used to illustrate this procedure, creating space by means of a structure; the construction of a design and the spatial structure. These two form a connection because the structural elements largely determine the proportions of a space. Moreover, this model provides Zumthor with a clear view on how each space will react to the bodily scale and how the various spaces are connected to one another. The anatomical model is undoubtedly linked to the atmospheric model as it continues on the previously determined ‘atmospheric theme’ of the structure. By studying the two models for the ‘Holiday home’ in Devon, it is evident that they both describe the same structure: large, thick walls combined with an overhanging roof. However, the difference between these two models also further clarifies how an atmospheric model is used.

Even though they are nearly the same design, only the first image (figure 07) aptly fits into the site model. This is due to accuracy with which the model was built, which is similar to that of the site model. The model only needs to give a precise representation of the intended atmosphere, 3.

Havik, K., Teerds, H., Tielens, G. (2013). P. 85.

Using models 27

Left Fig. 07 Atmospheric model Devon holiday home Right Fig. 08 Anatomical model Devon holiday home

Connecting scales 28

Left Fig. 09 Anatomical model Steilneset Memorial Right Fig. 10 Anatomical model Zinc Mine Museum

Using models 29

as the anatomical model will provide the exact dimensions. The second image (figure 08) shows a revised organization of the inner walls, examining the space created by them. This type of research is the main purpose of an anatomical model: altering the measurements of the surrounding walls – and equally the height of the ceiling - to find the correct proportions of a space.

The second application of an anatomical model is the construction or, rather, the expression of the construction. Within the architecture of Peter Zumthor, a construction is not primarily used as a form of support but as part of the architectural expression. This is visible in the aforementioned holiday home in Devon, but similarly in the ‘Steilneset Memorial’ in Norway and ‘Zinc Mine Museum’ in Almannejuvet. This latter project describes several separate buildings on wooden structures. Although the wooden beams and columns do not define the internal space, they do affect the expression of the exterior. Therefore, a model was made of the supporting structure, experimenting with different widths and connections between the wooden beams4 Raoul. According to Zumthor, this is “too difficult to do without models. It is too complex.”5 Ultimately, the thickness of a wooden beam corresponds to the technical properties of the construction, but this was not the main emphasis of that particular model. Rather, it examined the relation between the closed volume and the composition of beams enclosing it. Together with the spatial structure, the anatomical model marks the first step in developing a spatial experience of the design.

Interior Model The interior spaces created by using an anatomical model need to be developed further, as they do not describe the functions of the various spaces. By making models of these particular rooms, Zumthor isolates specific aspects of the building, and examines them separately.6 These interior models research, on a larger scale, how a room is used or rather how it should be used. Through placing furniture and other non-structural elements within the model, Zumthor experiments with whether the proportions of a space appear to fit the specific function. Similar to the atmospheric site model, a close relation remains between the interior and the anatomical model. When such an interior model is made and the proportions do not fit the function, they are altered accordingly within the model. Additionally, they are also changed in the anatomical model, ensuring these alterations do not affect the previously designed composition of the building. However, the use of a space is the controlling factor in this scenario, in which the anatomy of a building is considered as merely a casing.

5.

4. Vleugels, R. (January 14, 2016).

Havik, K., Teerds, H., Tielens, G. (2013). P. 67-69.

6. Howett, N. (April 28, 2010).

Connecting scales 30

‘I think it is better to not work with blocks anymore.

You need to work with wire. Exercise equipment is not a volume! It’s a machine.

You cannot put something grey in here.

If we start with this material, I can’t tell you why, but this doesn’t work.

If you take wire pieces it will work better.

These red papers are the yoga mats. That is fine.

We want to find out where the things are, or should be.

Give me some black paper, would you?

Maybe you can take this black paper and fold it.

No, this black paper still is too heavy to represent the showers. The scale of these boxes is a problem: they are showers, not boxes!

You have to take a thinner paper and fold them.

Or could this be done in wood?

Try 1 mm of wood, veneer.

Take the backside. That is better.

Think of it: When you take a shower, do you want this?

Would you like to take a shower in a box?

You should take a piece of wood and bend it like this.

Look here and see. This is enough to take a shower.

I am trying to help you avoid these goddamn boxes!

This has to stop! Ha, ha!

These boxes. They are terrible. Specifically double boxes!

See, it does not go with our columns as well.

Why not make them U-shaped, or in round forms, in wood. Remember, soft and light!

Soft – light – subtle – textile – thin – delicate.

It’s not about volumes; it is all about membranes now.

Fig. 11 Conversation between Peter Zumthor and his assistant

Using models 31

In order to research the intended use in an interior model, every individual aspect needs to be studied and placed within the model. This becomes particularly clear when looking at a conversation between Zumthor and an assistant of his, working together on an interior model for the ‘Learning Centre’ in Risch (figure 11). The assistant is focusing on the gym within the design, only displaying the columns, the ceiling and a blue thread representing the position of the façade.7 Using this model he is testing the position of the showers with grey foam blocks and yoga mats with red sheets of paper. Zumthor explains how to approach each specific item of furniture in order to convey the most ideal atmosphere. Furthermore, this conversation shows the depth of consideration concerning every piece of furniture within each model: “It’s not about volumes; it’s all about membranes now.”8 The interior model in this scenario does not only provide an understanding of the spatial awareness but also discusses the positioning of the furniture. It is thus the combination of the functionality of a space together with the atmosphere created through the placement of furniture that makes the interior model a significant aspect of this specific stage of the design.

Mock-up A mock-up (model) is defined as being between a model and the actual construction of a part of the building. These 1:1 detail models mark the final step of the design process and are used to see whether the design will not only work on a smaller scale, but whether it will work in reality.

Within the atelier of Peter Zumthor there are several types of the mock-up, which are each used to highlight different aspects of the design such as: a connection or detail, furniture or fixtures, and a section of the building. The former two elements can be considered as elaborate studies of different elements of the design, but the latter, third element (a section of the building) is uniquely typical of Zumthor’s design process.

By building a fragment of the building, Zumthor examines what the finished design will look like and how it is constructed. However, this is unlike any previously discussed models - in which certain materials form a representation of the design - but it discusses the actual object. For the ‘Werkraumhaus’ in Andelsbuch, the atelier made a complete segment of the one story building.

Included in this model was a large part of the roof structure, used to decide on lights and the position of sprinklers.9 Even though the four meter high model was intended for this particular ‘lighting’ purpose, Zumthor decided that the height of the ceiling was not suitable for the function of the building. Having built numerous interior and structural models - wherein the height 7,8.

Havik, K., Teerds, H., Tielens, G. (2013). P. 69.

9. Stout, F. (December 17, 2015).

Connecting scales 32

Fig. 12 Mock-up for the Zinc Mine Museum

Using models 33

seemed appropriate - Zumthor requested they be changed to “six meters high” after seeing the mock-up.10 The mock-up thus clarifies that a design, even in such a late stage of the process, can be altered when necessary.

Another example of a 1:1 scale model is the ‘Zinc Mine Museum’ in Almannejuvet, for which a corner of the design was constructed. The purpose of such a model was not only to look at the measurements or proportions of the space, but also to examine the materials. The model for the Mine museum was constructed with the previously designed wooden structure and a hemp façade cladding. The examination of the mock-up was the first time the material was assessed without scale and with the proper measurements. The mock-up provided Zumthor with a model to visualize the final product and finalize certain details.

Notably, due to the extensive amount of detail included in the mock-up, it is difficult to distinguish the model from a real life design. Nevertheless, it is this attention to detail that makes Zumthor’s mock-ups of a standard that aptly represents a final product and therefore can determine whether a designed is completed.

Connection between Scales and Models Through the use of models in his design process, Zumthor does not only study his design on different scales, but also studies the connection between the various scales. As each design continuously develops and is analyzed on a larger scale – using a different model - a reflection, or reevaluation, on a previously constructed model remains important to the design. The models used within the atelier are undeniably ‘working models’ and can thus be altered when finished – even during a later stage of the process. Accordingly, when a significant change needs to be made, this is considered in all previous models to confirm the change is suitable to all levels of the design – whether it be atmospheric, anatomical, interior or the mock-up. Therefore it must be noted that the collection of models made by Zumthor are not always built in a particular sequence, but they are used throughout the design process to complement one another. This systematic way of working with models is essential in the atelier of Peter Zumthor to ensure that the design is effective on every scale.

10.

Stout, F. (December 17, 2015).

Connecting scales 34

III.

Materials

Material architecture and Materials in models

Material Architecture Peter Zumthor is renowned for selecting a unique material for every project, specific to its site and function. Therefore choosing a material becomes a significant aspect of the design process, where it becomes essential for the model to reflect that particular material. This chapter discusses the research necessary to determine Zumthor’s decision on a final material.

In addition, differing materials often have a correlation with different types of models, as their specific function within the process is unique and requires a distinctive approach. As such, the relationship between multiple materials will also hereafter also be discussed.

Choosing Materials The strength of the various buildings designed by Peter Zumthor lies largely in his choice of materials. His designs are inseparable from their distinctive material and would be thus unrecognizable if built with a different material. The initial idea of a building is integrated together with the choice of a specific material and this repeatedly creates a theme. According to Zumthor, a design “has to be formulated in a strong way that the entire building can be explained according to this principal theme.”1 The ‘principal theme’ per se is a physical one, which discusses a material in relation to a structure rather than an abstraction. However, the selected material primarily remains somewhat abstract and is described generally with broad terms such as wood, concrete or brick. Throughout the duration of the design process, the chosen material develops alongside the design by means of an extensive research. Atelier Zumthor uses materials that are sometimes new to the architects and have a unique building method; thus the need for research becomes apparent. Nonetheless, it is important to Zumthor that the architects remain open to all possibilities regarding materials so that they may surpass the standards of commercial architecture and create ‘art-architecture’.2 The research for a material encompasses two essential factors: the expression of the material itself and the technical specifications. The technical specifications include the production process, the numerous ways in which it can be applied and the structural possibilities. Because materiality is already discussed in the early stages of the process, a close connection with the manufacturer is required from the outset of a project. An example of such a project is the ‘New City Gate’ in Isny, designed to be constructed completely out of glass bricks. Initially, Zumthor invited a Czech glass company - whom were able to tailor-design these specific bricks - in 1,2.

Saieh, N. (November 2, 2010).

Materials 37

Fig. 13 Model of the new city gate, Isny

Material architecture 38

order to discuss how to build with glass.3 This demonstrates that Zumthor is not looking for standard solutions, but rather wants to understand the limits of a material to obtain the soughtfor expression.

The architectural quality of a design sometimes does not only discuss one material, but the harmony between many. Therefore, alongside the ongoing research, experiments take place in an attempt to find a combination of materials yielding a unique connection.4 This is a distinctive quality for the architecture produced by Atelier Zumthor, which demonstrate combinations of oak and pietra serena, steel and stone, waxed timber and natural stone. Zumthor places these unique materials beside each other, searching for the energy between them. The connection becomes visible when tension arises between the indifferences of the materials.5 In order to do this, a representation of a material is not enough, but it requires a physical interaction. The interaction takes place by holding two materials next to each other, and subsequently changing one of the two to see whether this enhances or weakens the connection. Numerous samples have been collected of various materials for such a process to occur spontaneously and frequently. Consequently, this allows Zumthor to explain the project to his architects and to discuss the materials in a tangible way.6 Making mock-ups of different elements of the design completes the final stages of a design process. These full-size models illustrate the completed design and therefore require the materials to be included in their final form or finish. This could involve the right colour of concrete, the dimensions of a stone slat or a unique stacking of bricks. However, before these specifications of the distinctive materials have been decided upon, they are additionally tested on a 1:1 scale to enable a realistic representation of the materials. This procedure can go as far as polishing timber floorboards with different types of wax in order to “get the requisite sound and smell that Zumthor remembered�.7 As a consequence the search for materials in Atelier Zumthor unmistakably goes further than merely a texture, but it must form an addition to the atmosphere by means of sound, smell, temperature and scale.

Materials in Models The relation between materials and models – as well as architecture - is vital within the design process of Peter Zumthor. Due to the fact that the spatiality and atmosphere is repeatedly tested 3.

6.

Vleugels, R. (January 14, 2016).

4. Zumthor, P. (2006). P. 86.

5. Stec, B. (2004). P. 6.

Havik, K., Teerds, H., Tielens, G. (2013). P. 71-73.

7. Buchanan, P. (August 28, 2012).

Materials 39

through a model, a representation of the material need also be implemented into the model.

During the different stages of a design, specific scale models are used, in which the material is addressed in a unique way: whether it is a representation of a material, foam (Styrofoam) with textures or the actual material. In a similar way to the process of choosing a material, the material used in models also develops through the course of the design process. It is due to this development that materials represent something different in each model. However, when placed in a chronological order, the models show a comparable design approach in which the materials form an unmistakable connection with the design.

A design at Atelier Zumthor starts with a comprehensive understanding of the site. This includes making an atmospheric model in which the atmosphere of the site is explained through an abstraction. The abstraction largely discusses how materials form a representation of the surroundings and possible adjacent buildings. By deciding on a material for this specific model, a first step is completed towards finding a material for the final design. Moreover, the initial model is placed within the atmospheric model and thus needs to form a connection: a connection that can only be made when the similar or unlike materials of the two models interact with each other. Although the influence of material is significant in this part of the design process, it only discusses a representation of a material: wax can represent wood; sand can be used for grass; or clay to mimic stone.8 However, there is no given rule prescribing which material can be used to form a representation. Instead, Zumthor himself determines it. Indeed, in this later stage, Zumthor assumes a role resembling that of a sculptor, trying to understand the constraints of the framework and shaping it into a sculpture befitting of that particular material. Therefore, this first phase is guided by a pursuit for architectural expression rather than precision.

The next approach - in which material is addressed in models - is the use of foam together with textures. The confinements of a space are built with Styrofoam, after which printed textures are glued on to cover the foam. This particular way of working gathers its strength through a fast pace process during which the model is easily modified. By simply taking a piece out, cutting the foam and placing it back (creative a texture), the alterations can be implemented instantly.9 This method is especially important in the design process because changes are regularly made.

The printed textures are used to both cover the foam and to assess the chosen material on a different scale. As mentioned above, Zumthor has a ‘materioteca’10 ortalli, that holds various materials with different finishes. However, these samples are on a 1:1 scale and do not fit the scale of the model. Therefore the texture needs to take on the appropriate scale in order to be used in a model. This method allows Zumthor to test the proportions of materials such as

10.

8. Vleugels, R. (January 14, 2016).

9. Stout, F. (December 17, 2015).

Ortalli, G., Verrier. G. (November 23, 2015)

Material architecture 40

Fig. 14 Wax representing stone for the Vals hotel

Materials 41

the width of a wooden floorboard, the length of a brick or the distance between wooden slats.

Unquestionably, the model shoulders many functions - is not only used to explore the spatiality of a design but also to study the chosen materials.

The last technique that Zumthors implements into his design process is working with the actual materials. Alongside the use of samples, Zumthor makes models out of intended materials to see whether a connection emerges.11 This connection has already been made apparent by holding the specific samples next to each other, but the connection might be lost when applied to the geometry of the design. The same technique is used as in a mock-up (1:1 scale model) to test the final proportions and, most importantly, the finishing of a specific material. Previously, only small samples and printed textures have been used to test the finishing of a material. However, a small coloured concrete sample might not be an accurate representation of, for example, a large column. Consequently, the column needs to be built with the right proportions as well as the exact finishing to see how the materials will interact on 1:1 scale to ultimately represent the ‘real’ situation. Therefore a ‘mock-up’ marks the final stage of a design, where not only the final details are checked, but where the research for a material is concluded.

Zumthor develops a ‘love affair’ with a material early on in the design process. Each building becomes an ‘essay’ of sorts on a particular material in which he researches every possible application. Although Zumthor’s chosen materials require separate design processes, they need to be continuously applied to the design itself, resulting in a design in which the material and form are unmistakably intertwined. This becomes most apparent when looking at a selection of models made by Zumthor; they, when combined, exhibit spatiality and materiality. Poignantly, when placed in a chronological order the models of Peter Zumthor illustrate one principal theme: material architecture.

11.

Vleugels, R. (January 14, 2016).

Material architecture 42

IV.

Presentation and Representation Sketches, Drawings, Photographs and Working Models

Representation of space The model undoubtedly plays a central role in the design process of Peter Zumthor. However other forms of presentation and representation are used in the atelier and work closely together with the model. These include: sketches, computer drawings and photographs. Throughout this chapter their relation to the model will be explained followed by a discussion of the importance of their position in the design process.

Sketching Sketching is evident in the first stages of the design process of Peter Zumthor. He uses watercolours or aquarelles to sketch the initial idea, which also helps him to realize the right atmosphere for a given design. He continues to draw until his sketches reach a point of representation when “the prevailing mood emerges, and before inessentials start detracting from its impact.”1 The drawing must take on a certain quality, which is similar to the sought-for design.

Zumthor starts by drawing floor plans and sections of the design, together with volumes and spatial diagrams. These illustrations become the work drawings on which the first models are based. Consequently the drawings are carefully cut out and measured before they are translated into a model. It is important to observe that the sketches do not only discuss proportions but also specify what material should be used. It is evident that Zumthor’s architecture is closely related to materiality so this factor needs to be incorporated into the model in order to get an accurate representation of the designed space.

Zumthor believes that this first step cannot be done through a computer, as it needs to be a more personal process, in which a direct relation between the architect and the design is realized.

This relationship encourages creativity, often difficult to achieve on a computer, where perfectly straight lines or curves are based on measurements rather than a natural flow. Therefore, due to the fact that nowadays architecture students are accustomed to work with a computer, this causes a potential conflict in Atelier Zumthor.2 He wants his architects to either sketch on paper or use models instead of “designing on a computer”3. Although Zumthor recognizes the importance of computer programs to provide architectural drawings, the first stages of the design process, according to Zumthor, should discuss the representation of a space and its atmosphere rather than merely focus on the precision of the drawings by technological means.

2,3.

1. Yoshida, N. (1988). P. 12.

A+ Architecture in Belgium (March 20, 2015).

Presentation and representation 45

Fig. 15 Sketch of Pingus winery, Spain

Representation of space 46

Fig. 16 The Meelfabriek atmospheric photograph

Presentation and representation 47

Computer drawings The early stages of the design process of Peter Zumthor rely heavily on sketches in relation to model making, with a minimal amount of digitalized drawings. However, these computer drawings or ‘working drawings’ become increasingly important in the development of a design.

After the initial model is built, the architects at Atelier Zumthor begin converting the model into working drawings on a computer. Although designing on a computer marks the subsequent stage of the design (following the initial drawings), a relation with the physicality of a model remains integral. When a later stage of the design is reached, the developed design is again immediately translated into a model to see whether the drawn spatial proportions also work in reality. According to Peter Zumthor, it is vital to keep a close relation to the model as a physical representation of a space due to the fact that “computers do not allow an understanding of the meaning of scale”.4 Consequently, the model in itself becomes more important than the drawings on which it is based. Changes to the design are first made in the model, before altering them in the drawings. The model therefore serves as new input for the work drawings. This far-reaching relation between model and drawing continues until the smallest of details are examined and approved by Zumthor. Although the process tends to be focused on the physical relationship between samples and models, every aspect of the design is drawn at the end of the process.

These drawings do not only have to illustrate the functionality of the design, but simultaneously provide the responder with ample information in order to understand the technical qualities.

Photographs A form of representation that works closely together with the presentation of a model is photography. While the model is purposed so that the space could create an initial ‘physical’ presence, a photograph of that specific model can help establish the atmosphere of a design.

These photographs are especially important to create a static frame within a dynamic process in which the models are continuously altered. Although taking a photograph of the model is merely the first step of an extensive process, it allows Zumthor to “take away the model scale”5.

To Zumthor this is essential because instead of ‘looking at a model’ as a representation of a space, he is looking at a photograph of that space and thus ‘at reality’.6 While other architecture firms try to achieve the same results by using rendering programs, Zumthor does not believe in computer-aided design.7 Rather, he builds models as large as possible and puts them in either natural daylight or artificial light in an attempt to learn from this process. Only then will the eventual building have the same qualities, which had already been examined and scrutinized 4.

Havik, K., Teerds, H., Tielens, G. (2013). P. 83.

5,6,7. Howett, N. (April 28, 2010).

Representation of space 48

Fig. 17 The Meelfabriek interior photograph

Presentation and Representation 49

Fig. 18 The Meelfabriek interior photograph

Representation of space 50

over in previous models.

Although this first step is deliberately done without the aid of a computer, the following phases take place entirely on a computer. Due to the fact that the models are ever changing and thus lose some of their initial precision during the process, these imperfections such as dents or crooked window frames first need to be fixed with Photoshop. This is followed by an extensive trial and error based sessions of Photoshop in which the architects search for the right atmosphere. According to multiple architects8 this takes weeks before a final version is accomplished. However, even when the sought-for atmosphere is present in the photograph, it is still possible that Zumthor requests that the angle should be altered. Finally these multiple atmospheric photographs are placed together as a mood board to simulate the experience of walking through the building. One could certainly consider the models to be the generator of the atmosphere, but it is in fact the modified photographs at this stage of the process, which encapsulate the atmosphere of a design.

Presentation of models In contrast, another form of presentation discusses the actual exhibition of the models, during which different phases of the design process play unique roles. Throughout Zumthor’s atelier in Haldenstein, models are placed in a central location in the workspace in order to ensure a regular engagement from all those whom regularly pass by. However, due to the fact the atelier is part of Zumthor’s house this can cause a conflict as to where the working area stops and the living area begins. To Zumthor, who claims to “like to live amongst models”9, there is no definitive boundary between the two but rather the exhibition of models continues throughout the building, illustrating the boundless thought process of Peter Zumthor.

The models are placed on trestles made out of different heights to control the position of the models and influencing the way one experiences the space created by them: a model which is used to see the functionality of a interior space is made to look at on eye-level, whereas an atmospheric model asks for a more all sided overview. Deciding on the correct height for a model therefore becomes part of the design process, highlighting the most important aspect of the design, whether this is an interior space, a mock-up or a structural model.

8.

9.

Koch, D. (November 24, 2015).

Priolo, P. (March 6, 2013).

Presentation and Representation 51

Fig. 19 Zinc Mine Museum models on threstles

Representation of space 52

Presentation models For an architecture firm, which during its extensive design process relies heavily on models as a form as presentation, one would expect a distinction between working and presentation models. However, the models produced by Atelier Zumthor only have one purpose: to make the designed space tangible in order “to check the spatiality, the functionality of the design and the use of spaces”10. Therefore every model is a working model in which furniture can be moved, proportions can be altered and materials can be changed. According to Zumthor there is one question, which continuously arises when altering these models: “does it work?”11 He needs to answer this question himself by imagining how he would walk through his own design, where he would sit or want to look towards. Given that models are positioned throughout his house and atelier, it allows this process to be spontaneous and voluntary. By simply walking through his house, he is able to either quickly modify a model when he sees that something is not quite right or leave it as it is when no new ideas arise.

Additionally the working models, which are used to design, are still used to present to the clients even though they change simultaneously with the design and thus are altered numerous times throughout the process. Indeed despite the fact that they are made out of “foam that is almost falling apart, with paper that is falling off”12, Zumthor’s atelier favours these models to illustrate the space created by the design. Peter Zumthor believes this is the only type of model that should be used in the design process, instead of a presentation model. A model, furthermore, should not represent the building or be a representation of the space, but it should most importantly discuss the physical space.13 Therefore the working model is, at the same time, a presentation model, because it comes closest to the eventual concluded building.

10,11

Havik, K., Teerds, H., Tielens, G. (2013). P. 65.

12. Stout, F. (December 17, 2015).

13. Howett, N. (April 28, 2010).

Presentation and Representation 53

Representation of space 54

V.

Atelier Zumthor

Hierarchy, Master apprentice, Starting the process and Models and meetings

Process of architecture Peter Zumthor is considered to be a true master (architect) by the architects and interns working in his atelier in Haldenstein, Switzerland. His unique way of working resembles a masterapprentice relationship, created between Zumthor himself and the architects and interns working at Atelier Zumthor. This chapter will explain the work process within the atelier and the hierarchy formed between Peter Zumthor and his ‘apprentices’.

Hierarchy The people working at Atelier Zumthor can be divided in four different groups: Peter Zumthor, architects, interns and technical drawers. However, these latter three groups are almost indistinct within the atelier, creating a clear hierarchy between Zumthor and everybody else. Similarly, even though the official name of the architecture firm is called Peter Zumthor and partner, according to multiple architects who have worked with Zumthor, the partner (Rainer Weitschies) is closer associated to the architects than to Zumthor. The hierarchy becomes increasingly evident when decisions need to be made during the design process. Indeed although the architects influence the vision of Zumthor, everything they design and ultimately create are both managed and crosschecked by Zumthor. For an architect who cannot be ‘satisfied with standard furniture or fixtures’1, this becomes a somewhat tedious process. The kind of perfection that is required by Zumthor drives his architects to custom design bricks, emergency staircases, lightning rods and so on, which all become projects on their own. To exemplify this attention to detail, the architect in question would design a lighting fixture and build a working 1:1 scale model before presenting it to Zumthor. It is important to mention that the design of such a specific element and the creation of a unique product that would be fitting to a specific design could take months to achieve. Although the aforementioned subprojects contain very detailed components of the design, Zumthor monitors the process closely, ensuring that it becomes effectively integrated in the design. Accordingly, this element has to add to the quality of the design, rather than merely being a part of it. Zumthor himself determines whether that design will enhance the atmosphere of the final product or whether it does not yet possess the quality to do so. Peter Zumthor evidently plays a central role in the decision making process during every step of the design, earning him the top position in the hierarchical structure within the atelier.

1.

Koch, D. (November 24, 2015).

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Master-apprentice Existing within the atelier can be found a close collaboration between the architects and Peter Zumthor. The thirty architects working at the architecture firm are divided into six to seven teams working on different projects. For Zumthor, this is the limit of his capacity of being able to talk to every group often enough.2 Unlike other architecture firms where the name of the architect has been brought back to a trademark, Peter Zumthor is omnipresent in the atelier.

According to multiple architects whom have worked at the architecture firm, “Zumthor is in excellent shape” and only abandons his daily routine to play tennis or watch a Roger Federer match.3 While he oversees every single project, as opposed to telling the architects what to design, they engage in a dialogue in which they make the decisions together. Peter Zumthor regards this is an important aspect of the design process; where a vital decision of the design should be formed together.4 During these collaborative moments, the quintessence of Peter Zumthor’s architecture becomes clear: “architecture is experienced by people who aren’t thinking; architecture is not about arguments, but about an emotional reaction.”5 The architects during different stages of the process are presented with the design and are asked what they think. However, rather than explaining why they like or dislike it, this has to remain an intuitive judgment. For the architects whom work at Peter Zumthor and whom are for the most part young and have recently graduated, this is quite difficult to achieve. During their time at university, they are accustomed to giving an academic reason for why they think a design works. However, as previously discussed, at Atelier Zumthor this has to remain an emotional reaction where they reveal whether a good or bad feeling is experienced.6 This subtle difference is fundamental for Zumthor, whom creates spaces that makes the user ‘feel good’, rather then having to explain the practicalities of the design.

During the aforementioned meetings, everyone is asked to form their own conclusion without speaking, in order to assure an unbiased and personal reaction. Next, Peter Zumthor asks the architects, by a simple ‘show of hands’, whether they like it and if it works well. Nevertheless, this is not a democratic way of working; if one person does not agree then that highlights that something is not quite right yet and therefore that that something needs to change. Following this first vote, discussions are held in which Zumthor is interested to hear the opinion of different architects from opposing sides. This quickly progresses to architects making adjustments to the models - for example moving a column - to see whether that improves or resolves the problem.

Finally, and only when there is a unanimous agreement, will Zumthor continue development of the project. This master-class kind of working, where Zumthor is leading the discussion, enables 2,5. RIBA (February 14, 2013).

3. Schoemaker, S. (January 1, 2008).

4. Vleugels, R. (January 14, 2016).

6. Ulrich Obrist, H., Peyton-Jones, J. (2011).

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him to assess the quality of the design whilst simultaneously coercing the architects to share a similar approach to architecture.

The master-apprentice relationship is most visible between the architects and interns working at Atelier Zumthor. While one would generally expect that Zumthor prefers more experienced architects to work in his atelier, Peter Zumthor chooses his architects differently. His design team consists of young architects who come from different backgrounds unrelated to architecture, such as metal workers or sculptors. He prefers this diverse group of people and disciplines in order to design buildings, which discuss materials in such great detail. The reason why he favours younger people is because they are not as set in their way in comparison to other more accomplished architects. Moreover, Zumthor requires his ‘students’ to solve problems, which they are not familiar with and therefore will design something new and innovative. Contrarily, when more experienced architects are confronted with the same problem they will resort back to their own standard solutions. To Zumthor these innovative ideas are vital in his designs, requiring every detail to be unique and contributing to the atmosphere of a building. Indeed this ‘trial and error’ way of working, in which the inexperienced architect seeks to go further than a standard design method, shows a similar approach to that of a university; there is room to make mistakes, to learn and to evolve. Zumthor considers his atelier to be a ‘post-university training’7, where he takes his architects and he teaches them how to work, how to design and to question everything.

Therefore, in his atelier, Zumthor is the master whom, with his unique way of working, influences his architects to a great extent, which is unlike any other educational system.

Starting the process Alongside the collaborative discussions are the moments in which Zumthor distances himself from his atelier and works on a project in solitude. Using watercolours to sketch, he searches for the right atmosphere he wants his design to convey. This hands-on process allows him to really consider what colours to use and to “think about what is next.”8 Although his architects do work with a computer, Zumthor wants control over his design; only achievable by drawing them himself. This way, he does not have to stand next to the computer and instruct his architects to do it in a certain way, but rather he creates a more emotional and personal architecture through sketching.

These sketches are most important during the design process, when Zumthor has to explain his idea to the architects. During these ‘instructions’ he uses the aforementioned watercolour 8.

7. Vleugels, R. (January 14, 2016).

Ulrich Obrist, H., Peyton-Jones, J. (2011).

Atelier Zumthor 59

Fig. 20 Watercolour sketch Novartis

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Top Fig. 21 Design sketches Perm State Gallery Bottom Fig. 22 Model based on design sketches

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drawings as a mood board to illustrate what they have to work towards. Zumthor continues by making rough sketches with pastels – charcoals with colours9 -, with the architects present in order to involve them in his thought process. These quick sketches become the work drawings for the architects as well as the interns working in the workshop. Although the architects continue to design and further develop the building, the most significant progress is made in the workshop.

Here the interns start to make a model based on the drawing and begin visualizing the design.

The workshop starts by deciding which line they are going to use out of the plethora of parallel lines drawn on paper by Zumthor. As previously conversed, these sketches are made to explain the principle of a design rather than giving precise measurements. Every line is carefully selected and measured10 before translating it into an object, making it possible for Zumthor to experience the space he designs for the first time.

The conversion from drawing to model was previously guided by Annika Staudt, whom has since left Atelier Zumthor and continued working as a sculptor in Dusseldorf, Germany.11 She was in charge of the workshop and therefore responsible for the connection between the architects and the interns. The models made at Atelier Zumthor do not only discuss measurements or scales, but they must also express a certain atmosphere that is unique to every design. This requires a clear creativity as well as an artistic approach. Annika, as a sculptor, was skillful in interpreting the atmosphere and subsequently translating it into an object that was more comparable to piece of artwork than a model. As the head of the workshop she was omnipresent during the design meetings with both the architects and Zumthor, ensuring that their ideas would correspond with the models they were required to build. The design process in Atelier Zumthor is increasingly interconnected with model making, and consequently that decisions are made based on these models. Therefore the translation of drawing to model becomes a difficult task in which Annika had to find the delicate balance between architecture and the ‘art’ of building models.

Models and meetings Models occupy a prominent place within the workspace of Peter Zumthor: they are displayed throughout the atelier on trestles as if they belong in a museum. Seeing these models does not only confirm the importance of the model in the design process but also aptly explains the method in which Zumthor uses them. Through a daily engagement, Zumthor is able to observe the models like a sculptor, discovering new elements of the design exposed by the ever-changing natural daylight. By carefully modifying, touching and changing the position of the model, Zumthor studies the malleability of his models while attempting to find the perfect space.

9.

Ortalli, G., Verrier. G. (November 23, 2015) 10. Vleugels, R. (January 14, 2016).

11. Staudt, A. (n.d.).

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The practice of visualizing models in the workspace continues in the workshop, which is similarly filled with models of different scales. Positioned in the centre of the workshop, the atmospheric site model is displayed at eyelevel on large pedestals. Given that the atmospheric site model is the most important model during the design process, it needs to be ever-present in order to ensure that the original concept is maintained. Alongside the models can be found illustrations on the walls, which, when combined with the models, explain the entire project. These images consist of photographs taken of the numerous models, sketches made by Zumthor and architectural drawings. Regardless of whether these sketches take days to draw or whether it is merely a quick sketch, everything is displayed on the wall surrounding the model. This way of working - where all that is sketched or constructed relating to the central design is put up on the wall - allows one to oversee the entire project in a single room.

Zumthor accordingly uses this room see how the project is evolving and examine what the architects and interns are creating. The fact that his atelier is connected to his house makes it difficult for the architects to know exactly when this meeting will occur. Generally the meetings take place either once a day or once a week depending on when Zumthor passes by and wishes to see everything that is newly displayed on the surrounding walls. The novelty of these walls is that they change into a presentation board and have the ability to explain the entire project without having the problem of being unprepared. Furthermore, this can also be seen when the project needs to be presented to investors during different stages of the design process.

Rather than flying over to the building location, Zumthor invites them to his atelier, where they can experience the spaces created through various means of models, accompanied by the numerous sketches and architectural drawings.

The aforementioned meetings, however, are with people who are in some way involved in the architectural design process; whether they are architects, Zumthor himself or clients. A unique aspect to Zumthor’s way of working is that next to these meetings, he also invites people who are not familiar with architecture to critique his work. Peter Zumthor wants to hear the opinion of honest and impartial people that have no affiliation with architecture as it is, more often than not, this group in particular that will experience his architecture. Exemplified amongst them are the secretaries working at Atelier Zumthor who “do not know anything about architecture”12, but nevertheless are often asked during such meetings to look at the floor plans and models. For example, in regards to hotel room of the Meelfabriek, Leiden, the secretaries explained that the space “is a bit funny”13, making it clear for Zumthor that the design was not yet acceptable.

12.

Koch, D. (November 24, 2015).

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Fig. 23 Model central with the drawings on the wall

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Additionally, another example is a childhood friend of Zumthor’s from Basel named, Jurg14, whom, similar to the secretaries, has little to no knowledge of architecture. Peter Zumthor invites him to his atelier in Haldenstein and shows him two or three projects per day, calmly awaiting his response. Jurg looks at the models and drawings presented before him and asks simple questions, which do not examine the content or architectural quality, but rather discuss the readability and clarity of the drawings. Indeed by calling upon the opinions of nonarchitecturally knowable associates and friends – such as his secretaries and Jurg – Zumthor is able to discover a certain simplicity and clarity in his architecture - a simplicity accessible for both architects and non-architects alike.

13,14.

Koch, D. (November 24, 2015).

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VI.

Studio Zumthor

at the Academy of Architecture, Mendrisio

Principles of design This chapter discusses the teaching methods of Peter Zumthor at the Academy of Architecture in Mendrisio, Switzerland. Although he was a visiting professor at different universities such as the University of Southern California Institute of Architecture in 1988, the Technische Universitat Munich in 1989 and the Harvard University School of Design in 19991, his name is undeniably affiliated with the renowned Swiss university in Mendrisio. Since its establishment in 19962, Zumthor was of great influence within the architecture school, attracting young students from different parts of the world. During his ten years of teaching at the AAM, he led a number of design and graduation studios, which are widely considered to be a ‘school within a school’. His unique vision for architecture continued within his teaching, “letting go of endless reasoning and putting a stop to suffocating the students with the many theories about architecture.” Rather, he wanted to create an atmosphere where students can express themselves whilst at the same time develop an attitude towards architecture and the craft of making3. According to Zumthor, teaching architecture is not about abstract things, but it discusses real objects: “Architects coming from the university make drawings, but they don’t really know what they are doing. They don’t know how it looks in reality, how it will be, how it sounds, and so forth. I think this is not good for the profession of architecture.

When I was a professor for ten years, the main focus of my teaching came down to the very corporality of architectural things and structures. This was an amazing kind of experience: to go against everything, to go against academic, and into the real.”4 This ideology becomes increasingly apparent when examining the interviews conducted with students who have studied with the Swiss architect. These interviews fixate on the process of the various design studios, outlining the components necessary in order to make a project successful. An analysis of the answers given by the students will hereafter enable an understating of both the similarities as well as the differences between the design studio and Peter Zumthor’s atelier.

Site and program In a similar manner to most other design studios, studio Zumthor commences a project with

4.

1. Thorne, M. (2009).

2. Casarttelli, T (n.d.).

3. Priolo, P. (March 6, 2013) Havik, K., Teerds, H., Tielens, G. (2013) P. 73-75.

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a site and a program. Although both are equally important to the project, only one is known at the beginning of the semester. For example, a student of Peter Zumthor during the project ‘Make it Typical, Then it Will Become Special’, explained that certain programs were given at the start of the project such as: single family homes, restaurants, sports halls, shopping or cultural buildings. The site for the specific buildings was not specifically determined, but an indication was suggested as to the sort of atmosphere in which the building needed to be placed such as ‘by a summerhouse in Toscana’ or ‘an apartment nearby lake Zurich’. Contrarily, another student describes a project in the Klybeckquai area of Basel, at the point where Switzerland, France and Germany meet on the Rhine. This project clearly described a specific site, however and in contrast to the previous task; the students were free to compose their own program. It is important to clarify that, although only either the site or the program was fixed, the two are explicitly linked to each other; the program needs to fit within the site and equally, the site needs to accommodate the program.

Comparable to Zumthor’s own atelier, an understanding of the atmosphere of the site was crucial within the design process. A project started with a site visit, where the students needed to capture the atmosphere in a photo ( E.g. ‘The Face of Pavia’) or make drawings of their initials ideas ( E.g. ‘Moscow’). Through these methods, the students created a personal connection with the site, which can only be made through being physically present. However, when the design brief focused on a specific program such as the ‘RTR Media Center’, the students were instructed to visit buildings with a similar program. By visiting these specific buildings, the students were encouraged to analyze and understand the specific type of building they were designing. Hence it was neither where nor what the students were designing that was fundamental, but instead the emphasis was placed upon the understanding of what they were designing. Consequently, the students were required to develop a personal interpretation of the assignment, which became a central theme in Studio Zumthor.

Models When asked about the role of the model within the design studio, the students acknowledged its importance because it was not only a form of presentation but also a form of communication.

Indeed models have been used to capture the atmosphere of a site, to design and to make the project physically tangible through a physical object.

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“All design work starts from the premise of this physical, objective sensuousness of architecture, of its materials. To experience architecture in a concrete way means to touch, to see, to hear and to smell it. To discover and consciously work with these qualities – these are the themes of our teaching.”5 Within every step of the process, a model was used to explore different elements of the design.

These elements discussed subjects such as the site, the anatomy of the building or the interior atmosphere. Given that the projects vary in scale, it is difficult to distinguish a pattern within the models used. However, there are reoccurring models that play a significant role in every studio and therefore help one form a correlation between the various uses and types of models.

Photo/collage. One of the first steps of the design studio was to either take an atmospheric photo of the site or to make a collage when the project necessitated a specific program. The collage allowed the students to understand the atmosphere of an internal space and simultaneously start to design spatially. Although a collage or a photo is not specifically a model, they were vital for the students to express themselves and begin the project with a realistic image of the assignment.

Site model. As previously stated, a project started with understanding the atmosphere of the site. Following the first stage, wherein the photo or collage was completed, the students were required to make an abstraction of the site by making a model on a large scale whilst selecting the material carefully. This abstraction forced the students to consider not only what materials resembled the given site, but also to start designing with materials. The scales of these models were interconnected with the dimensions of the site and thus vary between 1:1000 and 1:200.

Comparable to Atelier Zumthor, these models were placed central in the working space to ensure a continuous relation with the site.

Anatomical model. Following closely after the site model was the anatomical model, which described the structure of the design. However this did not discuss the various layers but rather it only displayed the way it was to be built. During the ‘Make it Typical, Then it Will Become Special’ studio, this model was one of the first models that was made albeit without having previously made any drawings of the design. In his book, ‘Thinking Architecture’, Zumthor explains how he wants his students to reverse the order of ‘idea - plan - concrete object’. “For example, first the concrete objects are constructed; then they are drawn to scale.”6 This idea continued in the design process of Studio Zumthor, in which a model took preference over drawn plans.

5.

6.

Zumthor, P. (2006) P. 66.

Zumthor, P. (2006) P. 66.

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Fig. 24 Clay model Matthew Jarvis

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Fig. 25 Interior photograph Matthew Jarvis

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Interior photo-model. Peter Zumthor considers the interior of his buildings to be one of the most important aspects. Accordingly, the same attention is paid to the interior of the student projects within Studio Zumthor. Indeed, the students were required to design an interior model (scale 1:33), capturing the atmosphere of the space. By making this model, students were challenged to think about the spaces that they were designing; about materials, and about lighting. The model itself was used as an independent object, to look at the spaces and to test them. After this assignment, it was required that the students take a photograph of the model, thinking carefully about perspective, light, shadow and people. This photograph was presented as a finished object, representing the atmosphere of the entire design.

Mockup. The last step of the process was a mockup of the design, where a single detail - acting as an example for the building as a whole - was made on a 1:1 scale. This detail ought not only explain the architectural expression, but forced the student to think about how the design was to be constructed.

Drawings. Although models took preference over drawings in Studio Zumthor, the variety of models ensured that the students studied their designs on different scales. Indeed the traditional method (of models being based on drawings) was often overturned, making the models the primary stimulus from which drawings can be made. Unlike other design studios, wherein only digitalized drawings were accepted as a form of presentation, Zumthor required his students to make hand drawings to express atmosphere. The aim of the drawings was therefore not about the precision but rather about expression.

Materiality Although the abovementioned models all describe a different aspect of the design - albeit on a different scale - they are joined together by their use of materials. With every model, the student had to carefully decide on the material used in order to convey the right atmosphere; only then will the model become a tangible object.

“All the design work in the studio is done with materials. It always aims directly at concrete things, objects, installations made of real material (clay, stone, copper, steel, felt, cloth, wood, plaster, brick). There are no cardboard models. Actually, no ‘’models’’ at all in the conventional sense, but concrete objects, three-dimensional works on a specific scale.”7 7.

Zumthor, P. (2006) P. 65.

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The vital idea within this statement by Peter Zumthor is that these models were made with real materials. When a student wanted to design a concrete building, they had to build a concrete model. A similar approach applies to steel, wood and any other material. This is unlike atelier Zumthor, where they often work with a representation of a specific material - for example, clay would be used to represent stone or concrete. Zumthor’s aversion of cardboard models, however, was clearly present within the design studios, where students clearly disapprove of the weightlessness and neutrality of the material. This labour-intensive way of working introduced the students to the various construction methods of each material, teaching them not only how to create atmosphere, but also to make reasoned decisions based on the building method.

Critiques ‘Critiques’ was a central aspect of Zumthor’s personalized architectural method of education where he, rather than criticizing the works of the students, engaged in a dialogue with the students. The critiques with Peter Zumthor were focused around an object, where the student described the atmosphere of the design, rather than giving a justification for their choices. The meetings discussed a finished object that one was presenting to Zumthor while not elaborating on theories, plans or concepts. Peter Zumthor wanted these meetings to be focused not on criticizing the student’s work and creating a hierarchical division between the two, but about working together to find the right answers.

“First of all, we must explain that the person standing in front of them is not someone who asks questions whose answers he already knows. Practicing architecture is asking oneself questions, finding one’s own answers with the help of the teacher, whittling down, finding solutions. Over and over again.”8 The studio was divided in several stages of two weeks, where a meeting marked a specific deadline. During these two weeks a student would work on the models or photographs, before presenting them as a finished product. Consequently, after working on an interior photo-model for two weeks, that particular object would be discussed throughout the meeting.

The end of a project was marked by a final presentation, where the different elements together would form a holistic representation of the design. These multiple presentations formed an exhibition, wherein the independent models would exhibit various stages of the design process but were to be seen as separate objects. Although there was no single model that encompassed 8.

Zumthor, P. (2006) P. 65.

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Top Fig. 26 Study model Matthew Jarvis Middle Fig. 27 Study model Matthew Jarvis Bottom Fig. 28 Study model Matthew Jarvis

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Top Fig. 29 Interior photograph Michael Haslam Bottom Fig. 30 Interior photograph Michael Haslam

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all components of every model, the atmosphere of the project became increasingly evident by observing the collaboration of unique and distinctive models, all of differing scales and compositions.

Presentation Comparable to Zumthor’s own atelier, the presentation of a model within the design studio was as important as the object itself. Models were displayed on trestles (supports) in the atelier, in the courtyard of Turconi and in the galleries wherein the presentations were held. These trestles were of different heights, forcing the students to think about the ideal way to present a model.

Because the models were omnipresent within the studio and therefore within the spaces in which the students worked, the studio became a permanent exhibition wherein every two weeks a different exhibit was displayed.

Moreover these meetings were not set up in a classical sense: where the main focus was of drawings and sketches. Rather they took place around the model; an open space that allowed both students and other members of the architectural school to become involved in the process.

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Conclusion Comparing Atelier and Studio, Generating Atmosphere

Comparing studio and atelier There is a central theme that is equally important within both Atelier Zumthor and Studio Zumthor: the use of models in the design process. Even though there are many similarities between the ways in which models are used during the process, there are also several differences in what the model should represent. Comparing these two educational systems (Atelier Zumthor can also be seen as a post-university training), gives one a better understanding to why these differences exist between the uses of models. This chapter will discuss the most important similarities and differences relating to the overarching themes of this research: Using models, materiality and presentation and representation.

Using Models Existing both in Atelier and Studio Zumthor is a similar reasoning as to why and how models should be used in a project led by Peter Zumthor. Models are intrinsically linked to the design process and are a design tool comparable to sketching. While sketches remain at an abstract level, the model shows a concrete representation of the designed space. These tangible ‘illustrations’ per se, are necessary to envision the prospective designed space. Therefore, the model continuously develops parallel to the design during the different stages of the process. During the first stage of a design, a model should allow the architect to acquire a more grounded understanding of the site. Therefore an atmospheric model needs to be built, on a scale appropriate to the site.

This model marks the beginning of a project and thus allows a certain abstraction to take place.

Moreover, an abstraction is necessary in order to extract the most important aspects of the context that will relate to the design. This step in the design process is followed by an anatomical model, which is used to illustrate the structure of the building. The ‘structure’ can be defined in two ways: the construction of the design and also the spatial structure. The structural model focuses solely on the interior of the design; how the various spaces are linked to each other and how ones bodily proportions react to the sense of scale in each space. To further develop these particular spaces, an interior model on a larger scale is made. This model requires a considerable amount of detail to be put in such as fixtures, furniture but also different finishes of a certain material. Every single element placed in the model is essential to help generate atmosphere.

Finally the last model made in the design process is a mock-up or 1:1 scale model. Here, a small part of the design is built to illustrate the most important connection or detail. This shows that the technical aspects of a design are equally important as the spatial qualities. Together with the

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aforementioned details, the mockup concludes the design process, giving an overview over the entire project. The range of models is applicable to both Studio and Atelier Zumthor and therefore shows that Zumthor uses models as a design method, rather than a form of presentation. Being utterly convinced of the importance of the model, he encourages his students to use a similar method in their design process. By doing so, the students are encouraged to research every aspect of a design through a tangible object.

Materials The most significant difference between Zumthor’s studio and atelier is most evident through the use of materials. The difference does not relate to the importance of designing with materials (which is equally essential in both architectural systems) but instead discusses the use of materials in models. In his own atelier, Zumthor alternates between using a physical material or a representation of a material, being printed textures or another material. By comparison, within his studio, he requires that his students only use the material that they intend to utilize in their final design. By doing so, the students are creating concrete, ‘scale-less’ objects, rather than models.

However, these objects still discuss themes such as spatiality, bodily proportions and intimacy.

The difference between materiality in models in the atelier and studio lies within the duration of a design project. Due to the restricted time limit of a design studio, the student must finish the previously discussed models within a semester. Therefore a certain model must be built in a timeframe of two weeks and needs to be presented thereafter. Comparably, in Zumthor’s atelier this deadline does not exist, thus it is more likely that a design will change numerous of times and that the model needs to be modified accordingly. It creates a contradiction that within a smaller timeframe a more time-consuming process is needed to form a model than a process during which there is no limit. However, Zumthor’s method demands a certain knowledge for materials that his students have not yet obtained. By insisting that his students work with the physical materials, they also study the building methods of their chosen material leading to an understanding of how it is made and how it can be used. Therefore building a model with the actual material is more than simply a form of presentation but it additionally becomes a research in itself on that particular material.

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Presentation and Representation The design studios at the AAM can be seen as a master class reflecting what it would be like to work at Zumthor’s atelier. Similar architectural tools such as sketching and photography are used to complete a final design, with an emphasis on the use of models. However, as with any other master class, it is an exaggeration of the actual situation. While the architects at Atelier Zumthor are required to work with digitalized drawings, the students are not allowed to design using a computer; every drawing, if there are any, should be drawn by hand. The model, or a photograph of a model is the main form of communication in the design studio. During the critiques or meetings, only the physical object is discussed without any supporting material and should therefore be positioned mindfully. Comparable to Zumthor’s atelier, the models are placed on trestles which the students themselves determine the height. However, this illustrates a substantial distinction between the studio and atelier being: architectural expression over precision. While only a single object is discussed during the meetings at the AAM, within his atelier, Zumthor requests to see and to assess every element made by the architects working for him, including all sketches and photographs. The attention to detail that is attached to the assessment and critiques of projects at Atelier Zumthor, does not exist with the works of the students, but rather focuses on isolating the atmosphere by means of a model.

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Fig. 31 Peter Zumthor at the Academy of Architecture Mendrisio

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Generating Atmosphere Peter Zumthor has developed an architectural process that is unique in the world of architecture.

It is a process that is dominated by designing, creating, altering and assessing models at each stage of a building’s design. More than that, the atmosphere generated through the models, which is undoubtedly a dominant theme in every design of Zumthor’s, also guides the process he has developed. It has been discussed that Zumthor practices ‘slow architecture’ which means that visualizations made through sketches, photographs and, most importantly, models are produced by hand rather than using technological means to achieve the same final product.

It is this attention to detail applied to every project – and taught throughout his studio – that make Zumthor’s architectural designs full of character, atmosphere and become designs tailored to meet this needs of those whom will be experiencing his buildings or spaces. Indeed the fact that Zumthor is present at every stage of a design to project his personal opinions and to continuously ask whether and how it could be improved adds significantly to the success of his atelier and to the effectiveness of his teaching.

The research question posed at the beginning of this thesis was how Peter Zumthor generates atmosphere through his architectural models. Having explored the significance of models and the various elements and procedures that contribute to each type of model, it could be concluded that Zumthor generates atmosphere within his models through the use of materials. It was Zumthor whom stated: “a design has to be formulated in a strong way that the entire building can be explained according to a principal theme.” The “principal theme”, according to Zumthor, is dominated by the choice of materials from an early stage in the design and how each material harmonizes with another. Materials have the capacity to influence sounds, movement and, consequently, atmosphere in models. What make Zumthor stand out in regards to his use of materials have been seen in the many ways in which he implements materials on each of the model “types”. Zumthor does not use materials in a traditional sense but rather approaches them as individual elements that can be used to generate atmosphere and thus enhance the design. Moreover the importance of materials in the development of a model becomes increasingly poignant if one was to imagine a model without materials and then question what kind of atmosphere could be generated. A model - whether anatomical, site, interior or a mockup - that is made without any materials can produce only a limited amount of atmosphere, thus an appreciation of the crucial role materials play in the design studio of Peter Zumthor becomes very apparent.

Conclusion 85

Indeed while one conclusion to the discussion on how Zumthor generates atmosphere in models could be attributed to the materials used, there are other factors within both Studio and Atelier Zumthor that aid the process of generating atmosphere. As discussed throughout the chapter on ‘Presentation and Representation’, drawings and sketches are in fact isolated factors that produce a certain atmosphere on their own. Zumthors use of watercolours or aquarelles to sketch an initial idea helps him to develop atmosphere without first having used a model. Thus it is significant to highlight that models are not the sole generator of atmosphere but there exist other elements within the design process that also focus on producing atmosphere. This also illustrates the significance that Zumthor places on atmosphere and how it becomes a necessity in every design.

Finally, a reflection on Zumthor’s role in the Atelier also contributes to an understanding of the truly collaborative nature of life in this workplace. Throughout the multiple interviews conducted with his students and colleagues, it became apparent that the ‘Zumthor-approach’ to architecture is indeed one of a kind. Although the models are generally describes as models “made by Zumthor”, a large proportion of the models are created and completed by his employees. It is true that the initial idea of a model is from Zumthor but the development of the eventual model was for a long time in the hands of Annika (the head of the workshop at Atelier Zumthor). After a model was made, Zumthor came to check-up and, where necessary, edit the model or project his ideas or critiques on the constructed model. Overwhelmingly however, it can be said that ‘style of architecture’ often affiliated with the name, ‘Zumthor’ is a direct reflection of his personal approach to designing and the significant impact models have on the final product.

The research completed above shows what could be said to be a general overview of the many models used in the design process of Peter Zumthor. This was necessary in order to explain the research question and give an understanding on what a normal design process at atelier Zumthor looks like. However, each design made by Peter Zumthor is unique and cannot be completely tailored to the process stated in this research. Different aspects are often more important to one design, whilst other designs may not discuss that aspect entirely - think of the expression of the construction of the Zinc Mine Museum in Almannejuvet, and the Steilneset Memorial in Vardo. Indeed, although the research provides a comprehensive overview on how Peter Zumthor uses models in his design process, it does not attempt to give one the exact rule that can be applied to every model to generate atmosphere. It merely aimed to show how Zumthor uses materials and other means to generate atmosphere in the examples given throughout the discussion. Ultimately, it will be concluded that the success of Peter Zumthor’s designs lies in the individuality of every model and thus every building.

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Design An explanation of the design competition for the Academy of Architecture Mendrisio, followed by a visualisation of the process necessary to design the extension for the university. Thereafter, the design is presented through architectural drawings

I.

Design Competition

for the extension of the Academy of Architecture Mendrisio

Design Brief The architectural education in Switzerland is formed by a small number of highly influential teachers, spreading their ideologies amongst the students. These teachers, whom are accomplished, practicing architects, are creating ‘a school within a school’ through engaging in a master-apprentice relation with the students enrolled in their studio. The students, being the apprentices, submit themselves to these architects and learn their respective design methods.

One of the architecture schools following this system is the Accademia di Architettura Mendrisio (otherwise known as the Academy of Architecture Mendrisio). This small and relatively young school focuses on the design studios led by these accomplished architects. Due to the fact that the faculty is growing and in need of an extension, they have constructed a design competition.

This design competition will be explained through a description of the set-up of the campus, the design brief, the landscape of the building site and the three surrounding buildings. When combined, this will provide an understanding of the setting in which the design in the following chapter is situated.

Campus The campus of the Academy of Architecture is divided into two areas containing various functions. The separation of these two areas is due to the main road in the middle of the campus and commercial buildings placed alongside it. Although it is only a small architecture faculty of eight hundred students, the campus has seven different buildings. The configuration of these seven buildings can be seen in the plan in figure, as well as the division between the two areas.

The first building, ‘Palazzo Canavee’ houses the second and third year Bachelor students together with the Master students, except those who are currently undergoing their final thesis. While it is situated at the end of the campus, it is one of the most important and biggest structures on campus. It contains several large open floor plans providing workspaces, a large workshop for model building together with an exhibition space to exhibit the student’s work. The other three buildings on this side of the campus (Dependance, Villa Argetina and Vignetta) are part of the administrative center. The Dependance and Vignetta both contain the institutions of the university, conducting research on various subjects such as ‘the history and theory of art and architecture’.9 The second largest building - which provides a workspace for the students - is ‘Palazzo Turconi’. The first year students share this establishment with the multiple graduation studios. This monument was the first structure acquired by the university in order to start the

1. Palazzo Canavee 2. Dependance 3. Villa Argentina 4. Vignetta 5. Palazzo Turconi 6. Library 7. Church and mortuarium 8. Theatre of Architecture 9. Site 10. Hospital

Design competition 93

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2

3

4

5 6

7 8 9 10

Fig. 32 Campus Scale 1:2000

Design brief 94

architecture school and is one of the most characteristic buildings on campus. The library of the university is situated next to Turconi and will be demolished in the near future. The last building on campus is the ‘Theatre of Architecture’ designed by Mario Botta, completing the list of educational buildings. This design is currently being built and will contain a new lecture hall and an exhibition space dedicated to the works of old Swiss architects. The division of the multiple functions shows that there are two main centers, each providing workspaces for the students of the AAM. The design needs to find its place within the determined configuration of buildings and connect the scattered campus.

Brief The design brief provided by the AAM, clearly states the need for an extension of the campus.

Due to the demolition of the library situated next to Turconi and the construction of a new building (Theater of Architecture), several functions of the existing campus are changing.

Amongst these are Turconi, which will no longer house the first year students and graduates but it will become the new university library. This move will deprive the Academy of space now occupied by the atelier of the first year and graduates must therefore find a new position. The graduate students, currently residing in Turconi will move to Canavee, while the first years will transfer to the ‘to be designed extension’ of the campus. The new building will thus house the first year students, and the necessary supporting functions. To facilitate the first year students the following components need to be included in the design for it to be successful according to the AAM: The design brief states that the new architecture faculty will consist predominately of design studios; a design studio meaning a space for the students to work and to design. The design studios are the most important aspect of the design, as it is the main objective of the competition.

It needs to attract new students, whilst simultaneously provide the present students with a comfortable workspace. The near hundred first year students are divided into four or six separate studios, each guided by a professor and two assistant professors. These professors need to have their own individual office, whilst the assistant professors can have a common workspace in which they work. The organization of these offices is critical, as the hierarchy between professor and assistants is vital for the Academy. The four individual professors, together with their assistants are responsible for a faction of first year students. This relation needs to be accommodated but likewise, an association between the various teachers needs to occur.

Additionally, to support the design studios, the design is required to have a model workshop.

Design competition 95

However, this takes the form of a ‘silent’ workshop, merely facilitating the students with a place to build models without heavy machinery. The main workshop still remains at Canavee, and can be used if necessary.

There are several secondary functions, which all need to be included in the design. These functions do not describe a clear connection to the design studios, but must be part of the design to support the functions described above. A foyer marks the entrance of the building and simultaneously provides the design with an exhibition space. This space can also be used as a presentation space and thus the evaluation space of one of the studios. Connected to the foyer are the three classrooms, which need to be quickly accessible from the foyer. These classrooms are intended to be used only by the first year students, but do not have the capacity to hold all students. The main lecture hall located in the basement of the Theatre of Architecture is used to accommodate all first year students. Finally, the design needs to contain a large deposit, available to the students to store their models and other works. The combination and organization of these functions determine if the design is successful to accommodate the first year students of the Academy.

Location The complexity of the design competition does not reside within the design brief but in the location of the building site. The extension of the campus is situated on the dense plot between three strong geometrical shapes (figure 34). These shapes consist of the church, Turconi and Theatre of Architecture. These buildings present their back facades to the plot, as they are orientated towards the main street separating the campus into two. Furthermore, the building site is located at the far end of the campus, on the opposing side of Canavee. It is difficult to determine what exactly the orientation of the campus is currently. This is due to the separation of the two areas together with the non-defined boundaries on either side. It is important to understand that by placing the new design in the prescribed setting, the orientation of the campus can and needs to be altered. Currently, students travelling to Mendrisio by train are entering the campus on the side of the building plot. As said before, the buildings surrounding it are facing the opposite direction and do not clearly illustrate an entrance. The extension of the campus should therefore also integrate this important route over the campus.

Design brief 96

Landscape Not only the location of the building site, but also the landscape itself makes this an intriguing assignment. The campus is situated on the foothill of the Swiss Alps, containing a considerable height difference between the far ends of the campus. The building plot is orientated towards the valley, wherein the city center is situated, marking the lowest point. The height gradually increases as one moves towards Canavee, which is the highest point on campus. The steep gradient is similarly visible when looking at the building site, seen in figure 33. However, this image is an abstraction of the plot, only illustrating one of the numerous inclines existing in the plot. The same image shows a limit to the height of the design, set by the AAM. Although the design can make use of the depth of the site to construct basements, it is not allowed to surpass this particular height level. This is to ensure that the configuration of the three surrounding buildings and their geometry is not disturbed.

Surrounding Buildings Figure 34, shows the boundaries of the building plot, whilst also illustrating the geometrical volumes of the church, Turconi and Theatre of Architecture. These boundaries are defined by the three buildings together with the road on the north side of the plot. Although the Theatre only shows a circular volume above the surface, it has two rectangular basement floors underneath.

The ground floor consist of exhibition space in combination with a cafĂŠ, forming a public route trough the building. Turconi, on the south side, will contain the library of the university and will similarly be part of the public route over the campus. Lastly, the church, which is not officially part of the campus is currently still in use. It is one of the most important churches in Mendrisio and is part of a touristic route through the city. As aforementioned, these buildings are orientated towards the main street opposite to the building plot, only revealing their backsides. The design must find its position between these strong geometrical volumes and if possible reverse the orientation of the surrounding buildings.

Design competition 97

Top Fig. 33 Height limit of the design Bottom Fig. 34 Floorplan of the site

Design brief 98

Fig. 35 Areal view of the site

Design competition 99

Design brief 100

II.

Design Process Using models to design

Design process 103

Using models The following chapter will illustrate how models are used during to process to approach the design competition stated in the previous chapter. By reading through this chapter it will provide an explanation on how the various aspects of the design were developed, whilst simultaneously giving a reflection on how atmosphere is created with models. The research conducted in the first section of this thesis, was an ongoing process alongside the design and therefore formed a framework on how to work with models. Moreover, the development of the research stood parallel to the development of the design, which can be seen in the progressing quality and atmosphere of the models that will be hereafter presented. The images of the models are placed in a chronological order to give a better understanding of the process, which might deviate from the order set by Peter Zumthor. However, the main research question of the aforementioned research clearly states ‘how Peter Zumthor generates atmosphere with his architectural models’, thus placing less emphasis on the order of models. The ultimate aim of the above research was to understand this specific subject, and also to use as a reference for the construction of the modelsto aid with the design the architecture school. This theme - atmosphere in models - will be explained for each model, showing my personal learning curve and thus providing a reflection on how to use models to design.

Using models 104

Left Fig. 36 Photographs of Therme Vals Right Fig. 37 Photograph of model

Design process 105

Research in Making The photographs displayed to the left are part of the assignment, ‘Research in Making’. For this assignment, each of the students of the graduation studio had to choose a photograph presenting an interior space designed by a Swiss architect of your choosing. In my case, this was an interior photograph of the Thermal Baths designed by Peter Zumthor. The objective was to recreate the scene in a model so that a photograph of the model would be as similar to the original photograph as possible. During the process of making the model we were asked to explore the properties of the materials and construction of the represented buildings.

What struck me most about this particular photograph was the composition of the geometry.

The three ‘blocks’ - placed at uneven distances from each other - provide the observer with three parallel vertical lines. The placement of these blocks are of utmost importance due to the fact that they do not obstruct the view but they show more of the building, almost seducing you to see what is behind the next corner. Additionally the lighting of this particular scene adds to the complexity of the space. The block situated at the back of the photograph shows two different planes: one covered with light and the other with only shadow. This particular light source also creates a reflection on the water, which forms the fourth vertical line in this photograph.

To complete the assignment we had to write a short essay about the created image. This essay had to explain what interested me the most about this particular scene. Simultaneously, it should also illustrate a particular aspect of the design, which influenced the construction of the model.

The various, uneven, horizontal layers of stone used in Peter Zumthor’s design might be thought to inspire a certain uneasiness within the visitor. In fact it does the opposite - the alignment of layers in relation to each other gives the visitor a sense of comfort. The sequence is not random, but has obviously been carefully considered; each layer playing its part within a larger whole.

Coming together at the corners, they do not mark the end of an entity, but instead implies that there is more. Together with the playfulness of light and shadow, the pattern engages our sense of curiosity.

Although this model is not entirely part of the design process, it introduced me to Peter Zumthor and the art of making models.

Research in making 106

Fig. 38 Site model showing the various volumes

Design process 107

Atmospheric Site Model

The first model constructed, to design the architecture school for the Academy of Architecture Mendrisio, is the volumetric model seen on the previous page. It shows the three surrounding buildings as an abstraction, leaving only their geometry intact. These wooden volumes form a contrast against the layered landscape made out of candle wax. Candle wax was chosen to express the gradient of the landscape and similarly its imperfection. Additionally, the staircase connecting the train station with the university is placed in the model, illustrating the importance of this relation. Together, these three elements show which elements of the site are most important to determine the shape of the design.

The position of the building plot is most important as it allows the students coming from the train station to enter the campus. To facilitate this route over the campus, the building is disconnected from the Theatre of Architecture, leaving the route intact and as direct as possible. Furthermore, the volume consists of two fragments placed on an angle from each other. Whereas the side closest to Turconi runs parallel with the church, the plane facing the staircases is placed parallel with Turconi. By doing so, the students entering the campus from the station are presented with a strong faรงade, whilst still allowing a preview of the length of the design. The second part of the design guides the students towards the remainder of the campus. A similar effect is created when arriving from the opposite side; although it first allows a view over the valley, it also directs this view towards the entrance of the campus. The space in between the design and the circular Theatre of Architecture takes the shape of several long staircases, running alongside the full length of the design. A student walking up these staircases will experience the various levels of the design and the functions they contain.

The volume placed in the site model is made out of wax representing a solid mass. As a result of doing so, the mass starts to interact with the surrounding volumes, which share the same level of detail and roughness. Furthermore, the main light source is coming directly from above, illustrating the simplicity of the buildings. The design does not try to challenge the surrounding volumes by adding complexity but, contrarily, becomes part of the existing landscape.

Using models 108

Fig. 39 Anatomical model describing the interior space

Design process 109

Anatomical Model The following model continues on the shape determined in the previous model, by designing the interior spaces. This model only describes the main boundaries creating the space seen on the previous page. These boundaries are the floor and the ceiling, both showing the same material.

Although these consist of simple white cardboard, it shows a reflection on both surfaces, already giving an indication on the relation between the two elements. Placed in between these horizontal planes are three separate blocks consisting of grey cardboard. Dissimilar to the floor and ceiling, this material contains more detail and appears to be rougher than the other elements. Finally, a person is placed in the model to provide a sense of scale to the space created by these constraints.

One of the fundamental aspects of this design is the angle of the building, which is visible in the model. To further enhance this particular quality, the volumes are placed parallel to the outline of the design. Thus the first two volumes are positioned at an angle with the last volume. This puts more emphasis on the two different angles present in the building, and makes it visible from the inside. In order to preserve the view over the full length of the building, and thus the distinction in angles, the different floor plans are designed as an open floor plan. The supporting functions such as toilets, storages and staircases are placed within the aforementioned volumes in the middle of the space. In between these volumes a connection is made to the other side of the building, which contains the same structure. The separation of the two parts of the building creates a contradictory relationship with the different surrounding buildings, being the church and the Theatre of Architecture on the opposite side.

The picture is deliberately taken from one side of the building, looking over the full length of the building. By doing so, the angle of the building became visible together with the proportions of the space. Although only two materials are used to construct this model, it does explain the relation between the different structures: the ceiling and floor connected to each other by means of material, while the volumes are used as a construction.

Using models 110

Fig. 40 Anatomical model showing a column structure as facade

Design process 111

Anatomical Model Having determined the interior space in the previous model, this model explores the division of the windows. The interior model is the same as the model shown in the previous paragraph, but this photograph shows columns placed in front of the floor and ceiling to create different light patterns. A neutral material was used in order to make the main focus of this model the light entering the design.

To continue on the design of the interior, several façade models were made to see how they respond to the previously determined interior space. These were individually placed in front of the interior space to determine which best fit the structure. By looking at the facades of the surrounding buildings, it revealed that they contain a rhythm and are quite strict with that particular rhythm: Turconi is completely symmetrical in its form and window division. By trying out different proportions between the column and opening - such as a 1:1, 1:4 and 1:8 – the rhythm shown in the photograph was established. It keeps the height of the space intact, whilst the opening is wide enough to stand in between. This gives the design a sense of scale fitting to the bodily scale. However, by placing the façade in front of the construction, a direct visual connection is lost. The columns appear to abruptly stop where the volume still continues.

Although this makes the angle of the design less obvious, it makes the visitor curious about what is happening to the façade, seducing him to walk further into the building.

Using the same interior model for the previous photograph, and simply placing the façade against the construction in order to take this photograph, added an extra element added unconsciously.

The façade appears to be disconnected from the floor and ceiling, leaving the floor space as open as possible. The structure created with the window division became a leading element in the design, which can be seen in the following paragraphs.

Using models 112

Fig. 41 Anatomical model illustrating the concrete construction

Design process 113

Anatomical Model As previously discussed, the structure created by the rhythm of the columns and windows became a principal element of the design. By making these columns part of the faรงade they created scale within the vast open space. The ceiling, similarly, was missing this sense of scale and thus needed a division altered to a bodily scale. By connecting the columns on either side of the floor to each other with a beam, these separate elements became one element capturing the space within. This particular model already discusses more than just the anatomy of the design, but also gives an indication of the materials used in the design. A similar grey cardboard as the previous models was used to construct the volumes placed central in the space to indicate concrete. The columns and beams however, were made of thin wooden slats. Although the intension was to make these particular structural elements out of concrete, the wood does give a correct representation of concrete for this particular scale. Moreover, the beams are altered to certain measurements, which make such a large span possible. This shows that this specific model does not only discuss the architectural expression of the column-beam construction but also its technical properties.

Next to the addition of concrete beams dividing the ceiling into smaller segments, one other element is made visible in this model: light coming from the floor above, illuminating the sides of several beams and the floor underneath. This has been made possible by adding voids to connect the various functions situated on each level. These voids are placed in an alternating sequence, first creating a connection with the floor above, followed by a void creating a relation with the floor underneath and thereafter another connection with the floor above. As can be seen in the photograph, a void in this particular model is a concrete box almost taking up the entire space between the volumes and the faรงade. By doing so it is obstructing the open character previously created. It does, however, create several separate workspaces in between these voids. The specific function of these voids will later be explained as they are used to construct the last models of the design process. This model was the first step in which materials started to play a more important and almost leading role, defining the development of the process.

Using models 114

Top Fig. 42 Small structural models Bottom Fig. 43 Large structural model

Design process 115

Structural Model This part of the design process does not discuss an anatomical model but continues on the structure constructed by connecting the columns with beams. Due to the shape of the design, one section is left open where the two angles should meet, as one side is longer than the other.

Being one of the most important fragments of this design, this opening needs to be filled in, connecting the two separate angles and thus completing the sequence. The top photograph shows a study with different methods on how these two angles could be connected to each other. These small study models were made of Gipson on a 1:200 scale, which made it difficult to assess the measurements of the beams. However, they did not relate to the design because they did not share the same materials previously decided on. The study thus, was unsuccessful as merely a pattern was created at the center of the design but it did not connect the two separate volumes. Therefore a second study was conducted, based on the first study, but improving the method of how these models were to be constructed. Firstly, it was made on a 1:100 scale, similar to the anatomical model, which allowed the proper measurement of the beams to be made. Secondly, concrete was used to make this particular model to further research the chosen material for the beams. Although the previous was unsuccessful in finding a solution for the gap in the sequence, it did inspire the final structure (figure 43). The small model located on the right side of the image shows a continuation of one angle into the opposing angle. However, this interlocking of angles was confined to only the center of the design. The large model shows what would happen if this would continue throughout the entire length of the floor. Through doing this, there is no separation between the two angles, but they seem to be entirely identical to one another.

A final addition to explain this structure must be made as it allows one to understand the following decisions made in the design process. As can be seen in the photograph of the model, the primary structure (major) still remains, running from column to column. The added secondary structure (minor) does not connect onto the columns but has an offset towards the space in between the columns. Where the beams cross one another a median is created, dividing left and right into equal parts. Additionally, it adds a secondary structure to the faรงade, facilitating a more frivolous division.

Using models 116

Fig. 44 Central exhibitionroute connected by staircases and voids Level +1 Ground floor Level -1 Level -2

Design process 117

Intermission The sequence of models is interrupted by an intermission to explain the design decisions made without the use of models. It is however, related to the research on Zumthor’s use of models conducted during the first part of this thesis. As explained in the introduction of this thesis, the teaching methods of Peter Zumthor at the Academy of Architecture Mendrisio were researched in order to assist with the design of the architecture faculty. The findings of this particular research illustrate how models were used in the design process of Zumthor’s various design studios. Within Zumthor’s atelier, models were the main instrument to design and thus were omnipresent in his workspace as well as those of his students. The plethora of models made by the students were displayed on trestles and scattered throughout the courtyard and galleries of Turconi. These models formed a permanent exhibition, available to the students and other members of the Academy.

This particular element of the design studios of Peter Zumthor is integrated into the present design and forms a principal concept. The permanent exhibition will take the shape of a central route through the building along which the models of the students are placed. This route will not only connect the various design studios with each other, but also the different levels of the design.

The three volumes located central in the space are transformed into two large open staircases running over the full length of the building. Moreover, these staircases are orientated towards opposite sides, crossing one another at ground level. Rather than having one staircase creating a clear orientation of the building, the building now orientates itself to both sides of the design. The exhibition, or presentation spaces, are situated alongside these two staircases, as this becomes the central route through the building. The spaces in between these staircases therefore form an essential moment in this structure, as it presents one with a choice: to continue to the subsequent floor or to review the work of other students. Additionally, to further enhance the connection with the presentation spaces, voids follow the sequence formed by the staircases.

Every staircase is linked with a void, creating a space that forms a physical and, subsequently, a visual connection between the two levels. In conclusion, this connection of elements will create a clear relation with the models made by the students, thus creating a building tailored to the teaching methods of Peter Zumthor.

Using models 118

Fig. 45 Interior model showing the revised window division

Design process 119

Interior Model (Facade) The following model continues on connecting the new roof structure with a revised window division. Previously, the façade only consisted of a column structure placed in a very strict sequence. This particular model was made to research how the primary (major) and secondary (minor) beams react to the façade. As can be clearly seen in this photograph, the secondary structure does not connect onto a column but has an offset to the space in between two columns.

The offset divides this space into two unequal parts of 1/3 and 2/3, creating a secondary rhythm in the façade. However, similar to the first façade model, this photograph only shows the finished product. Within this newly found repetition, different options have been studied to see what provides the most interesting effect: this effect being the expression of the façade, the depth of the façade and thus the light entering the interior space. These several other options included a more strict division, which did not enhance the playfulness created by the concrete structure.

Furthermore, this model discusses the interior space situated behind this particular façade. As can be seen in the photograph, several tables and chairs are placed in front of the windows to represent the design studios. By doing so, one cannot only see the scale of the space, but also the relation between a design studio and the façade. The façade should fit the function placed behind it, and should likewise illustrate the specific function when seen from the outside. The alternations between window and wall provide the students with a space to hang up their work, whilst providing enough light to work on their designs. However, this model shows merely a small fraction of the large open floor and only demonstrates the direct relation between the workspace and the façade. This allows this particular relation to be studied, but does not give an accurate representation of the space.

The materials used in the model are specifically chosen to illustrate the materials used in the design. As previously discussed, the structural beams are made out of reinforced concrete, together forming a waffle slab structure. Together with the floor, which is also made out of concrete, it creates a relation between the two. The façade however, shows a darker concrete in order to show that it forms a barrier between the floor and ceiling. By using concrete as a material, rather than a representation of concrete, it became a research on the various applications of concrete and its many different finishes.

Using models 120

Fig. 46 Interior model illustrating the connection between a void and the construction

Design process 121

Interior Model (Voids) The photograph of the interior model shown on the previous page shows a study conducted on the voids creating a relation between the different levels. The voids have to maintain this particular relation whilst adapting to the construction. Moreover, a void has to accentuate the structure, putting emphasis on the angle of the concrete beams.

In order to research this particular meeting of void and structure, multiple outlines of the void together with configurations of the structure have been studied. These ‘study’ models need to be explained in order to understand what can be seen in the photograph, as it so aptly fits the structure. The outline of the void only described two options: one that follows the primary structure connecting the columns on either side, or secondarily following the bend created where the angles of the two structures meet. This bend is most visible in the photograph of the model, where the two angles converge and thereafter diverge. The first option forms a clear hierarchy between the two structures, whereas, the latter does not form a preference to which is more important. However, this approach adapts the shape of the void to the structure, but similarly the structure can be changed to fit the shape of the void. By using the same outlines for the voids as a frame, different configurations of the structure have been analyzed. These discussed different variants ranging from discontinuing the structure altogether where the void cuts through the ceiling, to only showing the primary or secondary structure. These variant were unsuccessful as they did not unite the two elements but rather stressed the fact that they are two separate elements. The indicated model connects the two elements, by highlighting the specific shape of the structure without breaching the sequence created by the construction.

Dissimilar to the previous model, the ceiling was made out of Gypson, instead of concrete. This was due to the fact that the emphasis of this particular model was placed on light and form rather than materiality. Additionally, the eight configurations made to study the various effects aided to complete the relation between façade, structure and voids.

Using models 122

Fig. 47 Interior model examining the run of the staircase

Design process 123

Interior Model (Staircase) The staircases placed central in the space are most important for the continuity of the design as they connect the presentation spaces to each another. This particular model focuses on the concept explained in the intermission, in particular the connection between a presentation space and the staircase placed alongside it. As an accurate representation of that specific space, the shape of the void determined in the previous chapter, has been included to see how these separate elements come together.

This particular model studies how the staircases need to be formed in order for a connection to arise between the main route and the models. The main staircase is placed against a wall covering the full height of the two levels, connecting them. By doing so, the staircase is orientated towards the presentation space running parallel to it. To further enhance this relation the landing is located at one third of the staircase, forming a setting in which one could stop and experience the models from a different perspective. Simultaneously, the space created underneath the staircase can now be used for other functions such as a reading or discussing the models with other students. Together these two elements make the presentation space a place where students interact and experience architecture, thus forming the center of the design.

The light coming in through the voids placed above the staircase and the models gives the presentation space an open character. Moreover it will provide the students with a focal point where the models are placed and will be encouraged to visit these particular places in the building.

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Fig. 48 The window division, void and staircase combined in one model

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Interior Model (Combined) The model on the left page shows the combination of all the previously discussed fragments of the design. It illustrates how the voids are integrated into the structure of the ceiling, together with the connection between the structure and faรงade, and finally the relation between the exhibition space and the staircase. These components have been used to create a visual and physical connection with the presentation spaces, which they together enclose.

This particular perspective has been chosen to explain more about the set-up of the floor plan. As can be seen in the photograph it is positioned between two subsequent staircases, demonstrating the choice between continuing to the floor above and accessing the presentation space. This perspective also shows the window division of the faรงade, which is dissimilar to the faรงade previously discussed. As this is a presentation space, it needs closed walls to provide space to place drawings or photographs on the walls to accompany the models. Additionally, this view allows one to see that the models are placed alongside the staircase and not just between the staircases. By doing so, a relation to the models still exists when walking on these stairs completing the exhibition. Finally, a relation has been made with the floor above by showing the structure on the subsequent level. This relation is most important as it seduces one to continue to the upper floors and thus follow the permanent exhibition stretching through the full length of the design.

The model perfectly represents the space reserved for the presentation of models, together with the atmosphere created by its materials. However, it still lacks detail as it only shows the rough structure of the design: the staircase does not include a baluster; the walls still show exposed concrete; and the windows are holes punctured through the walls. This illustrates that a model is not only used to see the designed space but also shows which elements need to be further developed in order to generate atmosphere.

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Fig. 49 The final model showing the atelier space

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Interior Model (Final design) To conclude the design process and thus the explanation of the design, a photograph of the final model is presented. This model illustrates the numerous decisions made during the design process, as well as the atmosphere created by the final design. By adding the last details absent in the previous model, it allows one to experience the finished design of the architecture school.

In order to show the development of the design, this photograph shares the same perspective as the first interior model. Through a comparison of these two models, it becomes apparent that the structure of the design was already present within the first model: a large open floor plan with three volumes dividing the space into two. By simply adding small details - such as the structure, the playful window division, voids, staircases and materials - the design transformed from a volumetric study to an architecture school.

The final model shows a different approach to materials than the previous models, but nevertheless portrays a similar atmosphere. The previously used technique described applying the actual material to construct the models, whereas this model contains several other methods.

This is as a result of the precision necessary to build this model and to take photographs providing an accurate representation of the designed space. As stated previously, by using concrete as a material, it remained at an abstract level. The techniques used to construct this model are derived from a method used by Peter Zumthor: using foam with printed textures.

Rather than covering the foam with printed texture, it has been covered with materials, which each contain a structure. This gave the diverse surfaces of the construction, facades and the volumes more intensity. Finally, furniture and fixtures have been added to clarify the function of the space, confidently showing a comfortable, yet intimate workspace.

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Reflection The content of this chapter described the design process necessary to design the extension for the Academy of Architecture Mendrisio. It gave a step-by-step explanation of the several decisions made with the use of models, whilst illustrating these steps by presenting photographs of these specific models. Through a reflection of this process, I would like to explain what I have learned about atmosphere in models by researching Peter Zumthor.

The models shown in this chapter show a steep learning curve, increasingly adding more atmospheres with every step. There are several elements that progressively generate atmosphere, as can be seen in the various models. The first generator of atmosphere is to think carefully about the materials used to construct the model. The students of Peter Zumthor are required to use the actual material to build their models, but this does not necessarily provide the correct representation of that specific material. Similar to the students, I have forced myself to use materials in a comparable manner. However, this resulted into models which lacked detail in order to create the desired atmosphere. The last model was created, resembling a style comparable to Zumthor’s, whom, for his interior models, oftern uses representations of materials. In order to make these representations, one must analyze a specific material in order to understand what makes it unique: the structure of concrete, the reflection of polished steel, the softness of plaster. By using this unique aspect in a model, it provides enough detail to represent that material. This style allowed me to add materiality to the model, creating a space, which surpasses the constraints of a model, thus generating atmosphere.

Secondly, in order to generate atmosphere, a model must contain detail. A space created through an anatomical model creates a framework in which atmosphere can be generated but it does not yet contain atmosphere. Accordingly, in order to generate atmosphere, the model must show how a specific space is used. Questions must be asked: Where can I sit? Where can I place a bag? Where are the lights placed? The purpose of a model is to illustrate these elements and thus create a setting in which the observer can place themself. By adding enough details, a model becomes an accurate representation of the designed space, which is accessible to others.

Thirdly, an accurate representation of atmosphere of a space, however, does not solely lie in the use of a model. It needs to be complemented by other forms of representation to find the

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atmosphere in a model. This includes taking photographs of the model to capture a specific scene that most aptly shows the quality of that space. This specific form of representation adds more complexity to the design process, as it is a skill that must be acquired. The position of the camera, together with the light falling onto the model must be considered before this scene can be created. Therefore, in addition to the models, the photographs presented in this chapter demonstrate a similar learning curve regarding this form of representation. The generator of atmosphere lies within the models, but a photograph captures the atmosphere and creates a static frame in an otherwise dynamic process.

Finally, creating atmosphere with models is a difficult but yet rewarding process. It allows one to see the designed space through a tangible object, making it possible to quickly react on the created space. Although the process requires more time, decisions made based on these models are concrete, as they do not require any speculation. Furthermore, through the process of making a model, several aspects of the design need to be considered – aspects that would otherwise be left undecided. Creating a model therefore compels you to think intensely about every aspect of the process to create a design wherein every facet is considered and decided upon. Indeed completing this, at times, arduous and time consuming task allows you to generate the atmosphere you desire which will ultimately enhance the design.

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III.

Design

Siteplan, Floorplans, Facades, Sections, Impressions, Building Technology

Fig. 50 Siteplan of the campus Scale 1:2000

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Context The design stands paramount at the entrance of the campus guiding the students coming from the train station towards the existing buildings on campus. This central route over the campus is placed between the new design and the Theatre of Architecture designed by Mario Botta. As a result of the height difference of the site, this distinctive walkway takes the shape of a staircase, going past the different floors of the building (figure 51). The volume of the design consists of two fragments placed on an angle from one another. The bend created by these two angles, relates to the circular shape of the Theatre, marking a pivotal point on the campus. The staircase leads up to this particular area, where the students can access the three surrounding buildings.

The angles of the design have been deliberately chosen to facilitate this route over the campus.

The faรงade on the south, facing the backside of Turconi, runs parallel with the church situated on the west of the design. This specific angle creates a smaller square between the design and the church, whilst creating a triangular space with Turconi. This particular space contains the entrances to both the library and the design, opening up towards the staircase. The north faรงade is placed parallel with Turconi and thus faces the staircase and the entrance of the campus.

As a result of this specific placement, the students entering the campus from the station are confronted with the strong rectangular shape of the faรงade. However, due to the fact that the second part of the building bends towards the Theatre it still guides the students towards the top of the staircase. A similar effect is created when coming from the opposite direction: The design first allows a view over the valley, after which it is directed towards the entrance.

The student walking up the staircase will experience the various levels of the design with their respective functions (workshop, classrooms, atelier and exhibition space). This connection has been made possible by placing the walkway directly alongside the faรงade, giving the visitor an impression of the interior. The column structure of the faรงade (figure 55) creates a frame through which the diverse spaces can be seen. This specific structure creates a relation with the surrounding spaces, completely embedding it into its context.

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Top Fig. 51 South-east facade facing the staircase Scale 1:1000 Bottom Fig. 52 Section of the design and Turconi Scale 1:1000

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Fig. 53 Site plan Scale 1:1000

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Fig. 54 Photograph of the atmospheric site model

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Fig. 55 Photograph of the atmospheric site model

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Concept The concept of the design is related to the research conducted in the first part of this thesis.

The teaching methods of Peter Zumthor at the Academy of Architecture Mendrisio have been researched in order to understand how his design studios are set up within the school. The findings of this researched are used to form the structure of the design tailoring it to the teaching methods of Peter Zumthor.

Similar to his own atelier, the students used models during the design process as a design tool. These models were placed throughout the courtyard and galleries of Turconi, forming a permanent exhibition. This exhibition was available to the other students residing in Turconi and other members of the architecture school.

This particular set up of the design studio of Peter Zumthor forms a principal concept in the design presented in this thesis. The concept of a permanent exhibition is integrated into the design by placing two central staircases in the building along which the models made by the students can be placed. These spaces can be used by the students to display their work, whilst it simultaneously creates a place where the critiques can be held. The two staircases connecting the four different levels run over the full length of the building, forming not only a vertical but also a horizontal connection (figure 52). These staircases start and finish at opposite sides of the floor plan, and cross each other at ground floor. The spaces in between two staircases form an essential moment in this sequence, as this is where the presentation spaces are situated. They start where the staircase connects to the particular level and continue along the subsequent staircase. Moreover, to create a visual connection with the floor above, voids are placed above the exhibition and thus alongside the staircase. The permanent exhibition created by this sequence connects the multiple levels with each other, creating a space where the relation with models is omnipresent.

The interior impression on the following page shows the space in between the subsequent staircases in which the presentation space is situated. A visual relation is still maintained whilst going up the staircase, and offers a new perspective on the presented models in the space below.

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Fig. 56 Photograph of presentation space

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Floorplans First Floor The first floor plan presented on the following page shows the top floor of the design. It clearly illustrates the two separate staircases placed at opposite sides of the design. The exhibition spaces are situated next to these staircases, marking the end of the permanent exhibition. Next to these staircases are the voids, looking down on the exhibition space of the floor below. These voids have a very particular shape, due to the fact that they follow the underlying construction.

This construction remains visible when looking down into the void. The main staircases have a horizontal orientation, as they are placed in each others length. In order for a more vertical movement to take place two, separate elevators have been placed in the corners of the design.

These connect the offices of the professors and the entrance on the ground floor to the atelier space on this specific floor. The atelier space is divided into two design studios, with smaller meeting rooms situated in the middle of the space. Moreover the space enclosed by the outer walls and the wall of the ‘service block’ containing the toilets can be used as a classroom.

These can be closed off by using curtains as can be seen in the floor plan. When one of these classrooms is in use, the space in between the void and the staircase can still be used to access the design studios. This walkway between the void and staircase simultaneously provides the students with a more private workspace. Finally there are two areas situated at the far ends of the design created for students to unwind. Whereas the space on the north side can be used by students to discuss their work and personal matters, the space on the south side additionally creates a direct relation with the entrance situated on the floor below. These particular spaces are enclosed by large windows providing the students with a view into the valley and create a visual connection with the library (Turconi) situated next to the design.

This simple, yet effective floorplan creates several different spaces for the students, each space aiding to the architectural design process. Whether this is an individual workspace, a place where discussion can take place, or to simply admire other students their work. Every function is carefully placed to make sure that the open floorplan still provides the students with intimate workspaces.

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Fig. 57 Context level +1 Scale 1:1000

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Fig. 58 Floorplan +1 Scale 1:200

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Ground Floor The ground floor of the design shows the main entrance of the building. This entrance is placed adjacent to the entrance of the library as can be seen in figure 59. When entering the design one is immediately confronted with a void placed above the entrance, connecting the first floor with the ground floor. Moreover it shows the visitor the intriguing play of concrete beams, highlighted by the light coming down through the void. The entrance is connected to the foyer, which contains a large exhibition space together with a classroom. Similar to the classroom on the first floor, this space is multi-functional as it can also be used for other public activities, or to expand the exhibition. The following space is marked by the two staircases and voids crossing each other in the middle of the building, creating a boundary between foyer and the space reserved for the professors. This specific space takes the form of four separate offices for the professors, enclosing the workspace for the assistant professors. The professors and their assistants are intentionally positioned together to ensure that they do not only interact with their own specific group of students, but also discuss the work of the student collectively. For these particular discussions an additional meeting space is created to facilitate these meetings.

Next to this meeting ‘room’ another exhibition space is created, continuing the exhibition route running through the design. The workspace of the professors has been purposely placed next to the entrance, allowing an encounter to take place whilst still providing the teachers with enough privacy. The exhibition on the opposite side is integrated in the exhibition space of the foyer.

Together these two functions form a ‘service’-floor from which the several design studios can be accessed. The open character of the building allows other students of the Academy to enter the design, and review the work of the first year students exhibited in the foyer. By doing so, an integration into the existing campus takes place, connecting the first year students to the other Bachelor and Master students of the AAM.

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Fig. 59 Context level GF Scale 1:1000

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Fig. 60 Floorplan GF Scale 1:200

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Lower floor -1 The floor plan shown on the following page describes the first lower floor. Similar to the first floor it mainly consists of design studios and two multi-functional classrooms. These classrooms can be created by using the walls of the volumes as a presentation board. The middle of the design shows where the staircases cross one another, creating a central space surrounded by the exhibition spaces. This central space can be used by students as an informal meeting space, illustrating the connection between student and models. The two areas at the far ends of the design contain the workshops. These workshops are, as the design brief stipulated, silent workshops. This means that large tables are placed on which the students can build their models without any heavy machinery. As the Academy applies a ‘learn by doing’-attitude, this space can also be used for lectures which take the shape of a workshop.

This particular floor plan is situated parallel to the staircase in between the design and the Theatre of Architecture (figure 61). Therefore the students making use of the walkway will walk alongside the design and perceive the different functions situated on the inside.

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Fig. 61 Context level -2 Scale 1:1000

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Fig. 62 Floorplan -1 Scale 1:200

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Basement The final floor plan illustrates the second lower level or basement of the design. This level contains the supporting functions such as installation spaces, logistics and containers. However, this floor plan also shows a secondary entrance to the building, accessible through a path situated underneath the exterior staircase. Students arriving by bicycle and the various employees can use this entrance. The design is splint into two by the installation space, with on one side the entrance and the other the deposits for the models. Both of these fragments however, have their own exhibition space following the sequence created by the staircases. Additionally the elevators located in the corners of the design can be used by students using the secondary entrance or to transport the models from the deposit up to the subsequent levels.

The collection of secondary functions on this floor allows the other floors to be as simple or transparent as possible. This allows the student to quickly examine the entire floor and understand its set-up. By doing so, the smallest details of the design become visible, showing the student the versatility of architecture.

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Fig. 63 Context level -2 Scale 1:1000

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Fig. 64 Floorplan -2 Scale 1:200

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Facades North Facade The North faรงade faces the entrance of the campus and presents itself with a strong rectangular shape. Situated on the right of the design is the staircase, which leads up to the entrance of the library and the newly design extension. This staircase is confined by the circular shape of the Theatre of Architecture and the bend created by the angle of the design. This faรงade also shows the side of the building as a result of the two volumes placed on an angle from one another. On the left of the design is a secondary staircase leading up to the square created by the church and the design. The faรงade describes a very clear vertical structure, divided into three equal parts. The middle part is placed in the length of the staircases, and is derived from the inner construction. The functions behind these windows are from top to bottom: the extension of the upper staircase, workspace for the assistant professors and the workshop. The workshop creates a relation between the other students walking alongside the facade and the models being made. The left part only shows two windows, which belong to the main professor, providing him with an impressive view over the valley. Finally the three windows placed above each other indicate the secondary staircase, creating a relation with the context when walking up these staircases.

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Fig. 65 Context facade North Scale 1:1000

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Fig. 66 Facade North Scale 1:200

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Southwest Facade The South-East façade is situated next to the staircase leading up to the remainder of the campus. Similar to the North façade it illustrates a clear rectangular shape, which is divided into a column structure interrupted by a horizontal division. This column structure contains a secondary structure dividing the space in between columns in two unequal parts. The dissimilar shaped windows allow one to look inside when walking alongside the building, experiencing the various functions within. However, to further indicate the differences in functions placed behind the façade, distinctive configurations have been designed to fit these specific functions.

This creates certain liveliness in the façade, whilst still maintaining the strong column structure.

When looking at the façade, it can be seen that the windows contains an additional division. For the first two floors an aluminum panel has been placed at the bottom of the window to create a secondary horizontal partition. The third floor also contains a panel at the top of the window.

At various points the bottom panel has been left out marking the placement of the voids.

Furthermore, the facade consists of limestone cladding, creating a more solid exterior, similar to the surrounding buildings. The diversity of windows seduce one to approach the façade and to glance at the various interior spaces.

Design 161

Fig. 67 Context facade South-West Scale 1:1000

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Fig. 68 Facade South-West Scale 1:200

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South Facade The South façade is situated at the top of the staircase and faces the entrance of the new library (Turconi). With its height it forms a relation with the church located on the Northeast side of the building, creating a more secluded space in between. Facing the building from the Southwest is the Theatre of Architecture with its strong geometrical shape. Similar to the North façade, it reveals part of the side of the design as the two parts are placed on an angle. Due to the fact that the main construction spans from one side to another, the front and back façade do not contain any columns or other load bearing elements. To illustrate the difference between these particular façades, a dissimilar division was designed for the North and South façade. Whereas the Northeast and Southwest facades display a heavier, stronger column-based structure, the division for the North and South façades is lighter and thinner. The main entrance of the design is situated at the North façade and is pushed back to form an exception to the otherwise strict division. Above the entrance are four windows, behind which the extension of the upper staircase is placed. The two windows on the left show the exhibition space situated in the foyer, marking the beginning of the permanent exhibition located in the design.

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Fig. 69 Context facade South Scale 1:1000

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Fig. 70 Facade South Scale 1:200

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Northeast Facade The Northeast faรงade is orientated towards the church and shows a similar structure to the Southwest faรงade. It consists of a primary column structure together with a secondary structure created by the window division. Moreover, it contains the same window division as the Southwest faรงade, regarding the aluminum panels at the bottom (and top) of the windows. At the top of the staircase these have been deliberately left out as a void is situated behind these windows.

By doing so, it allows for a direct relation with the models placed underneath this void to take place. The staircase situated in the middle of the design leads up to the square in front of the church and is placed parallel to the faรงade. By placing the staircase back from the North faรงade it opens up an entire fragment of the facade, providing light for the design studios placed behind it. The design can only be accessed for the South side, forcing the students the walk alongside the building before entering. This ensures that they experience the full length of the building and start to comprehend the set up of the interior spaces.

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Fig. 71 Context facade North-East Scale 1:1000

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Fig. 72 Facade North-East Scale 1:200

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Sections Section AA’ The section shown on the following page illustrates the permanent exhibition route through the design. By cutting through the voids, and thus the presentation spaces, it shows the connection of these specific areas. Placed behind, or rather next to the models are the staircases, which start on the lower left side and continue to the top floor on the right. This perfectly shows the horizontal relation created by placing these staircases after each other instead of above each other. However, this image only shows one of two stairwells, of which the other stairwell runs in the opposite direction. To allow a more vertical transport to take place, a secondary stairwell on the left side has been designed. This creates a faster connection between the various floors, which can be used by the professors to quickly access the design studios on the floor above or below. Finally, the section also illustrates the various workplaces situated in the building. The top floor is entirely used as a design studio, whereas the ground floor contains the offices for the professors. The first lower level also provides space for the design studios with at the sides the model workshops. The basement is reserved for the deposits, which are used to store the models made by the students. This section aptly shows that by merely wandering through the building, one becomes aware of the use of models by the students.

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Fig. 73 Context section AA’ Scale 1:1000

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Section BB’ The following section has been made to show the sequence of the staircases and the internal structure of the building. As explained in the previous chapter the staircases are placed in each others length, creating a diagonal path through the building. The spaces in between these staircases illustrate the entrances to the presentations spaces placed alongside them.

Furthermore, the staircases are situated in a void, creating a view over the full length of the building when looking up or down these staircases. The section also shows the two entrances of the design on the ground floor and the basement. The secondary entrance in the basement is accessed through a path situated underneath the main walkway of the campus. The main entrance on the ground floor however, is located opposite of the entrance to the library.

Additionally, this section reveals more about the structure of the design by cutting through the volumes containing the secondary functions. These functions mainly consist of storage space and toilets, supporting the design studios and offices of the professors and the model workshop.

Finally, this section illustrates the connection with the surrounding spaces located on the ground floor and the first lower level. The model workshop is directly placed behind large windows allowing the other students of the Academy to see the work produced by the first years.

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Fig. 75 Context Section BB’ Scale 1:1000

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Fig. 76 Section BB Scale 1:200

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Section CC’ A section cutting through the width of the design describes the relation between the spaces located on opposite sides of the main stairwell. The main stairwell consists of a staircase on one side, whilst the other side shows a closed volume. The measurements of these two elements are identical to one another as the design contains two staircases facing opposite sides. On the right side, the staircase connects the ground floor with the floors above, whilst on the left side the staircase goes down from the lower first floor into the basement. These two staircases also reveal their relation with the voids placed alongside them. The space in between the closed volume and the façade is divided into three components: the staircase, a more secluded workspace and the void. This particular structure is the identical for every staircase. Additionally, this section shows another important aspect of the design: the floors have an offset in relation to its context. This height difference still allows one to see the space within, but it is perceived from a different angle. By doing so, an unusual visual relation is created with the models located in front of the windows. Instead of looking down on the models, the models are now placed at eyelevel. This intentionally places the focus from the outside on the work presented on the inside.

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Fig. 77 Context section CC’ Scale 1:1000

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Fig. 78 Section CC Scale 1:200

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Section DD’ The final section is located in the middle of the building, where the two staircases cross each other. It illustrates how the foyer is disconnected from the space used by the professors on the ground floor. Either side is only accessible via the walkways in between the staircases and the voids. Although it disconnects the spaces on this specific level, it creates a connection with the floor below. As can be seen in the section the voids are placed directly above the presentation spaces. To further enhance this visual connection the landing of the staircase is placed at one third of its length, creating a definitive moment in which one can still look onto the models made by the students. Finally, the first floor shows the open floor plan of the design studios. This space is enclosed by the playful beam structure, allowing the first year students to experience architecture with all its facets and additionally to learn from it.

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Fig. 79 Context Section DD’ Scale 1:1000

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Impressions

This impressions shows the workshop situated at the foot of the staircase. Through the large windows on the right side, a connection is created with the context by providing a view into the valley. The model workspace is confined by the concrete volume to the left and the outer faรงade to create an intimate workspace.

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Fig. 81 Impression of the model workshop

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The photograph of the model shows a clear connection between the atelier space and the exhibition placed alongside the staircase. Within this impression the angled shape of the design becomes clear as faรงade turns away from the presentation space. The sequence of the concrete structure continues over the full length of the design, illustrating how it transforms from a defined beam into a complex configuration.

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Fig. 82 Impression of atelier space

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The impression illustrates the relation between a void and a staircase, creating a more private workspace in between. The thin metal railing allows one to look down into the void, observing the models from above. Similarly this photograph shows that the staircases are placed after one another, creating not only a vertical but also a horizontal relation between the different levels.

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Fig. 83 Impression of the void and staircase

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This impression describes the space in between two staircases, where one can access the presentation space or continue to the subsequent floor. The exhibition continues alongside the staircase, maintaining the relation between the main route and the models.

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Fig. 84 Impression of presentation space

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The void seen in the photograph is situated above the entrance, creating a direct relation between the two floors. This space is used for students to meet one another and marks the end of the exhibition route. The windows on the left side open the faรงade towards Turconi, making the students aware of the context of the design

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Fig. 85 Impression of void

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The design studios on the first floor make use of the full width of the design, creating an open floor plan. To illustrate the full extend of this space, the concrete structure spans from one faรงade to the other. The connection between the faรงade and the structure gives it grounding whilst still allowing a certain frivolity to take place.

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Fig. 86 Impression of atelier space

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The representation of the design studios illustrates how the space in between the void and staircase are used to create a private workspace. The space enclosed by the volume and the faรงade has an open character and describes the relation to the exhibition space situated on the floor below.

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Fig. 87 Impression of atelier space

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Facade build-up

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110 mm recessed from outer wall 30 mm limestone cladding 55 mm air cavity 140 mm insulation 100 mm in-stu concrete wall 25 mm plaster 140 mm recessed from inner column

Basement wall build-up

- 4750

400 mm in-stu concrete wall 140 mm insulation

- 7750

Fig. 88 Section of facade Scale 1:100

Design 203

+ 9700

+ 4350

+0

- 4350

Column build-up 30 mm limestone cladding 55 mm air cavity 140 mm insulation 375 mm in-stu concrete column 25 mm plaster

Fig. 89 Facade element Scale 1:100

Detailed section 204

Recessed window

+ 9100

150 mm recessed from outer wall Grey anodised aluminium window frame with bottom and top panel, Reynaers cs-77 Placed in front of construction Reinforcement profile on either left or right side

Facade build-up

+ 4350

110 mm recessed from outer wall 30 mm limestone cladding 55 mm air cavity 140 mm insulation 100 mm in-stu concrete wall 25 mm plaster 140 mm recessed from inner column

+0

Recessed window 150 mm recessed from outer wall Grey anodised aluminium window frame with bottom panel, Reynaers cs-77 Placed in front of construction Reinforcement profile on either left or right side

- 4350

Basement wall build-up 400 mm in-stu concrete wall 140 mm insulation

- 7150

Fig. 90 Section of interior Scale 1:100

Design 205

+ 9700

Roof build-up 100 mm soil Filter layer 30 mm gravel 20 mm enkadrain 140 mm insulation 50-150 mm concrete to produce fall 100 mm in-stu concrete waffle slab 500 mm in-stu concrete waffle beam + 4750

Floor build-up 150 mm system floor with warm-water underfloor heating with integrated electricity ducts with integrated ventilation 50 mm sound insulation 100 mm in-stu concrete waffle slab 500 mm in-stu concrete waffle beam + 400

Void build-up 500 mm in-stu concrete waffle beam

- 3950

Basement floor build-up 150 mm system floor with warm-water underfloor heating with integrated electricity ducts 50 mm sound insulation 400 mm in-stu concrete slab 140 mm insulation

- 7750

Fig. 91 Section of facade Scale 1:100

Detailed section 206

1

2

3

1. Recessed window

2. Facade build-up

3. Column build-up

150 mm recessed from outer wall Grey anodised aluminium window frame with bottom (and top panel), Reynaers cs-77 with reinforced profile

110 mm recessed from outer wall 30 mm limestone cladding Body anker for stone cladding 55 mm air cavity 140 mm insulation Vapour barrier 100 mm in-stu concrete wall 25 mm plaster 140 mm wooden ventilation vent

30 mm limestone cladding Body anker for stone cladding 55 mm air cavity 140 mm insulation Vapour barrier 375 mm in-stu concrete column 25 mm plaster

Fig. 92 Horizontal detail column with extension Scale 1:20

Design 207

4

3

4. Recessed window 150 mm recessed from outer wall Grey anodised aluminium window frame with bottom (and top panel), Reynaers cs-77

Fig. 93 Detail column Scale 1:20

Details 208

3

2

1

1. Recessed window

2. Roof connection build-up

3. Roof build-up

150 mm recessed from outer wall Grey anodised aluminium window frame with bottom and top panel, Reynaers cs-77 with reinforced profile Hidden screwed sill, placed behind stone cladding Placed in front of construction

30 mm limestone cladding Body anker for stone cladding 55 mm air cavity 140 mm insulation Vapour barrier 375 mm in-stu concrete Vapour barrier 140 mm insulation 55 mm air cavity Body anker for stone cladding 30 mm limestone cladding

100 mm soil Filter layer 30 mm gravel 20 mm enkadrain 140 mm insulation Vapour barrier 50-150 mm concrete to produce fall 100 mm in-stu concrete waffle slab 500 mm in-stu concrete waffle beam

Fig. 94 Detail roof Scale 1:20

Design 209

1

4

5

6

4. Floor build-up

5. Beam build-up

6. Facade build-up

150 mm system floor with warm-water underfloor heating with integrated electricity ducts with integrated ventilation 50 mm sound insulation 100 mm in-stu concrete waffle slab 500 mm in-stu concrete waffle beam

30 mm limestone cladding Body anker for stone cladding 55 mm air cavity 140 mm insulation Vapour barrier 375 mm in-stu concrete beam

110 mm recessed from outer wall 30 mm limestone cladding Body anker for stone cladding 55 mm air cavity 140 mm insulation Vapour barrier 100 mm in-stu concrete wall 25 mm plaster 140 mm recessed from inner column

Fig. 95 Detail floor Scale 1:20

Details 210

2

1

1. Beam build-up

2. Facade build-up

3. Recessed window

30 mm limestone cladding Body anker for stone cladding 55 mm air cavity 140 mm insulation Vapour barrier 375 mm in-stu concrete beam

110 mm recessed from outer wall 30 mm limestone cladding Body anker for stone cladding 55 mm air cavity 140 mm insulation Vapour barrier 100 mm in-stu concrete wall 25 mm plaster 140 mm recessed from inner column

150 mm recessed from outer wall Grey anodised aluminium window frame with bottom and top panel, Reynaers cs-77 with reinforced profile Hidden screwed sill, placed behind stone cladding Placed in front of construction

Fig. 96 Detail void Scale 1:20

Design 211

3

4

5

4. Floor build-up

5. Basement wall build-up

150 mm system floor with warm-water underfloor heating with integrated electricity ducts with integrated ventilation 50 mm sound insulation 100 mm in-stu concrete waffle slab 500 mm in-stu concrete waffle beam

140 mm insulation Vapour barrier 400 mm in-stu concrete wall

Fig. 97 Detail connection ground Scale 1:20

Details 212

213

214

Appendix Interviews and Course Descriptions

Paulo Moreira

Student

During which year did you study with Peter Zumthor? Why did you choose Studio Zumthor?

I studied at Peter Zumthor Atelier in the first semester of the 20022003 academic year, at the Accademia di Architettura, in Mendrisio, Switzerland. It was my Erasmus year, coming from Porto, Portugal, my hometown and the school where I did my architecture studies.

I chose the Academia di Architettura because I felt a connection with Swiss architecture. Peter Zumthor was one of the reasons why I preferred to go to Mendrisio and not to other schools in Switzerland. It was a fairly new school and I felt attracted to it. I felt an energy that I didn’t feel in other, well-established schools.

Mendrisio was indeed an interesting place to study. There were many cultural events and seminars, and the school was very open. We could attend all the lectures we were interested in, even if we were not registered. There is another interesting thing about Mendrisio: nearly no one is from there, it is a place where people from different backgrounds and different nationalities converge.

This was particular visible at atelier Zumthor, where nearly 2/3 of the thirty students (around 30 total), were Erasmus students.

Most of us were experiencing something new, there was a spark of energy among the group.

What was the topic of the assignment?

The topic of the assignment for that year was ‘make it typical, and it will become special’. On the first day, many short texts, project descriptions, were hung on the wall. They were all very diverse, and each student had to choose one. The texts described singlefamily homes, fish restaurants, sports halls, shopping or cultural buildings, and so on. They were quite specific, a summerhouse

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in Toscana, an apartment in Lake Zurich, a bar in Lugano etc.

The texts did not refer a particular site, they oriented towards the atmosphere of each place or building. Our choices were spontaneous, emotional, not technical or functional, or anything like that. Then we had to find a place where the project would be developed. This was an approach contrary to everything I had experienced before, where I started with a program and a site. The project description also mentioned things that were ‘typical’ for every case. For instance, what makes a building look like a house in Toscana, or an office headquarters in a financial district, or a train station in the Alps. We had to do research about the typical situations that were used commonly in our project. The idea of ‘making it typical and then it becomes special’ means that if we work with the most common elements of a certain program, in a certain building, in a certain context, then we had to do it right. We were not trying to invent something ‘original’ or ‘different’. We are working with real things. By doing it in that way, our projects would become spatially ‘special’, or ‘poetical’.

How would you describe the design process during the assignment?

After we chose the programs on the first day, our first assignment was to make a collage. We had to produce an image made out of different images. So we started looking at what was ‘typical’. We had to do this by hand, photocopying books, magazines, finding material textures, etc. We had to create a collage of an internal room related to the atmosphere of a given typical situation. After we finished this first assignment, we built a structural model of the whole building. Not the various layers of the building, just the essence, the structure. Again, this was a fairly spontaneous thing to do, how do you make a model without any drawings? This exercise was totally new for me, and most of us. Only then we had to find a site for the project. We had to find a site and take only one photo of it. We would have a critique just about that one

Paulo Moreira 218

photo, as we had one about the one collage, and another about the one model. At some point we also had to draw a 1:1 detail of the building. It had to be something that was representative of the project’s main character, whichever detail was most important. We never really had to present floorplans or sections because Zumthor assumed that we knew how to do them. In the atelier we were focusing on other topics, such as creating an atmosphere. All these exercises helped to converge something into strong ideas. We were not discussing many ideas, we had to be selective and develop only one strong idea.

What role did the model play within the assignment?

The model was essential within the assignment. At some point, we had to take an ‘atmospheric photo’ of the model. It had to look like a finished building. We built models with the real materials. If your project was a concrete building, you had to build a concrete model. If it was a wooden building, you would built the model in wood. That was also a very unique way of working.

What scales of models did you use to express which quality? What was the order of scales for those models (if there was any)?

We used a 1:33 scale for the model. I learned that it is a very good scale to photograph the interior. (1:20 is too big, 1:50 is too small).

1:33 was the size that most of us were using. The model was made to be looked at, and we had to have a sufficiently big model to look inside the rooms we were creating. We also worked on a photograph of the model. For instance, we would spend a week trying to find the perfect position and at the end we would show only one photo of the model. It had to be perfect. When you only have to do one of something you have to be perfect. This requires a lot of work, finding the best perspective, light, shadow, people,

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and so on. I miss working on a photograph for an entire week.

Please order the following elements according to their significance during the design (starting from the main focus): form, space, materials, context, tradition, interior exterior, atmosphere, light, and construction?

The first is atmosphere, which was the main topic. Then I would put all of the others on the same level, except for form. Form stays at the bottom – it was the least important element, it was not really what we were looking for. We were designing with materials, with context, with tradition, construction and light. The connection between interior and exterior was very important in the collage, where we had to photoshop a site through the window (or the doors, or the balcony; whatever you saw when you looked outside). This helped orientating the room in relation to the context and the site that we chose.

How important was materiality within the models? Please provide an example of a model that you have made.

I said it before, the model was supposed to be built with the real materials. I made a model in concrete and wood, and it weighed 300 kg. There were so many bags of cement and sand poured into the cast. The model had to dry for at least five days. This required extra planning and organization, because I was used to finishing the model the night before submission. If you are making a concrete model you can’t cast it the day before the critique. Whilst I waited for the cast to dry I made the wooden part and in the end assembled both parts. Again, materiality was very important. In Porto we were working with white cardboard and foam, and such things. In Mendrisio I was so impressed with the workshops and the machines.

Paulo Moreira 220

How would you describe the meeings or tutorials with Peter Zumthor? Specifically, was there a focus on the context of the design or the construction in the area?

Every two weeks we had a critique with Zumthor, sometimes also with guests that he would invite. For two weeks we were working on a specific assignment, and we would have a critique about the collage, or the model, or the photo of the model. At one point we had an interim presentation where we had to present various different elements. In the end, we presented all the elements. During the critiques, we didn’t have to explain too much. We weren’t asked to justify the project. We had to present three words, written on a computer and printed; three words that summarized the idea. These had to be complimentary to the work that was presented, so it could not be descriptive such as ‘concrete walls’, or ‘large openings’. That was not interesting, because when you looked at the image and you see that it is concrete, and that there is a window. The words had to describe something else. How was the building being used, for instance. “Clicking Wine Glasses” leaves you with the feeling of cheerful people in a bar talking aloud.

So with these words, together with the collage, the atmospherical photo, etc., you started to imagine what the building would be like in reality. We did not really discuss options of the project such as if the window is too low or too big. The discussion was about conceptual things and that was very different from what I was used to. It was definitely an interesting way to think about how people will experience a building. We imagined ourselves living there.

Which kind of materials (sketches, diagrams, plans, sections, detail drawings, models) did you use in order to communicate with Peter Zumthor during these meetings?

I already mentioned most of them, model, collage, site photograph,

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1:1 detail etc. There was also a ‘footprint’, which is kind of diagram. It was not a technical floorplan, but it could be an abstraction of it. For example, if your building was made of three volumes, you could represent those three parts in white, with a black background. It had to be presented in black and white. The footprint was meant to be an immediate way to perceive the building’s strong idea. As if we had to communicate the project with somebody who knew nothing about architecture, who couldn’t read floorplans. That person had to understand what the footprint communicated. You could say it is a ‘logo’. It had to be complimentary to the other elements that were presented. When we looked at everything together, we had a project.

Paulo Moreira 222

Fig. 98 Model concrete and wood

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Diego Calderon

Student

During which year did you study with Peter Zumthor? Why did you choose Studio Zumthor?

I was first in his atelier in 2005 and then in 2006-2007. He was one of the main reasons of why I chose to move to the Accademia di Mendrisio from my university in Mexico, even if at the time I had but a superficial appreciation of his work and method.

What was the topic of the assignment?

The first time I was in his unit the course was titled ‘Moscow Physiognomies’, and the projects took different sites across the Russian capital center and other key locations. The theoretical focus was on how the formal expression of (the exterior of) buildings changed much quicker than their structure or use, likening it to a guise. The briefs and the sites were preselected, but the combination of both was for each student to make. Some of the proposed programmes were a public library, a thermal bath, an embassy building and an open theatre. The one I developed was a luxury clothing magasin, which served both as shop and cultural display near the Revolution Square. During this time we visited Moscow for five days and visited the sites first as a group and then individually. At night we worked in the Hotel Rossiya (now demolished) with sculptor’s wax brought from Switzerland and drawings on the ideas and impressions gathered, and then presented them to Prof. Zumthor on site the following days.

The second year I followed his unit, we worked in the Klybeckquai area of Basel, at the point where Switzerland, France and Germany meet on the Rhine. The topic was the regeneration of the old port and industrial area, the first semester working on a masterplan

Diego Calderon 224

and during the second one in developing some buildings to detail within it. The area was visited twice, one of them as part of a trip along the Rhine (Basel, Mannheim, Koblenz, Cologne, Dusseldorf).

The projects were much more concentrated than in the Moscow year and made the relationships between them more critical and engaging. One of the main areas of interest was to confront with old industrial structures and their big scale, deciding on how appropriate working with them as elements of character and value was.

How would you describe the design process during the assignment?

Models were systematically used from the off, even before ideas for the projects were developed. The sites were analysed in their structure and formal qualities, but above all, their atmospheres were immediately sought. Sketches followed very quickly, and from there both were the key instruments of design. Most drawings were by hand and AutoCAD was only used where strictly necessary, although it was not banned in any form.

What role did the model play within the assignment?

There was a big focus on how the models were conceived, what their representation objectives were and how they were materially formed. Much in line with his professional practice, the feeling of things (models, drawings, etc) overruled their literal value and that strongly influenced decisions on technique and materials. That is why the materials were usually not the typical model making ones, but ones found on site or otherwise relating to the material presence of the places they aimed to represent. Models were displayed on trestles both in the atelier and in the courtyard and galleries where the critiques were held. Naturally, a sequence of scales exemplified the creative process, from 1:500/1000

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Fig. 99 Site model

Diego Calderon 226

urban scale ones, to 1:10 photo models to represent precise key atmospheres and spaces.

The atelier assistants provided guidelines on the scale and investigation brief on the models (particularly at the larger scales), but along the way these were modified to suit the particular interest of each project. The three assistants (or two in the Moscow year) played an important part in translating and distilling the key elements of each project, as that was what interested both Prof. Zumthor and the objective of the course: the strength of ideas and places.

Please you order the following elements according to their significance during the design (starting from the main focus): form, space, materials, context, tradition, interior exterior, atmosphere, light, and construction?

This is very difficult to synthesize in one single list, as different projects and different stages within them produced different hierarchies. Still, this could be a general impression of it of mine: atmosphere, context, space, light, materials, form, tradition, construction, interior-exterior.

How important was materiality within the models? Please provide an example of a model that you have made.

It was of prime importance. Card models were not to be seen, as their lightweightness and neutrality did not go along the research interests of the unit (nor of Prof. Zumthor’s).For the Basel projects my team made a 1:1250 timber urban context model, on which we the masterplan and developed projects were represented. One of the interesting things about it was that it captured areas of quite contrasting use and character, from small scale and density residential to large-scale heavy industrial. The model surveyed

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these qualities and took the form of a collage, where different character “islands” (represented with different materials – soft, hard, new, old) were brought – or rather woven – together.

Materials such as wood, plaster, cement and metal were used and worked with traditional machinery. No special technology was used in the workshop. Another model I liked was a section model of the Public Library on the Rhine I designed in my last semester with Prof. Zumthor. It was monolithic and made of cement, showing in a reduced depth the two main types of spaces in the building (continuous space for book shelves and the more solid and discontinuous side with reading rooms and other particular uses). It was held in place by an old timber plank gathered on the site as the only other material. The way models were arranged and displayed was of utmost importance, with the assistants asking for the exhibition was ready on the night before the fornightly critiques.

How would you describe the meeting or tutorials with Peter Zumthor? Specifically, was there a focus on the context of the design or the construction in the area?

The context of the design was discussed at length, but seldom in a typical way where rational analysis is prime. Traditional construction was brought in now and then, but I cannot say it was a key point of interest. Instead, things were accepted to have their own nature and logic and they were judged in their own quality.

Still, it was expected that however one arrived to a certain design, the context had to be positively affected. Having said this, in some of his critiques, Prof. Zumthor used to cite the motto “do it typical, then it becomes special!” which I think is his. With this he tried to say that by not trying hard to make things special and rather concentrating on making them good, they would end up becoming a thing of note.

Diego Calderon 228

Fig. 100 Interior photograph

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Which kind of materials (sketches, diagrams, plans, sections, detail drawings, models) did you use in order to communicate with him during these meetings?

Sketches, hand-drawn plans, section and elevations (mostly with charcoal or pastels); 1:1 detail drawings not using technical symbols like hatches but trying to draw sectioned materials themselves.

In his book atmosphere Zumthor describes nine elements to create atmosphere: Body of architecture, materials compatibility, the sound of space, the temperature of space, surrounding objects, composure and seduction, tension between interior and exterior, levels of intimacy and the light on things. Were these elements present within the assignment? If yes, how were they expressed?

They were all present, even if they were not mentioned as part of a “list of ingredients�. They came up naturally in conversations and not as a curriculum. Different projects were more relevant to some of these qualities, but I remember having shown a model with music in one of the critiques. The project was a music hall on the Rhine, to which the main space was a central room with all the arrival and secondary open spaces around. The room emitted not only sound, but also light as the concerts started, and to represent this temporal creation of atmospheres sound was linked to light within the model. The interior of this room could only be looked at through a keyhole at eye level, so the scale and atmosphere of it happened as much as possible from an experiential, rather than rational side.

Diego Calderon 230

Ruben Jodar

Student

During which year did you study with Peter Zumthor? Why did you choose Studio Zumthor?

I studied with Peter Zumthor during the winter semester in 2001 and the summer semester in 2002. I went to listen to his lecture in Barcelona when he received the Mies van der Rohe Preis in 1999.

We talked after the lecture and he suggested to come and visit his atelier in Haldenstein. I went there this summer and it was not possible to meet him. Instead I talk with Miriam Stirling who was working at his studio and was his teaching assistant in Mendrisio.

She explained about Studio Zumthor and I thought to try to get a Erasmus grant to study with him in Mendrisio.

What was the topic of the assignment?

Winter Semester 2001- Residential building, Pavia, Italy. The assignment was to design a residential building in differents sites in Pavia with different clients and goals. We were working alone in our assignment, but 3 students were working on the same site.

Summer semester 2002 - RTR Media Center, Chur, Switzerland.

The assignment was to design a center for the “Radio e Televisiun Rumantscha�. We were working in teams of two and there were two different sites in the city. The programme for the building was the same for both sites.

How would you describe the design process during the assignment?

Pavia: To start, we should visit the city and get inspired by the site. Every

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Fig. 101 Volume models

Ruben Jodar 232

Fig. 102 Interior photograph

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group visited their sites, with Peter Zumthor and the other three assistants, Miguel Kreisler, Miriam Sterling and Massimo Curzi.

There, they present us the goals of the client for the site. We should take a reference photo and an atmospherical photo, as a start of the project. After all the students working on the same site would build a volumetric model together. Then everyone with the help of model and reduced drawings, almost only a footprint of our building, started to develop our proposals.

After a midterm presentation we started to work on an anatomical model of our proposal, to show how was it was to be build.

Secondly we had to provide a photo model to get an atmospherical photo of the interior of our building.

Chur: Again a visit to the site with a trip to Berlin to visit similar buildings in terms of program, to understand what the studios would look like. The whole class would build a surrounding model of the site in plaster (1:200). And every group should generate a set of sketches and a model to fix our idea. For the final presentation again an anatomical model, atmospherical model and a 1:1 mock up of the building.

What role did the model play within the assignment?

The model was very important; it was the tool to develop the project, and the main object of the presentations. Often the discussion and the feedback was given in relation to the models.

What scales of models did you use to express which quality? What was the order of scales for those models (if there was any)?

Volume 1:1000

Ruben Jodar 234

Project 1:500 Anatomical 1:100 Surroundings 1:200 Photo model 1:33 Mock up 1:1

How important was materiality within the models? Please provide an exmple of a model that you have made.

The materiality within the models and the way how they were build were very important. For Pavia I used plaster as a massive material and I cut out the spaces.

How would you describe the meeting or tutorials with Peter Zumthor? Specifically, was there a focus on the context of the design or the construction in the area?

They were very intense, always focus around the objects we produced (models and drawings). Precise discussions about the atmosphere of the projects. It was very important to explain the important things and not to add many unnecessary talk.

In his book atmosphere Zumthor describes nine elements to create atmosphere: Body of architecture, Materials compatibility, the sound of space, the temperature of space, surrounding objects, composure and seduction, tension between interior and exterior, levels of intimacy and the light on things. Were these elements present within the assignment? If yes, how were they expressed?

Those were the themes we should talk about in our presentations.

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Fig. 103 Site model

Ruben Jodar 236

Fig. 104 Peter Zumthor with Giacomo Ortalli and Gaelle Verrier

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Giacomo Ortalli & Gaelle Verrier

Architects

studio and atelier Monday 23th of November, 2015.

Interview with Giacomo Ortalli and Gaelle Verrier, in Chur.

By Jing Cui, Rik van Ginkel, Katarzyna Goluszka and Michal Zaluski.

Giocomo Ortalli and Gaelle Verrier were both students of Peter Zumthor at the Accademia di Architettura, Mendrisio. After completing their Masters degree they both worked in Paris, before they were asked by Peter Zumthor to work for him in Switzerland.

As a team, they worked on several projects as project architects from 2008-2013. Currently they run an architecture firm together – OrtalliVerrier – in Chur, continuing the design methods of Peter Zumthor. This interview describes their experiences as students as well as architects.

How would you describe the teaching methods of Peter Zumthor? What kind of teacher was he?

GV. He was a great teacher because we could be really free.

Especialy in my case, as I was an Erasmus student. The teaching in Mendrisio was completely different from the teaching in Paris, which is more classical even though they don’t want to be classical.

You could be really free with him, if you had a really good idea you could keep going. This was really special. You did a bit of ‘maturity’ but after this you could do all you wanted to experiment. There was not a special way to do a project.

Giacomo Ortalli & Gaelle Verrier 238

Was it important to justify your choices?

GV. It was not about arguments; it was about what we were doing.

For each semester or each year it was a different project and in this we could also see that he was experimenting. So it was not the same for every project: one time you could have a site and you would have to choose a programme. Another time you would have the programme and you would have to find your site. The place or site was really important to him. One time the city could be chosen by him or we had to choose the city. For example for Chiasso: which is the most ugly city in the Mendrisio area. After that we had Moscow as a city, which was his choice.

Did the programme’s scale differ everytime or was there flexibility within the assignment?

GO.

One could choose the programme every time.

GV. And the site also. If the site would not go well with the programme he could change the site.

GO. But it was dependent on a slogan. Every year there was a slogan. So once it was ‘Make it typical’ so you had to choose a programme and then somehow you had to make it typical. Because then through this slogan ‘Make it typical’ it becomes really special.

In this case it was really a research about the programme. One year I remember in Moscow, we did two semesters in Moscow, it was a research about the city. There the question was: ‘What does a new form do to my city?’ So there it was different. Students had a site and they had to find a form or an organism, structure or something without thinking about the programme. Like a body, which reacts to the context and then the second exercise is find the programme for this. But what was very interesting is that all the discussions with him were only about what you are showing

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to him, so you can’t speak too much about theory, about ideas, about concept. Not at all about references; they were never about references. The discussions were around an object, usually, which was produced.

Was it a drawing or a 3D model that you produced?

GO. 3D no. It was a physical model. Also I think for him that was the most interesting thing, to go to Mendrisio and to see these big spaces, these big objects and to look inside. Sometimes you could see a very bad object, look inside a small hole and inside it was fantastic. And this was a nice thing about this research. So this was lets say the main piece and then for sure your drawings, but the discussion is not really about the drawings, the drawing is more about going deep into the project. The main piece was always the big scale model.

GV. He was always telling that we are still students and we are still not architects so this is not finished project. So every piece that you could see - this was a finished project, finished moment of the project. Every piece was like ‘okay, this is finished, we can look at it’ and going on and on like that. And every project, also, when there was a critique it was like an exhibition. And this was in Turconi, not in Canavée. There are corridors around and there we could put all our projects and everything should be placed on the right height. So now everywhere in Mendrisio there are these ‘cavaletti’. This was done by Peter. This was the classic one, there were different heights, and because of this you could really look at your model like a nice object. You should have to understand well how to present it.

GO. Yes it was a presentation. But this is the key point, I think.

The presentation of this object and the discussion is only about this object.

Giacomo Ortalli & Gaelle Verrier 240

From what I understand about the workings of Peter Zumthor’s office is that the models are constantly changing, so there is never actually a finished product.

Does this same principal apply within his studio?

GO. No, it is actually different. It is like a finished piece. It was always like a finished piece to look at, so he was telling what he likes, what he doesn’t like, trying to understand but everything starting from a single object. Then it could be an anatomic model, so a structural model, like one trying to express heaviness of this building or the lightness of the structure or it could be an interior space. So more like an atmosphere lets say with the different materials, so it was quite experimental in Mendrisio.

GV. What was interesting was to work on different scales at the same time. You would have a big scale like 1:10 000 and another project 1:1. So you had this detail 1:1 almost from the beginning of the project. You were working on this by designing different parts of the building. At the end of the semester you could not see everything in one object, but you would understand your project with pieces in different scales. Like the detail, the facade, the plan, inside space and all together would make you understand your building.

GO. What was interesting with this method is that everyone was basically doing something different: it was very free, the results, all projects were different, very personal. In this sense I think studying with him, what was interesting was this side of architecture, which I think is really important. When you should make the decision, there is a personal decision in architecture.

Architecture is a science for sure, but a small part is also about your decisions and in his studio is where we learned to make these decisions.

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Were you at liberty to design what you wanted or were there certain necessities in the process?

GO. I think it was also quite free. Ideally you should have an anatomical model, an atmospherical model and a detail model. It was organized. It was not anarchy.

GV. There were also 5 words you should give to guide the people, to help the people to design a project. For us it was super great. It was just a moment of freedom and fun and working a lot.

Testing everything, concrete, wax, metal, and all these methods.

Trying everything, so it was taking more time than the other things but you really enjoyed doing it and you understood your project more. Whilst doing it, you also learned something.

Do you believe this kind of freedom is a necessity within architecture?

GO. I think you need both. Architecture is a science but then you also need this part of personal expression, which reflects your biography, things that you like.

Please describe how Peter Zumthor guided you through the process?

GV. It started with a discussion with a student and it was interesting or there was no discussion at all. Sometimes it was not interesting or he couldn’t understand it, so he would say: ‘Sorry I cannot understand, maybe next time’. Another time it was about the difference in culture because there were a lot of Erasmus students: ‘Maybe I don’t understand what you want to tell me.’

GO. You need to be permeable. If you had a fixed idea of things like: ‘I do architecture plans, then sections, then a model’.

Then it is a problem. It is the same with every teacher: there is a

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method and you have to follow the method otherwise it is difficult.

So if you didn’t want to really build these things and try them out then it was a problem because there was no discussion without an object. Cause I never heard him making a reference.

Was there a particular reason why he chose not to give any references?

GO.

It was because it’s about what we were doing.

GV. Yes. You could speak about a reference of what you remember about a space. It is about an experience in that specific moment, of a place: “it was dark; it was big. Yes I liked this space because it was really tall, like 5 meters high. And there I felt it was cold, I felt it was warm.” It was more about sensation.

GO. But for sure you have your own references. But it is much more subtle because you don’t name the actual reference and the other person doesn’t name the reference. Otherwise when you start with a reference the discussion becomes intellectual.

Not about the object anymore and the bodily presence. So people could use the same reference but they didn’t know because they both had a different feeling of the same building.

Is there a distinction between Zumthor’s teaching methods and the way he runs his atelier?

GV. With his teaching he looks at your project, your ideas.

In a way it is a great chance. You understand it also when you are working with him, because for him it is like working in a team.

There is no difference between an intern, an architect or a senior architect; everyone can say everything what he thinks about the project. But with work, the precision of the project is very Swiss. It is his project so we have to do it his way and he is really precise so

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we have to do it with precision.

Would you describe him as a perfectionist?

GV. Within his teaching the perfection would not be about the precision of the drawing but the perfection would be within the right choice of the programme, together with the good choice of the atmosphere. All together this makes a project right.

GO. It is also his project. This is the main difference. Students that were doing a project were using his method, but it was their own project. He was really free, you could do organic shapes and it doesn’t matter but these were student projects. In the office they are his projects.

Were there opportunities in which you were able to lead the project?

GO. Yes, for sure because he is very good. We were part of the team and we were also in a very good position. But still, he is the boss, the coordinator and he is in a very good physical condition so he is very much present. What everybody says is that he creates in his office this kind of atmosphere that everybody works as a part of a team and gives something to a specific project. When we left, I think you can continue to make projects also thinking about what you learned from him but you miss this part, which is also his kind of charisma.

Within his office, did Peter Zumthor always give you instructions on what to do?

Or, were decisions made collaboratively amongst the design team?

GO. No. We were in a good position. So were were in a design team for every project. We were taking the decisions with him.

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GV. And you had really the feeling of making it together with him, so it was really interesting. I think it also depends on the project and on the state of the project. Sometimes he needs a door, and when he has an idea he does not need a design team, and he can do it by himself. And sometimes there are projects where he needs to work in a team to develop a design.

In his projects, were some of the ideas based on the designs of other architects?

GO. It is always from him even if it was my idea he makes it his idea in 5 minutes. He listens to the other but then he makes the idea, his idea.

GV. But maybe it is also like that, that you would not have this idea without him. I think it is a dialogue, especially when you go to a site.

We were lucky we went to a couple of sites together with him in Atacama and Los Angeles. In all of these places you see the site and it is really interesting to hear the design development from Peter Zumthor.

On which projects were you working at that time?

GO. Basically we worked on all the projects. As I said before we were in a really good position and we were working on the designs, not on projects specifically. As we were also his old students, I think this was a thing for us and for him. We knew each other and so we were working I would say on all design projects during the five years that we were there. And then more in detail on some project like one in Palestina in Isham, House of the Mosaics. Both of us went to Palestina. The work was produced during this workshop, a one-month workshop in Palestine. We were with a team of 20 people there. And this was a very interesting experience because it was with UNESCO and we went with Zumthor and we stayed

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Fig. 105 House of the Mosaics model

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there for 3-4 days finding a kind of idea; a strategy on how to do the model. And then he went back and we stayed there with people helping and we produced the project with models and drawings.

He came back a month later and this was a really nice moment because everybody was happy but then UNESCO didn’t have money and the project stopped. But anyways it was a really good experience.

GV. A lot of projects start with a workshop: a concentration for a month or two months on one thing. Then you let the project a bit settle, and then you start again. Because of this it was also good to have several projects to work on during different stages.

Were there situations in which you felt under pressure?

GO. For me there was no pressure. I always felt he was trying to do good things, things he liked and I appreciated this a lot. To work for somebody who wants to do things he really likes where architecture is an extension of his body. Not as an image, or something you have to do for society, but really more like extension of the body, something really strong. So this I always liked.

GV. There is a lot you can do at Atelier Zumthor. You can have an idea about a model and there is no question about the money.

You do it, and you try it.

GO. It is a great working condition. Not everyone can afford it. That’s why I think we were positive. You can understand this is quite special building these models and 1:1 models, production of objects within the office. It is not only about computers and being in front of a screen so the everyday routine is very various. You can really see that you produce something and it is not only in the computer. I think it is generally a really beautiful side of architecture.

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Please describe Zumthor’s use of materials. At what stage did he decide on the material for a specific project?

GV. It was different for each project. Some projects started with one material, or one idea: “I want to work with wood.” But some were more about the form and after a while a client asked “What material were you thinking of?” “Oh I was thinking about this material.” When you started to build models it was about all the materials together. We put all the materials together and we looked at them.

GO. For sure when he starts he knows exactly what he wants.

It’s not like “Oh today I will do this in wood.” When you see the monopgraphy you can do a study on him and you see that there are families of the projects and families of building structures, patterns of details, which come back in every project.

GV. Fascinations that he wants to use in a project, but I think he does that unconsciously. More while working with him you see this.

Would he discuss these ideas with you or was he working on these ideas by himself?

GV. Sometimes he would give you a drawing; sometimes he would speak to you about an idea. This is also different everytime; there is not a set way in his way of working.

Did he draw a lot, whilst discussing something with you?

GV. He likes also to draw alone a lot. Aquarell is more when he is alone. And the pastells - charcoals with colours - was used when

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we were working all together.

GO. In the end it is very normal. Because sometimes it seems that he is strange. It is like what every architect would love to do, that is what he manages to do. But it is not so special, I think.

It is just a nice way to work. And also with making his drawings, I think that everyone would love to do it.

GV. This is true. In all his life he took his time to make what he wanted to do. And maybe at the beginning it was not going so well, but now it is going really well, he can do the projects he likes. And I think he also made it like that. He went this direction. If it had not worked, he would have still done it this way.

GO. About the material anyways I would add that the materials are important because it plays a very important role in his buildings. If the Therme Vals was not in the stones I guess it would be different.

When we see the work of other architects we could imagine this material to be another one and with Siza everything is white and in Kerez with his structure and with Zumthor you can’t really take the material out of the building: It is there and it plays an important role. Also the Sumvitg chapel. The material is what I remember.

Here in Mendrisio the students are making the models with laser cutter. The difference is that when Zumthor was there, there was a model in wood and then the student was speaking about ‘Yes I did a project in the chestnut” And he was putting his head inside and said “No, this is not chestnut.”

Within his office, how does he choose the material? In his book he explains that every material has a thousands different ways of being used. Does he actually have a whole room full of different materials that he picks up and puts together?

GO. Yes for sure. It is always about looking at things. It is very important. So looking at things and if they go well together.

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GV. But there is this materioteca, which is really interesting.

For example there are different kinds of glass. You cannot say, “My house is made of glass.” He would immediately ask: “which kind of glass?”

GO. Putting materials together and then judging what you see.

Again this is very straightforward.

Was there ever a moment when he did not have a particular material that he wanted to use?

GO. Sometimes there is research needed for this, for example the Serpentine Gallery, there was a big research. Also the building in Bardo, there was a big research, also for the building in Sauda, also Norway. There is a research quite often.

GV. For example black concrete, how can you have a good black corner with stones or without stones? For these things there is a research. He is working also together with the craftsmen to ask them “Can you do this? Can you do that? How can you do this?”

Also to understand the limit of the material and after this research he is like ”Ok. I know now what I can do with this material.”

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Daan Koch

Architect

processes and hierarchies Tuesday 24th of November, 2015.

Interview with Daan Koch, in Basel.

By Reni Bouwhuis, Jing Cui, Rik van Ginkel and Katarzyna Goluszka.

Daan Koch was a student at the Higher Technical School in Tilburg before he started his Masters degree at the University of Technology, Eindhoven. During his time in Tilburg, he was already highly influenced by the architecture of Peter Zumthor, writing a thesis about the architect and his designs. This fascination concerning the Swiss architect continued within his Masters degree at the TU/e, where Zumthor was omni present within his design process. After finishing his Masters, he applied at Atelier Zumthor and was invited to work for him in Haldenstein, Switzerland. This interview discusses his personal experiences within the office and his view on the design process.

Were your expectations met when working at Peter Zumthor having researched him for so long?

I didn’t have a lot of expectations. One of the expectations that I had was that I would come into this office with all old Swiss guys.

The day when I had the interview, this young woman opened the door and she let me in. I saw young people everywhere, which was already strange for me. It was also quite a big mess with drawings, sketches on the wall and the models didn’t look that nice. But there was a drawing of the Kolumba Museum so it was still Peter Zumthor’s atelier. Later I learned why he works with younger people, which is the key thing in your project, about the master and the student. With Peter Zumthor it is very much the case that he is the master and we are the students. He also practices like this: his way of working is very different than other

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architects. For example, there was this design meeting and what happened is that we – the interns - were asked to build a model.

This model was only the landscape and it took us two or three months before we had the texture of the sand, the colours and what it should look like. It took two or three interns to work on fifty different pieces, but it was not yet a model. Then we decided that the model should be made from this specific material and so we started working on the big model. One evening Peter came in and he gathered stones and he started to do his artistic explanation. He always has these artistic moments when he puts on Jazz music very loud and he takes out his aquarell or his stones. Then there was a design meeting, but it was already quite late. We already finished our work but everyone had to come; interns, architects and even the secretaries had to come. He was explaining about the project and he would say: “Look here, this is the landscape, this is the house and I want to use stones.” But he presents it; he is the artist presenting his artwork. And then he starts to ask people if they like it. That is the moment where he asks young naïve people to respond to his architecture. I made the mistake by saying something very architectonic, very theoretical. Then he was like: “I don’t ask you that.” That moment I knew that it was special there. And everyone knew not to make the master angry; it is still Peter Zumthor. I also discovered that the people who were already longer in the office, they were all in the back. The young and fresh people were in the front: “Please tell us about architecture.” After a couple of weeks I was also in the back, knowing that it was not going to be fun at all. But he makes his presence to be that of a leader, of a master. The way he asks things, I understood was a very rhetoric way of posing questions. “I like blue, do you like blue?” “Yes, of course. We love blue.” Sometimes there was this one person who said that he liked red, but Peter would grunt and say that we would make it blue. But after three months he would come back and he would say: “I know it, it will be red.”

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In other words, does he consider the idea of other architects?

Probably unconsciously.

Is there a clear hierarchy within the architecture firm?

It is a very clear hierarchy. It is Peter Zumthor over here, and all the rest over there. When I just got into the office, it was all of a sudden called Peter Zumthor and partner (Rainer Weitschies). He was already there when Vals was being built and he is already fifteen or eighteen years there. He is actually the only one who stayed that long. When I got into the office, Peter was on holidays so I had to work with Rainer. So I thought I could learn a lot from him and he came to me and he said: “Ok Daan, we just finished this museum the Kolumba museum – and people make the floor dirty because there is no doormat yet. So we need to get a doormat. I made these three sketches of the doormat.” I looked at him and all of a sudden he looked unsure. He continued: “We can do it like this, or this or maybe like this.” I told him that it was obvious and one of them was clearly better. He agreed and said that he also thought that. He is the partner, but he was asking me about a doormat; I knew it was for an important building. Then Peter came back and I saw how Rainer had to go to Peter and said: ‘’Peter, about the doormat in Kolumba. I sketched these three things.” I thought this couldn’t be true, this is about a doormat, which is going to be put on top of the floor. This guy, who is assumed to be the partner he has already been there for twelve years - he can’t just order a doormat? This is going to be a strange experience here, because Peter Zumthor had to decide on a doormat. When he has to decide on a doormat, he has to decide on quite a bit. In three years I learned that is exactly what he does. He decides on everything. So you can go to a building that he made and he decided on everything. For example he never finds a lamp that he likes so he has to make his own lamps. Then there are the chairs where people have to

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sit on, and he can’t find a chair that he likes; so he has to design a new chair. And that keeps on going until he designs his own bricks.

I saw people come and people go, because they could not manage this perfection. Myself, I was always flabbergasted with the energy he had to keep on going. He was sixty-eight when I worked there, he plays tennis every day to stay fit. But he works like a madman; he flies over the entire world. I was a young guy, went hiking in the mountains and I was really fit. And at the end of the day I was tired, but he kept on going like a Duracell battery. That was kind of an experience.

Was Rainer Weitschies also part of the hierarchy? Was he closer to Peter Zumthor or to the other architects?

No he was at our level. What I found interesting that sometimes the interns had more to say than the architects. Because they were more naïve, didn’t read so many books and could not speak so much nonsense about philosophy. There were moments where I worked on the Meelfabriek in Leiden; I was designing a hotel in the silo building. At the end we made a lot of models: 1:10 and 1:20 of the hotel rooms. During one of the design meetings he grabbed the secretaries – two young women who don’t know anything about architecture – and asked them if the wanted to stay in that room. “It’s a bit funny”: the secretary would say, so it was wrong according to Peter. So it was strange, to work for two months on a hotel room and the secretary says that it is a bit funny. Peter wanted to hear honest and objective people that don’t know about architecture to say whether they like the room or not. That is something I haven’t experienced again with other architects, that they’re searching for an objective opinion of people who want to experience architecture in a very normal way.

Architects always start to talk about these strange things that have been written in architectural books and magazines; they have been written by architects and photographed by architects. One

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Fig. 106 Meelfabriek Leiden interior model

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of the most interesting things is that Peter asked a good friend of his from Basel – who was his childhood friend - to come over.

So Jurg would come to Haldenstein for a couple of days, but he didn’t know anything about architecture; he couldn’t read a floor plan or whatsoever. He was this old, short guy and Peter would take his time and every day he would show him two or three projects. He would look at these models and look at the drawing and ask questions such as: “Is this water?” But for Peter it was a sign that we didn’t make it clear enough in the drawing that it was water. Then we had to make it bluer to make it readable for normal people. He tried to explain this guy - who didn’t know anything about architecture – how the hotels would work. Peter would only be satisfied if Jurg understands how it works and would give his approval. But when he would say that he couldn’t understand a thing, then we had to start all over again.

Was it difficult to work in an environment wherein Peter Zumthor would either accept or reject your idea?

He would always start with drawing the rules, because he made the first sketch. That was always with a lot of people next to him; other architects and interns. He would just talk about how this hotel would function. And then you had to make floor plans, sections and models. Then you start to see how it could work.

We were testing how you could make it, keeping contact with the engineers and how it would work. Every part of the building you would draw, make schemes of it, you would make models of it and put everything on the wall. That is why it was always a mess in the office, because everything you made had to be there. You could not make a sketch and then keep it for yourself. But you would never know when Peter would drop by. He lives in his office so during one day, one week, one month, somewhere he would pass by and see what we had produced.

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Did he use your design that you had made or was it used as an inspiration? For example, if he sees four different hotel rooms, would he take something that he liked from each room in order to design something himself?

He is of course triggered by the images we produce, models we produce and information that we get from the engineers. Then he starts questioning everything, and then he gets Jurg or the secretaries and asks them if it is good enough. We were taught to think in a specific way, for example if you draw something an engineering will make sure that it will stand up right. It will look fancy but does it make sense? By questioning everything and tounderstand what the problem is, he forms questions that need to be asked. ‘What does the client want anyway?” Because in the beginning he does not have a clue of what the client asks. The client wants to have a hotel? Great, we will design a hotel. What kind of hotel? Then he just starts asking and asking. But during your work you might find out that he does not need a hotel at all; he needs to have a boat or a big restaurant. It really keeps going back until you find the right questions and then you can start again.

At the end I worked on the Kunsthaus Bregenz, a Mies van der Rohe kind of building. It went quite fast, because it only took two or three years of planning. I made this joke to my colleague, who was a project leader, that it probably was round as well. She agreed, and showed me a plan of a couple months back. I looked at the floor plan and it was completely round. He works on a single concept for so long, but then he sees all these problems and because of that he went back and requisitioned everything; even the first concept or the very first idea. So, maybe it doesn’t need to be rectangular, it needs to be circular. But not the very first idea; he wants to make a big roof that always has been there. But getting from a rectangular shape to a circular thing was quite big. In the end when I took over the project, he just came back from holidays and we had just send out the building permits. Then he said that he was not satisfied with the project yet, it wasn’t good enough for

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him. He came back with a piece of paper, with a sketch of a round building, so it was a completely new building. We had to stop the entire building permission and I had to rework all the plans and the sections. We also had to go back to the client and tell him that we thought it wasn’t good enough and that we made a new design.

Was this way of working frustrating for you?

For me it was a new chance to get involved into the project. For my colleague who worked for two or three years on this plan, it was suddenly all gone. When you are in Chur, it all looks like a fairytale; a very nice place to work. But it is also almost the end of the world; trapped in the valley where civilization is an hour and a half away. You also think that you want be a famous architect, or want to make your own architecture. And you are working for this really cool architect, but before a building is finished you are ten years further. “Do I want to live here another eight or ten years? I don’t think so.” At the same time, that was something that came pretty fast – after the floor mat incident -; if the partner cannot decide on a doormat, I will not be able to decide on a doormat. That is frustrating. For me that was really hard. “Do I really want to give all my energy, and everything is questioned until death?” And nothing that you put into is yours, because Peter would take everything and he makes the decision. I have seen drawings of Kolumba; every wall has been drawn, every brick has been decided on. We drew these bricks thousands of times, until we had the rule, which came from Peter. Even the exceptions to the rule came from Peter. The lamp, which came out of the wall, was done by Peter. Even the pins where the lightning hits the roof were done by him. Nobody sees them, but it is a ‘Peter Zumthor’. There was even an architect, he came to the office and he was asked to design a ladder for on the roof of Kolumba just for technical use. Nobody would ever see this ladder, because it is hidden away. But god sees everything so it had to be a fancy ladder. There was this architect, who was spending

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Fig. 107 Steilneset Memorial site model

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two months of his life on designing this ladder. He even made a ladder out of foam on scale 1:1, before presenting it to Peter.

You described the of use of a 1:1 scale model, what other models did you use within the design process? Was there a different model for each aspect of the design?

There are the atmospheric models; the big landscape models where Peter is searching for the atmosphere of the place. He doesn’t want to have a fancy model in wood that has been made to perfection by laser cutting. He wants to have only the atmosphere of the place, the way he experienced it for the very first time. So there was the Norwegian project – this long tunnel for the witches – where they made a big model out of wax. The also used salt to mix it with the wax, so when the light was shining on it, it looked like ice. They tested it for months and months until they had that effect. They took beautiful pictures of the model, but when you see it you think that it is a crappy model. After that Peter starts to do his artistic thing and then we need to take photographs of it. These photos also take weeks, because we had to Photoshop them until we got the right atmosphere; it really takes a lot of time.

Every time we had to take a photo, Photoshop it, print it and put it on the wall. Maybe two weeks later, Peter comes by and he would say that the angle of the photo isn’t right. So that means that I had to set it up again, and do it all over again. Those were the atmospheric models and then it just starts to go up: 1:100, 1:50, structure models. They also have to be very precise, but also atmospheric; about colour, about smell, about a lot of these side things what normal architects don’t think about. When execution is there, everything happens on a 1:1 scale. We would build models in the workshop 1:1 only, making mockups, pieces of the building with real materials and we would test it out.

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How would he test such things as lighting in model? Because he explains in his book that ‘light on things’ is one of the nine methods to generate atmosphere.

How does he make them tangible?

Everything is build with models. When I got into the office, I was asked to design lamps that would light up the old chapel in the Kolumba building. They had these stained windows and they were not lit at all, they didn’t have any daylight because Peter build around it. So we needed to have very precise lamps there.

They should only hit the glass and nothing else. I was trained as an architect, as a building designer so my first reaction was to suggest going to a specialist. There are people whom you can call, who have good software, and they can help you. But Peter said that they don’t have a clue, that they just do something. So I made a model inside the office with wires, scale 1:1, designing the entire lamp until it worked. There was an important moment – coming back to the master-apprentice system – he doesn’t want to ask people with experience about how to solve this problem. Because people with a lot of experience, they always come up with their standard solutions. He is not interested in that at all. He wants that someone starts over, to think about the problem and then solve it.

That takes so much time and energy; it is almost ridiculous.

Another thing is that only young architects get into the office, no older architects: He doesn’t like his architects to have too much experience. He doesn’t want to be told that he should build it in a certain way. I also worked on the wooden houses in Leis, and when I got on the building site, there were these young guys working with big wooden beams. The guy doing the woodwork – who was an elderly guy – he was always talking to Peter to tell him how things could be done. I asked this guy why there were only young guys around 18 or 19 years old. He told me that he has to; because when he takes his best men – who are already 20 to 30 years in the business -, they would never build it the way Peter wants it.

They would say that this guy is out of his mind, that it doesn’t

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make any sense and they would build it their own way. People who are experienced, they have this way of doing it and everything else is bad. Peter doesn’t want these old guys that know how it works.

Because they will do it the way they think it needs to be done.

He needs these young people on the building site, but also in the office. We were young and naĂŻve enough to design things that are new and outside of the box. That is a key element in the story in the guys that you will have to write about in your graduation project.

This is the key of the master-apprentice system concerning Peter Zumthor. That he really is the master; he is the big guy. He takes his students and he teaches them exactly how they have to work, to question everything.

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Femke Stout

Intern

models and scales Thursday 17th of December, 2015.

Interview with Femke Stout, in Eindhoven.

By Rik van Ginkel.

Femke Stout was an intern at atelier Zumthor, before graduating from the University of Technology Eindhoven. After sending a portfolio to Peter Zumthor she was invited to work for him for the duration of a year, postponing her graduation project. During her time in Switzerland, she learned about the design process and the thoughts behind the designs of Zumthor.

Within the atelier of Peter Zumthor, was there a unique relationship between a master and his apprentice?

He usually did this when everybody was together in the same room. There were a lot of moments where we would all come together and stand around a model to make a decision on the project. During that time he would ask a lot of questions, and we would all decide if it was good or not. But you really noticed that he worked with a lot of young people and that he is the teacher. It is almost like you are back at the university again doing a project and he is your teacher. He really tries to teach you, sometimes in a nice way but also in a harsh way.

During such a project meeting, when you are standing around a model, what would you discuss? Is it a very subjective process, where you can only say whether you like it or not?

“I don’t want an academic answer.” That is true.

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Did you ever make the mistake of giving ‘an academic answer’?

Well as an intern you are not in the line of fire. When Peter asks us questions it is usually directed at the project architects and they answer. It is not like he asks somebody a question and he answers but he directs it at the group and somebody answers. They try to answer his question – just like we answer the questions here at the university – with facts and trying to make that into the truth.

But that is not what he wants to hear. He wants you to be honest about what you think personally and that is hard sometimes because we are not used to it. If you use that as a reason here, that you like something, you can leave straight away. Of course it wasn’t as black and white at Peter Zumthor, but you feel if things like proportions are right or not, and that is something everybody has. That is why there are these models, and so big because you are almost looking at the real thing. These models are constantly in your working space and you start to live with them: Especially these atmospherical models, which represent the space where the building is supposed to be built.

Regarding these urban or atmospherical models, how would he decide on a scale for these models? Is this based on a feeling or on architectonic scales?

He does use architectonic scales, but he doesn’t use the same scale for every project. When it is a bigger project he will use 1:1000 and if it is something a small house he will use a smaller scale like 1:500. So he doesn’t use a set scale, but you can say that he uses a scale specifically to understand the urban site and to communicate with the developer. So it is not like we start at 1:20 straight away. It starts with getting a feeling for the place and then we start using working models.

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Peter Zumthor is very meticulous with the choice of materials used within his models. How does he decide on those materials?

The most important thing you need to know is that they are working models. They are not - like we are used to make them presentation models. There are still presentation models, because he still needs to impress the developers. Because there is a very big model for the Novartis project and that one was made by a carpenter. That was a very impressive model. But the models that we use to design are always in his atelier and it is basically just foam that’s almost falling apart, with paper that is falling off.

Because they are working models, we keep working on them and only when the developers come, we try to make them a little bit neater.

The infamous models seen on the internet and in architecture books, are they presentation models?

They were all working models, because with photos you can play around with what you show. All the photos show a foam model as a basis, but with texture glued on top of it. The most important thing with foam is that you can cut it on the spot. So when you’re looking at the model and see that it is not right yet, you can pull it out, cut it and put it back in. There was a big model for Vals that was made from stone, which was probable made by somebody outside the office. I’m not sure, because I wasn’t there at that time, but that was more of a presentation model. The model for LACMA is made entirely out of concrete. It is used to design in, but because the urban site is set it can be something more final.

He also makes a lot of mockups, which are 1:1 models and those models are from real materials. A 1:1 model is still a model. Beside the models there are also samples of materials, which he wants to use.

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Fig. 108 LACMA site model

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Fig. 109 LACMA anatomy model

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Are those samples of the same material, but with different textures and finishes?

For example the stone used for Therme Vals, were there different kinds of samples of that particular stone?

Yes, that is what I think. I did not see the collection, but I do think that that is true. I worked on Novartis and there were various kinds of wood and various finishes of that wood. Within the models you tried to translate that material into a different scale using foam and textures. Because especially during the design phase there is still a lot that can change. You don’t want to, if you want to change something, saw or cut a whole new piece of wood. That is just not possible.

If we go back to the first step in his design process, where he gathers everybody around the atmospheric model. How does he start the design process?

When I was there, there was never a moment where he explained the project in one session; it is a process that you have to go through; the models grow, the design grows. But that is the good thing about Peter Zumthor: all the models and drawings from one project are in the same room. All the stages of the project are there too, so sometimes you can go back to an earlier stage to see what to do next, or if you have to go back. But there was never a moment where he explains everything. It is a dialogue between Peter and the models and the architects. The project grows, the people working on it grow and Peter grows. After a while you know how the atelier works and how important models are within the process. The models are there to make things tangible, and that will help you.

Because at first you would make a model and you would be proud of it, but five minutes later Peter would have destroyed it. Of course you don’t understand at first, but after a while you start to notice that those models are necessary for him to make it tangible. Louise and I started to notice that for the bigger models, the foam models for LACMA he was designing with the models. There was a concept

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that he came up with together with other architects and we were making models based on those floor plans. That was a model that was in scale 1:33, but that was the first time for him where he saw his project coming to life. He would use those models to see what goes where and to move things around. We had to make the paintings and art pieces and those would move around within the model. We had to be there during that process, to see what he would do and to record it and to make into a new model. But the most important thing was that he was designing, so there had to be a new model within five minutes. That model had to be flexible as well so he could move things within the model, so the model is so important in the process.

Within the process, you explained that there were floor plans and sections and then you had to make a model according to those drawings. Did it ever occur that he would first build a model and your plans would me based on that model?

That was with some other projects; it differs with every single project. For example the house of the Sheik, where he was already working on some models himself, explaining the spaces and the hallways around it. He was making models to explain to the project architects that this was the concept with which they had to continue. With that project the actual model was important to come up with floor plans. Because when a model changed, that became the new input for the floor plans. They measured the changes made in the model and changed it in the drawings. For example, we were working on a house in Chivelstone, where one wall was made up entirely out of closets. He was walking around the model and he would move the closets around or make them smaller. We would make those changes straight away and then it had nothing to do anymore with the drawings; the model was leading. That model was enormous, scale 1:10 with foam and paper and somebody would come and measure the new closets and change that in the drawings. There really was an interaction

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Fig. 110 LACMA model scale 1:33

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Fig. 111 LACMA interior model

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between drawings and models. So he wouldn’t just make drawings and then make a model out of it and that would be it. He would make a model based on drawings, move things around within that model and then change it in the drawings.

You previously mentioned models on a scale of 1:10 and 1:33. Which other scales would he use, and did he have a certain scale to express a certain quality?

With furniture he already starts at scale 1:50. He starts with the interior at 1:200 but at 1:50 you can really start to put furniture in.

He uses all kinds of scales. The model for LACMA, which is 1:33 was a scale that he didn’t use that often, but only because the building was that big. Sadly I didn’t work on that, but there was an intern who started half a year before me, and she went to Los Angels together with Annika and a whole team of architects. The model was actually put together on the spot in LA, because it was too big to transport. They poured the concrete there, but we did all the research back in Haldenstein. We even made the people, the trees and art pieces, which we had to send to LA. They were small pieces of cardboard but when you have to make five hundred out of them then it is something different. We also made the pieces of furniture, which makes it a real representation of the actual building. It looks exactly the same as the way it is going to be built.

What part does furniture play in the creation of atmosphere in a model?

Annika also said that there is a moment when you can feel that there is something there in the model, and that is what you capture by means of a photograph. There are a lot of those moments within the process, but it is important to capture those so you have a static frame within the dynamic process. Then we had to Photoshop these photographs, because those models weren’t very precise. In the beginning those models were very precise

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but they were taken apart and put back together so many times.

Sometimes there would be dents in it, or there would be pieces that were broken off. Needles would keep the whole model together and it has to be detachable. When you take a photograph there is a big chance that part of a window frame isn’t straight anymore, and that sort of things you fix in Photoshop. There was a time where I had to Photoshop something else in because we didn’t like the original, but we tried to do that as little as possible.

You previously discussed certain mockups for a design. What were those mockups exactly?

Those were models in real materials and real measurements. We had a part of a roof, where four pieces came together to see how it connected. We also build an entire room for Novartis, with furniture and window frames. That room was 1:1, together with the actual construction, exactly how it is going to be built. The same thing happened for Werkraumhaus. At first the building was four meters high, but after we build it in his atelier he decided that it had to be six meters high. So after working with so many other models in other scales, where it seemed perfect, he can still decide that he wants it bigger when building the 1:1 model. That model was also with the actual construction and even with the right colour of the concrete. But we had a big part of the roof, which we used to decide on lighting and sprinklers. That is how detailed it can get, and everything is decided on.

You explained earlier that they used models and drawings to communicate with the developers. During what stage of the process was this? Did he first use models and then a combination of models and drawings?

Yes, he will he always use a model. When he is flying to meet the developer that makes it more difficult of course. During my time,

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Fig. 112 House of the seven gardens concept model

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Fig. 113 House of the seven gardens interior model

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he would make sure that the developers would come to Haldenstein, and then it is almost a show. All the models of that project would be in the same room, with the drawings on the walls around it. Rem Koolhaas for example, travels around the world to meet the developers. But Peter Zumthor invites them to his house, to take them out of our their everyday life and to introduce them to his.

In his book ‘Atmospheres’, he describes nine methods to generate atmosphere: Body of architecture, Materials compatibility, the sound of space, the temperature of space, surrounding objects, composure and seduction, tension between interior and exterior, levels of intimacy and the light on things. Does he test those methods with models or are they highlighted with models?

It is really a combination of all those things. It is not like we are going to build a model now to work on the light or temperature of the space. I know that it is something that everybody wants, to take it apart. Of course he takes everything into account, but he doesn’t pay special attention to a single element in a model. He has a lot of experience, so a lot of things don’t have to be researched anymore. When looking at Werkraum, which only has one floor, he did look at the height of the roof and thus the way the light falls into the building. He actually prefers to take photographs of the models outside, where there is natural light. When he is presenting his models there are always large lamps pointing at the models.

Those nine methods are more for himself, to get a grip on his own designs.

Does a pattern regarding the use of models exist? Is there a continuity of scales?

Within the models there is sort of a consistency. When we’re working on scale 1:10 that he wouldn’t go back to scale 1:1000.

Of course he still looks back at larger scales to see if the thing that

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he is doing is, is still consistent with the first concept. But with Chivelstone the program did become a lot smaller than it used to be, so then you do go back to a bigger scale. But coming back to those key words, he doesn’t work with a list. Because this project (the house for the Sheik), they started in 2009 and I was working on it during my time in 2012-2013. This was one of the first designs (figure 112), and he starts to sketch, and he builds a model to look at the gardens. But here (previous page) we made a model scale 1:20 that really was there to make sure the lighting was correct, and also to see the proportions of the space itself. Also, it is a really warm country, so you need mass to provide people with shade. So how do you get livable spaces, but still keeping the experience of being outside? This is not necessarily about form, but also about the different layers that are visible within the building. You can see that he is working on the façade: so how can you create privacy, how can you provide shade. They are partly made out of foam and the other part is cellular concrete. Because this project was already further in the process. You can see that all of these spaces are designed from inside out. But if you take this model (figure 112), this discusses an ordering of the spaces, so when you put them alongside each other they don’t really match. But even though they are from different phases of the project, they still explain the same thing, the same concept. The models in this case, are really to test the spaces and try different things.

Are these models test models?

They were also models for the clients, during the design process to see how their projects was going. There are always a couple of concepts that keep coming up within the project, so even though a lot might change, the concept will still be there. The models from Chivelstone always have a short of blue tint to it. But when we were making the model, something went wrong. He wanted to have concrete in the colour of the ground, which was the same

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Left Fig. 114 Chivelstone site model Right Fig. 115 Chivelstone anatomical model

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colour as the Bruder Klaus Kapelle so a bit yellow. So every model made for this project was in the wrong colour, changing the entire atmosphere of the project. The bigger model however was made in a different colour so it would match better, but in the phase before that there wasn’t even a plan that it would get a colour.

There exists a real distinction between the atmospheric model, where the shape of the roof is an organic shape and the interior model, where both the walls and the roof are straight. Was this distinction an important part of the process?

This model (figure 114) is to show the atmosphere of the site.

But what he designs in that first model doesn’t have to be a representation of what is going to be built. There is also a model on the same scale (figure 115), which is cleaner and does represent the actual building, but this is a concept model. What he did here is that he found pieces of rock and placed it in the model, knowing that it won’t be build in that exact way. But it does explain what he wants, so a large overhanging roof and thick walls. With this project the actual program was also made smaller, so we had to redo this model too.

You explained that there is a high number of young employees. Do you believe there is a reason for this or was it just a coincidence at that moment?

Rainer, his partner is also there but he is a little bit older. I think the reason why he has younger architects working for him is because he is a teacher. There is room to make mistakes; there is room to learn and to evolve. The way his office is set up, allows for that to happen. I think every office should do that, because we just finished university and we are not perfect yet. In bigger offices they keep working on their own things and you have to figure out what you have to do instead of helping you to reach a higher level of expertise. Another thing is that you’re not as set in your ways when

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you are younger. So there is really a student teacher like relation between you and Peter Zumthor. He does work with younger architects, who don’t really know what they’re doing. I learned how to make white models here at the university, so working there was a real eye-opener. Here everything is white and fixed and there I was working with sand and trees, so that took some getting used to. Unlike here at the university they don’t use laser cutters or 3d printers. Of course there was the presentation model for Kunsthaus Bregenz, but they didn’t build that in the workshop, that was specially made.

Having worked for Peter Zumthor, do you still admire his approach to architecture?

I really want that, the way Peter designs his buildings, that everybody would do it that way too. Like I said before I was only an intern, so I wasn’t like the architects in the line of fire. Sometimes you do get some big setbacks in your work that you have to start over again with a model. Not only in your work but also your personality and things that are close to you. I really think that the things that Peter produces are making the world a better place.

Because the projects take so long before they’re finished and because so many architects work on it, the designs get better with every step. And he doesn’t build when it’s not good enough yet, which shows real integrity. I really want that more architects would work like that. I do understand that a lot of people have to do competitions to get by, and that they have to design in a building in a very short period. The only problem is that because of those competitions, architecture isn’t getting any better. I am working on competitions too, and I want to hand in something good, but that takes a lot of time. I don’t want to hand in something, just for the sake of competing.

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In your opinion, are his building ‘too perfect’?

As an architect it is impossible to visit his buildings. You cannot go to Therme Vals; the problem with being an architect is that you can’t go anywhere anymore. I’ve been to Therme Vals three times and only after the third time was I not looking at the building anymore. But Therme Vals isn’t perfect; there is chalk on the stones, some of them are broken. The Saint Benedict Chapel isn’t perfect either, just look at the discolouring of the wooden slats, which is a natural process. I think the problem is that we have never been to a building not knowing it is Peter Zumthor’s design.

We made him into a myth, but he is still just a man who is sitting in his Le Corbusier chair with his newspaper and falls asleep.

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Raoul Vleugels

Intern

materials and atmospheres Thursday 14th of January, 2016.

Interview with Raoul Vleugels, in Eindhoven.

By Rik van Ginkel and Katarzyna Goluszka.

Raoul Vleugels was an intern at Atelier Zumthor, before graduating from the Master Architecture, Building and Planning at the University of Technology Eindhoven. His graduation project was highly influenced by Peter Zumthor, by using Zumthor-like models and methods. Currently he has his own architecture firm – Werkstatt – where model-making still plays a central role within the design process.

What were the most influential aspects or people at Atelier Zumthor?

Annika was one of the most interesting people at Peter Zumthor.

She had a lot of influence within the office because you have to be really creative but also skilled to work at such a high level. She was the one that was guiding us as young interns, and telling us what we should make together with the architect. Without her I think it would be an absolute mess in the workshop. This translating of ideas is really interesting because she was sculpting the ideas together with the architect and the interns. The architect is the one that is controlling the vision of Zumthor. Zumthor tells the architect in what way we are working and what the direction is.

Then he makes a rough sketch and then the architects start to design with this rough sketch. It is often very open to interpretation.

If you look at the buildings of Zumthor, you see that they are often very sculptural in how they look and how they are made. We had a girl at Zumthor who was a metal worker, and then she started studying architecture and came to the office. So there were a lot of people who weren’t architects but they were interns. Because you

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Fig. 116 Annika Staudt and Peter Zumthor with the Perm State Gallery site model

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Top Fig. 117 Tschlin Hotel site model Bottom Fig. 118 Tschlin Hotel site model

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need all these kind of disciplines to make this kind of architecture that is so about materials and so much about details.

Do you believe a model has an influence on the design?

Yes, a lot. I thought about that when I left the office. The interesting thing is that every time we started a new project, you would start to design the model; you would start making a landscape. So you would make a big model of the surrounding and on scale 1:100 or 1:200 and sometimes even 1:50 depending on how big the building was. But there would always be a lot of landscape around it and the material choice for the material already dictated a lot about the architecture of the design. So we had models that were made out of wood and we had models that were made out of plaster blocks, models of concrete, models of steel, models of wax. When you create such an abstract landscape, this abstraction immediately tells you something about the design. So when you put the design in there, you see if it works or it doesn’t work. When you start making these landscapes and start putting things in there, there will be a point where you can see that it starts to work. You become clearer in what you are designing; so if you want to build a wooden house, this already becomes clear within this abstract model. Most of the work went into making this model of the landscape. We made a whole city out of concrete blocks, cast in the shape of all the houses. After, when we put the design in, it immediately starts to speak to you. This abstraction is really important. The moment you start to make an abstraction of the surrounding of your design, you get a feeling with your design and the first sketches that you make. Otherwise it will always be hard to draw a house, and you draw a little bit around it; a piece of the driveway or a bit of the garden. But rarely you draw the plot and you draw everything in there, including your building 1:100. Normally it is on a bigger scale such as 1:500 to see the whole garden, and you do not do that so often. A model is a very nice way to have this

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conversation between the design and the surroundings.

Would Peter Zumthor draw a sketch of his first idea and then would Annika translate that sketch into a design or into a model?

She would translate it into a model but she would not really design it. Zumthor would draw a design and the workshop then started to visualize this first sketch or design. He had these big pencils and he started sketching and we would measure with a ruler which line we were going to use. Because there were ten lines next to each other and we had to decide which one had the nicest curve. We would cut that one out and we would use it to build the first models. This was the start of the design process and it would always happen inside the workshop. That was always really nice because we were there; we had to cut out the design, glue it together and make something really quickly. So it was a super intensive working schedule. You would be working for three hours and designing, but the nice thing was that we would do it together.

He would ask every single person in the room what that person thinks of that column. But they couldn’t say what they thought; only think. Then one person could move for example a column, and then the next person moves the column until everybody was satisfied. It was really a design by making. Just moving the column and not giving an explanation why the column had to be there, but it would move until it was in the best location by feeling. Annika is very closely related to this working method, because you would be making these things and she was always there. So she would not design it but she was the first one to visualize the design.

Which materials would you use for that specific process? Was styrofoam used?

Styrofoam was banned from the office. It was only used for the bigger models or things that would be covered up with paper. But

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working on smaller scales it would be wood or wax or clay (car building clay). This kind of clay would always stay soft.

How were projects communicated within the office?

We never really talked about architecture; we always talked about what we see. Because he knew that we were all good architects, so he just wanted to know what we thought of the project. He did not want any architectural explanations about the volume, but just saying what we liked.

Are you still working in this way within your own office?

We were actually talking about it this morning. We try to but it is hard as a young architecture office. Peter Zumthor is of course a different thing, because he has a lot of money and a lot of people working for him. We have to build up a business, still earn money and keep a certain speed. So we do our best to keep this in the office; to keep working with models and to always use them. We always make a model and we study with the model, never being afraid to touch it. At some point we have to stop with the model, but in the future I hope we can keep working on models. The most difficult thing, especially for a young architect is to let yourself go. To have this flow in your drawings or to make something and to make it emotional. That is what Zumthor does; he is a very emotional man. To just draw something that is not about precision, and even though his sketches are very rough, they were really precise and to scale. He would draw something on a piece of paper and it would be scale 1:50 exactly. He can do these really nice watercolour drawings and he has a really keen eye for architecture.

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Did architects have a lot of influence on the design process? Did Peter Zumthor have the final decision on all designs?

I was more involved in the more creative process in the beginning of the project and all the detailing was more at the end of the project. But it could be super frustrating for people because I saw that in the office; that you design something and Peter would completely tear it apart. That’s the thing, that he really sees it as an educational process; he sees it as post university training for architects. That is why people don’t stay there for very long, maybe a maximum of five years. People leave because they are frustrated or because they want to do something else. He really isn’t pleasing anyone or creating long-term relationships, it is about the project. He cares about the people, but he really talks some people down and I saw somebody crying multiple times.

I don’t know if it is a good thing or a bad thing, to design in such an emotional way. You probably know it from university that you design something and your teacher does not like it. But on this kind of level it becomes even more emotional. On top of that you are working with Zumthor and you want to impress him. But it is also an atmosphere of creativity and very nice things that are being made, and very nice people. We also went to the office of Valerio Olgiati and he never builds a model. He only works with technical drawings and sketches. He makes fun of Zumthor by saying that you need models to understand his architecture. He has a totally different perspective on designing, so there is no one good way to make something beautiful. It is all about how you can express yourself. Olgiati expresses himself in a vastly different way than Zumthor does.

Miroslav Sik relates atmosphere to personal memories, is this similar in Peter Zumthors work?

Yes, that is what he says in his book. How you create it however,

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is a different thing. It also goes back to a deeper understanding of materials and understanding what makes a space special. What we said in our lecture at the University of Eindhoven is that everything is becoming white and impersonal. It also has an atmosphere but a different one. But if you look at the buildings of Zumthor, every surface has been considered, the roof is something, the walls are something different, and the things that you touch are made from a material. He has the ability to giving you these new memories: I still remember the first time I entered Therme Vals, I still remember the smell when I first entered his office. All your senses are being triggered when you enter one of his buildings. For example the way the door opens or the way the light comes into the space. But I also think it comes from deep within him. We do have this ability too, but as young architects we are used to working with schemes and diagrams to make this really organized kind of architecture.

But to really make spaces from thinking clearly and experimenting and thinking about materials that is a different thing. So you have to keep sketching and keep building models, and then you start to understand your design better. You always have a phase within your work where you think that it is not going to work, and you are stuck. That is the moment where you have to keep going and try to simplify it, taking all the things away, which are not necessary.

Taking these things away and bringing it back to a basic element is something Peter Zumthor can do at the beginning. He makes a drawing and after ten years the design is finished and it still looks like his first sketch more or less. That is something we probably don’t have yet. He has a large memory, with which he knows what spaces should feel like for certain functions. He really trusts his instinct, and that is something we don’t get trained for at the university. We also have to explain why we did something, and saying that it feels and looks good, is not an explanation. That should be one of the most important explanations in a way, and then you can start analyzing it.

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Fig. 119 Zinc Mine Museum site model

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Would you say that the atmosphere has something to do with the context, and the tradition of the place?

Atmosphere has a lot to do with the inside of a building. A lot of Swiss architects make amazing buildings from the outside but I don’t want to know how to feel or look from the inside. That is what separates Zumthor from a lot of other architects is that atmosphere is all about the interior. A lot of his buildings are also relatively closed or shy even. That is what I learned in the office is that when you make a model, the building never popped out of the model. You would not make a Styrofoam model and then put a Perspex block in it and said that that was the building. It would be the same material or the same feel to it, so the context is really important for his design; the design would not pop out but should blend in. That is really difficult to build something that has its own character but also has a real connection to the place.

If you look at all of his projects, they are very expressive, but also quiet at the same time. Of course the tradition and the context are important for his work, but it is not something that is discussed.

It is not that he decides with a project to do something with the context. It is something you find out through the model; you build a model and then you see what the context is. For example when you build in a forest, the model is made from wood. The mining project in Norway, where the buildings are on stilts, is a good example where he used the context and the tradition of building. It was designed in a sort of mine-architecture with simple structures out of wood with platforms. Then he makes it into architecture by making these things really thin and long and black and blue and metal. Then it becomes beautiful, but the idea in itself is really simple. The context is very special because a lot of architects don’t really consider it anymore. They are more focused on designing something that is special in itself. But that is never Zumthors goal, and it is a lot about people. How do you perceive the building when you enter the building? I know that a lot of architects talk about it, but it is a very underestimated thing, the user.

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Fig. 120 City Gate Allgau site model

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When does he decide on the materials to use for the project?

That is relatively in the beginning. When you are building this model, this first abstraction of reality, it already starts. I think he immediately knows what he is going to make and he is quite strict in it. For example, Therme Vals, which is a stone building with bronze details, and nothing else. It is the same with Kolumba, it is a solid wall, and the whole wall is made out of brick. You don’t even see it, but the whole building is solid. But he wanted to have meter thick walls, like a cathedral. I think that he wanted to do that as soon as he knew that he was building on an old chapel: It was going to be a heavy and big volume. Kolumba doesn’t even consist of just brick; there is even a wooden room inside. Different atmospheres exist within the same building so it does not all have to be brick. I think he has a clear idea of what he wants to do and that has to do with the context. He reads the context, he tries to understand it and then elaborates on that. He is at his best when he designs in Switzerland or cultures that are close to his own memories. So it is relatively quick within the process and it has to do with the function. For example the mining building, he made the floors out of cast steel, the same as the Bruder Klaus Kapelle.

It always has something to do with the context. The Bruder Klaus Kapelle had an earthy environment so it has this layered concrete.

In his book he describes that it is important to place two materials next to each other in order to compare their ‘reaction to each other’. Did you ever see him do that in the office?

He puts it next to each other but in a smaller scale. In 1:20 models he starts building the actual spaces and then he prints the texture or uses the actual materials. For example when he decided to make an oak and glass building, he started making those models from glass and oak to see if the connection works. So a lot of this kind of research happens inside of the model. I still remembered

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a moment when we were thinking about a façade and he grabbed two pieces of glass and he started playing with it. Suddenly we had an idea for the façade and what it should look like. So there were always a lot of materials lying around. But most of the research was done within the models and 1:1 mockups. This combination is always important, because if it is just one material it would get really blend.

As you said, Therme Vals is completely stone but the extra element is bronze.

Does he use a similar approach with every design?

Yes, but it depends on the building. When you go to Bregenz every floor has a different type of terrazzo. The only thing that I know is that he doesn’t have rules. If you look at his house – it is a concrete house – with a lot of glass, but it has a wooden room, a steel kitchen, and nice leather seats. If I would have to analyze it, you would more likely find that it is a place to sit, where people want to stay warm so he used wood.

Previously we were discussing architectonic scales; does he have a specific order for the application of scales?

No he doesn’t. Sometimes he starts with 1:200, and I worked a lot with 1:20 because I worked on the Dutch project. We build these whole buildings out of paper and foam. We had to understand the existing structure and we had to recreate the atmosphere of these buildings. So that was 1:20 and everything in between, but I don’t think he used 1:33, however always the standard scales.

Interview 295

Fig. 121 Summer Restaurant Zurich site model

Raoul Vleugels 296

At which stage of the process does he begin using the correct scale for the specific material he intends on using?

The scale of the material is pretty much almost always on the correct scale. If you would make a beam 1:100, we would cut beams that are exactly on scale 1:100. The models for the mining museum we changed the beams maybe fifty times because we changed the proportions so often. Then we would cut them in the correct size. So a lot of different things going on at the same time and we even went back and forth. But he was always hammering on that we should use more materials, and the models should be more about the materials. When I was working there he was even working on a glass tower, and the first thing that he did was invite a Czech glass company who can still manually make glass.

From the beginning on we were discussing the glass during the design meetings, and how to build with glass and the structural possibilities. One of my favourite models was the model for the restaurant on the island, and that really captured the atmosphere.

It was a wax model with at least twenty layers of wax to get the depth of the colours. And although it didn’t look completely like the real situation it really captivated the atmosphere. It is also one of the first designs where he goes away from the angled building but starts with curved shapes.

Were model materials used to create atmosphere or were they representations of the real material?

No, the atmosphere that you create could be the representation.

So the wax could in some way represent the stone and other parts represent wood. But it is up to you as the architect to have the interpretation of the material. It is not that wax always represents one element; there is no rule or a library. Especially the landscape is important. If you look at the model for a house in England - with these blue stone blocks – it was made completely out of sand.

Cladded clay for example is a clear representation of a solid block,

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but the sand was a really good way of representing a grassy landscape. The blue colour however, was a way to display the gloomy rainy days of England. But I don’t know if it has changed or not, because when I was there he really hated Styrofoam. We had to make a very large model for the Meelfabriek, but we had to do it in Styrofoam because it was so big. It is a nice and fast material to design spaces.

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Course Descriptions at the Academy of Architecture, Mendrisio

Course descriptions 301

Course Descriptions The House Without a Form (1999-2000)(Harvard) And within the house, a sequence of seven spaces. We design it, which means we search for it in our memory, intuitively, imagining it to be a real thing of architectural flesh and blood. We look for and concentrate on the things we know about it; the variations of its use, its possible users, and its place, in order to find out what we don’t know about it yet.

“We think of this house in terms of scents and smells and light perfumes of sounds, reverberations, noise in terms of dimness, shadow, light enclosure and exposure openness and containment intimacy and spaciousness density and looseness looking out, being inside a charged composition of materials ordered in rooms oak, brass, wax a sequence of atmospheres of colors, shines and hues thresholds seams and joints from one material piece to another tactile qualities.

We don’t think of this house in terms of form.”1 We close our eyes and look for this plausible sequence of atmospheres perfectly apt for their place and use and for the freedom of their users. Form is not yet an issue. We think only about sensation, about materials and sounds and smells and shadows and light and about what our hands touch and what our feet walk on and about what the rooms and their sequence allow us to experience and feel and about the way these 1

Pena, M. (2009)

‘House without a form’ 302

qualities might fit together and suit their place and enhance the different ways of use.

Real Sensations The final presentation of each project might be a big, collage-like installation in 1:1 scale demonstrating the concrete, physical qualities of the seven rooms and their sequential composition. It should allow us to experience the sensual and essential qualities, which generate the atmosphere, while avoiding the formal, metaphorical and anecdotal and symbolic.

The presentation might be accompanied by stricly descriptive words (no comments, no meaning, no philosophy, no interpretation, just concretely specified qualities). It shows the real materials that dreams are made of. The final result of the exercise could also be a short movie with stills of the sequence of rooms, traces of activities taking place and much more.

The exercise is well executed if the presentation conveys rich and precise, straightforward, and subtle images of the concrete qualities of the designed sequence, making it a pleasure to imagine dwelling and inhabitation, giving us the impression that the family would feel at home in the proposed environment.

The Family The house in question is to be designed for a middle-class family: parents, two children, and grandmother living in the same house. Such a house may have upwards of ten rooms. The students select seven rooms, which will determine the quality of the house, and the qualities of living in it. The location of the house is to be decided.

The Forms to Come Designing the body of architecture. Looking for the guts, the anatomy, the soul of a building, discovering the material and sensual content of this beautiful physiognomy, which will eventually find its proper form. This design exercise stops at the delicate line just before form begins to emerge out of the process of sensual composition. If the composition works, it will be easy to imagine the resulting architectural forms - in fact they will almost be there already.

Images and Memories Designing to me is probably more re-discovering than inventing; it means to reconfigure, to recognize, to re-assemble impressions and emotions which I have experienced and now consciously try to recall. The images stored in my memory are personal co-incidents of form and meaning, that is: from image to image they hold traces of form and related meaning.

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The images remembered are not fragments frozen in a definite form and stored in the architects of my mind. The process of remembering is dynamic and creative. It might be called an imaginative reconstruction, which always produces new aspects and qualities of the remembered depending on the actual way I look at it. Every time my mind touches my memories, they change a little.

As an architect, looking for the body of this new building, for these not yet existing spaces, these meaningful, sensitive, sensual rooms, and materializations, I start to wander around in the landscape of my images to track down qualities that refer to the object of my search and ignite my imagination. Thus, I look for the not yet unknown architecture in my memory as if it had always been there.

‘House without a form’ 304

The Face of Pavia (2000-2001)2 The course had two main themes: understanding the territory and the study of it within the setting of its historical structures. Both themes were explored together within the framework of an overall planning strategy. The activities in the workshop were organized in three phases: Portrait of the Pavese. This introductory exercise called for a description of the configuration of the territory of Pavia. Looking at it with a childlike gaze, free form perceptual prejudices, we consider a proportion of the territory: lines, patterns, surfaces, textures, masses; weight, temperature, sound, movement, and light were all observed as if seen for the first time, trusting to the senses. This first approach generated a personal inventory of images and a gallery of sensuous models.

Tempered urban planning, warm architecture. Whether large or small, all projects seek to accentuate certain physical, morphological or structural features of the existing territory. Each intervention has appropriated certain elements of the phenomenology of the landscape of Pavia, reinforcing, completing, enlarging and transforming it. A new profile is added to the skyline of the ancient city; a tall structure reveals the plain from a privileged viewpoint; the taut lines of diffuse development prolong the existing fringes of the city; the potential of water creates a pattern of artificial lakes; new and massive infrastructures are grafted onto residual land; a bride two kilometers long from shore to shore testifies to the breadth of the river in spate; new cultivated fields fill out the old patterns of agriculture; a ruined chapel is rebuilt by piecing out the old bricks with new ones‌ The character of these works belongs to a given time. Their presence to a given place.

This experience enables us to intuit that the territory grows like an organism by interconnection, while architecture, inhabitable objects, are constructed, like inorganic entities, by juxtaposition.

Observation 4 items guide the observation: the phenomenology of water; motorways, railways and paths; the vegetation, fabric and masses; the solid bodies of built or tellurium objects. Others can be added: night-light, power lines... The observations are mediated by photography, diagrams and written specifications.3 Record The observations on site will be registered in a number of sketch models. The sketch model is a 3-dimensional object of synthesis for a particular configuration of elements in the territory. It 2

Accademia di architettura Mendrisio (2001). P. 298-300 3 Haslam, M. F. (2002)

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shows the essential physical qualities of a situation of high articulation.

Work methodology The area of study is divided into 31 sectors. Every group of maximum 2 students is assigned a sector with its related carto- graphic information. Every group surveys, observes and registers the assigned sector.

Result Inventory of images (collection of photographs, diagrams, and other visual documents regarding surveys and other sources). Gallery of sketch models (collection of all wooden sketch models as topological document). Map (map of the area of study as addition of situation plans of Sigle points of high articulation).

‘The face of Pavia’ 306

Make it Typical, Then it Will Become Special (2002-2003)4 The annual course 02/03 proposes drafting a small phenomenology of typical, perhaps even archetypal architectural situations. The design crede reads: make it typical, then it will become special!

Phenomenology = felt experience.

Memorable architectural moods are familiar to all of us. A certain picture has left its mark on our memory, a particular combination of place and building, of nature or landscape and constructed object, of outside space and inside space. Maybe a room, a sequence of rooms, a building, a square in the city… The remembered picture speaks of great intensity and presence. Something unique that makes the impression of having been perfectly formed to match a particular use and a particular place. The hypothesis reads: there are architectural places that have something to say to us and that do something to us. Architectural places – resonant and radiant the materials and forms that define and mark the space, light and shadow impressively employed and so natural, typical and characteristic the composition, forms and things effectively combined for their special place and use – so that what we experience as being particular reveals the general and the essential. The specialness of the typical. There is a special intensity of design that is only revealed in the typical. Pictorial typologies, tablye vivante or still life of architecture.

Beauty. Atmospheric intensity. Every architectural creation is unique. When its uniqueness also gives us a feeling of the validity of the architecture’s particular specifications and its physical and psychical position, it acquires a special strength. In the pictorial designs that I envision with their emphasis on the typical, such relations are invested with an exemplary character.

4

Accademia di architettura Mendrisio (2003). P. 144-145

Course descriptions 307

Solutions for the Double Periphery (2003-2004)5 It is said that Chiasso is not attractive, that it has little character and serious traffic problems.

It is said that Chiasso was built up chaotically, that it has little identity, and that it has grown in accordance with the rules of the economy, conditioned by mere necessity. Chiasso is agglomeration, urban sprawl, a set of villages grown together in a topographical funnel, a mass of infrastructures for traffic and of buildings sprung up on a political border. Chiasso is more periphery than center. But the periphery of what? Periphery of Switzerland? Periphery of Milan? Double periphery. Chiasso is also typical. Agglomerations of this type, neither town nor country, even though densely built up, are often found in northern Italy and South of the Alps. Places of transit for many people, for doing shopping, but also for working and dwelling.

Projects for Chiasso? Is it possible to devise-some feasible dreams for towns like Chiasso? To develop some projects of urban and architectural quality aligned with the economic forces?

Should architects and planners accept that the broad lines of these suburban structures will be formed without them? Should we accept that we can influence this process of urbanization only on the small scale, from one building to the next? What influence can architecture have in regions like this? To understand the territory of Chiasso the formal and classic tools of urban analysis are not enough. We propose a new way of observing and describing the territory that we call energy modeling or also emotional relief. We seek the things that move us; the emotional face of the territory, identity, intensity, special atmospheres that allow themselves to be perceived and defined physically, which can be experienced in the place. We understand the body of this development, of the whole complex of the territory constructed and changed by man, as an organism clinging to the terrain, a cellular tissue that lives, changes, dies and is renewed continually. We want to learn to understand and render visible the structure, the construction the character of this body. The urban strategies adopted all sought to create public spae, to strengthen the force of a site, to create new landmarks, to make more dense, to highlight places of special intensity; parasitism, healing, acupuncture; development of knows of low intensity, creating nuclei from scratch, stadtreperatur, urban regeneration, exploitation of leftover spaces, repairs to the urban fabric, creating connections, clarifying boundaries; finding the small in the big and vice versa; functional implanting of organs, re-suturing.

5

Accademia di architettura Mendrisio (2004). P. 188-189

‘Make it typical, then it will become special’ ‘Solutions for the double periphery’ 308

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Del Mar Thomas, M., Bryjowski, C. I worked for ‌ Peter Zumthor. Retrieved from http:// www.revistadiagonal.com/articles/trabajepara/trzumthor/

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Frearson, A. (February 6, 2013). ‘’Architecture is not about form’’ – Peter Zumthor. Retrieved from http://www.dezeen.com/2013/02/06/ peter-zumthor-at-the-royal-gold-medallecture-2013/.

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Ribaarchitecture (February 22, 2013) Royal Gold Medal 2013 – Peter Zumthor in conversation with Angela Brady. Retrieved from https://www.youtube.com/h?v=U6vbq KvhsYY&index=11&list=PLIrFBDhjWkaP66Z eWlcElcoONpMKlHi5H

Ulrich Obrist, H., Peyton-Jones, J. (2011) Peter Zumthor in conversation with Hans Ulrich Obrist and Julia Peyton-Jones. Retrieved from http://www.serpentinegalleries.org/ sites/default/files/downloads/Zumthor_0. pdf

RIBA (February 14, 2013). Peter Zumthor – Royal Gold Medallist 2013. Retrieved from https://vimeo.com/59672528 Saieh, N. (November 2, 2010). Multiplicity and Memory: Talking About Architecture with Peter Zumthor. Retrieved from http:// www.archdaily.com/85656/multiplicity-andmemory-talking-about-architecture-withpeter-zumthor

Wagner, M. (May, 2015) Peter Zumthor: Different Kinds of Silence. Retrieved from https://vimeo.com/147308260 Yoshida, N. (1988). A+U Peter Zumthor.

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Zumthor, P. (2014). Peter Zumthor Works 1985-2013, volume 1. Zurich: Verlag Scheidegger & Spiess.

Zumthor, P. (2014). Peter Zumthor Works 1985-2013, volume 2. Zurich: Verlag Scheidegger & Spiess.

Zumthor, P. (2014). Peter Zumthor Works 1985-2013, volume 3. Zurich: Verlag Scheidegger & Spiess.

Zumthor, P. (2014). Peter Zumthor Works 1985-2013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Zumthor, P. (2014). Peter Zumthor Works 1985-2013, volume 5. Zurich: Verlag Scheidegger & Spiess.

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Figure List Fig. 01 Model studies for Atelier Zumthor, Haldenstein Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 3. Zurich: Verlag Scheidegger & Spiess.

Fig. 07 Atmospheric model Devon holiday home Retrieved from http://www.dezeen. com/2010/07/06/houses-by-peter-zumthormvrdv-and-others-for-living-architecture/

Fig. 02 Le Corbusier gazing onto his model Retrieved from http://art-portrait.livejournal. com/33010.html?thread=73970

Fig. 08 Anatomical model Devon holiday home Retrieved from http://assemblepapers.com. au/2012/07/17/alaindebotton/

Fig. 03 Bruder Klaus Kapelle model research Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 3. Zurich: Verlag Scheidegger & Spiess.

Fig. 09 Anatomical model Steilneset Memorial Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Fig. 04 Interior model House of the seven gardens, Dohe Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Fig. 10 Anatomical model Zinc Mine Museum Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Fig. 05 Atmospheric site model for the Summer restaurant Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Fig. 11 Conversation between Peter Zumthor and his assistant Havik, K., Teerds, H., Tielens, G. (2013). OASE; Building Atmospheres. Rotterdam: nai010 Publishers.

Fig. 06 Various samples for the roof and volume Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Fig. 12 Mock-up for the Zinc Mine Museum Retrieved from http://www.iconeye.com/ architecture/news/item/10837-peter-zumthorzinc-mine-museum-norway

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Fig. 13 Model of the new city gate, Isny Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 5. Zurich: Verlag Scheidegger & Spiess.

Fig. 18 The Meelfabriek interior photograph Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Fig. 14 Wax representing stone for the Vals hotel Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Fig. 19 Zinc Mine Museum models on threstles Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Fig. 20 Watercolour sketch Novartis Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Fig. 15 Sketch of Pingus winery, Spain Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 3. Zurich: Verlag Scheidegger & Spiess.

Fig. 21 Design sketches Perm State Gallery Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 5. Zurich: Verlag Scheidegger & Spiess.

Fig. 16 The Meelfabriek atmospheric photograph Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Fig. 22 Model based on design sketches Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 5. Zurich: Verlag Scheidegger & Spiess.

Fig. 17 The Meelfabriek interior photograph Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Fig. 23 Model central with the drawings on the wall Retrieved from https://vimeo.com/59672528

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Fig. 24 Clay model Matthew Jarvis Picture by Mattehw Jarvis

Fig. 32 Campus Scale 1:2000 Made by Author

Fig. 25 Interior photograph Matthew Jarvis Picture by Matthew Jarvis

Fig. 33 Height limit of the design Made by Author

Fig. 26 Study model Matthew Jarvis Picture by Matthew Jarvis

Fig. 34 Floorplan of the site Made by Author

Fig. 27 Study model Matthew Jarvis Picture by Matthew Jarvis

Fig. 35 Areal view of the site Picture by Rodj Ommar

Fig. 28 Study model Matthew Jarvis Picture by Matthew Jarvis

Fig. 36 Photograph of Therme Vals Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 2. Zurich: Verlag Scheidegger & Spiess.

Fig. 29 Interior photograph Michael Haslam Picture by Michael Haslam

Fig. 37 Photograph of model Made by Author

Fig. 30 Interior photograph Michael Haslam Picture by Michael Haslam

Fig. 38 Site model showing the various volumes Made by Author

Fig. 31 Peter Zumthor at the Academy of Architecture Mendrisio Retrieved from http://www.flickriver.com/photos/ momebudapest/popular-interesting/

Fig. 39 Anatomical model describing the interior space Made by Author

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Fig. 40 Anatomical model showing a column structure as facade Made by Author

Fig. 48 The window division, void and staircase combined in one model Made by Author

Fig. 41 Anatomical model construction Made by Author

Fig. 49 The final model showing the atelier space Made by Author

illustrating

the

concrete

Fig. 50 Siteplan of the campus Scale 1:2000 Made by Author

Fig. 42 Small structural models Made by Author Fig. 43 Large structural model Made by Author

Fig. 51 South-east facade facing the staircase Scale 1:1000 Made by Author

Fig. 44 Central exhibitionroute connected by staircases and voids Made by Author

Fig. 52 Section of the design and Turconi Scale 1:1000 Made by Author

Fig. 45 Interior model showing the revised window division Made by Author

Fig. 53 Site plan Scale 1:1000 Made by Author

Fig. 46 Interior model illustrating the connection between a void and the construction Made by Author

Fig. 54 Photograph of the atmospheric site model Made by Author

Fig. 47 Interior model examining the run of the staircase Made by Author

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Fig. 55 Photograph of the atmospheric site model Made by Author

Fig. 62 Floorplan -1 Scale 1:200 Made by Author

Fig. 56 Photograph of presentation space Made by Author

Fig. 63 Context level -2 Scale 1:1000 Made by Author

Fig. 57 Context level +1 Scale 1:1000 Made by Author

Fig. 64 Floorplan -2 Scale 1:200 Made by Author

Fig. 58 Floorplan +1 Scale 1:200 Made by Author

Fig. 65 Context facade North Scale 1:1000 Made by Author

Fig. 59 Context level GF Scale 1:1000 Made by Author

Fig. 66 Facade North Scale 1:200 Made by Author

Fig. 60 Floorplan GF Scale 1:200 Made by Author

Fig. 67 Context facade South-West Scale 1:1000 Made by Author

Fig. 61 Context level -2 Scale 1:1000 Made by Author

Fig. 68 Facade South-West Scale 1:200 Made by Author

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Fig. 69 Context facade South Scale 1:1000 Made by Author

Fig. 76 Section BB Scale 1:200 Made by Author

Fig. 70 Facade South Scale 1:200 Made by Author

Fig. 77 Context section CC’ Scale 1:1000 Made by Author

Fig. 71 Context facade North-East Scale 1:1000 Made by Author

Fig. 78 Section CC Scale 1:200 Made by Author

Fig. 72 Facade North-East Scale 1:200 Made by Author

Fig. 79 Context Section DD’ Scale 1:1000 Made by Author

Fig. 73 Context section AA’ Scale 1:1000 Made by Author

Fig. 80 Section DD Scale 1:200 Made by Author

Fig. 74 Section AA Scale 1:200 Made by Author

Fig. 81 Impression of the model workshop Made by Author Fig. 82 Impression of atelier space Made by Author

Fig. 75 Context Section BB’ Scale 1:1000 Made by Author

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Fig. 83 Impression of the void and staircase Made by Author

Fig. 91 Section of facade Scale 1:100 Made by Author

Fig. 84 Impression of presentation space Made by Author Fig. 85 Impression of void Made by Author

Fig. 92 Horizontal detail column with extension Scale 1:20 Made by Author

Fig. 86 Impression of atelier space Made by Author

Fig. 93 Detail column Scale 1:20 Made by Author

Fig. 87 Impression of atelier space Made by Author

Fig. 94 Detail roof Scale 1:20 Made by Author

Fig. 88 Section of facade Scale 1:100 Made by Author

Fig. 95 Detail floor Scale 1:20 Made by Author

Fig. 89 Facade element Scale 1:100 Made by Author

Fig. 96 Detail void Scale 1:20 Made by Author

Fig. 90 Section of interior Scale 1:100 Made by Author

Fig. 97 Detail connection ground Scale 1:20 Made by Author

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Fig. 98 Model concrete and wood Picture by Diego Calderon

Fig. 106 Meelfabriek Leiden interior model Retrieved from http://wunderkammeramsterdam. blogspot.nl/2012/10/zumthor-in-leiden.html

Fig. 99 Site model Picture by Diego Calderon Fig. 100 Interior photograph Picture by Diego Calderon

Fig. 107 Steilneset Memorial site model Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Fig. 101 Volume models Picture by Ruben Jodar

Fig. 108 LACMA site model Retrieved from http://www.designboom.com/ architecture/peter-zumthors-lacma-plan-shownin-the-presence-of-the-past/

Fig. 102 Interior photograph Picture by Ruben Jodar Fig. 103 Site model Picture by Ruben Jodar

Fig. 109 LACMA anatomy model Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 5. Zurich: Verlag Scheidegger & Spiess.

Fig. 104 Peter Zumthor with Giacomo Ortalli and Gaelle Verrier Retrieved from http://www.neueroadmovies.com/ film/notes-from-a-day-in-the-life-of-an-architect/

Fig. 110 LACMA model scale 1:33 Retrieved from http://www.designboom.com/ architecture/peter-zumthors-lacma-plan-shownin-the-presence-of-the-past/

Fig. 105 House of the Mosaics model Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Fig. 111 LACMA interior model Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 5. Zurich: Verlag Scheidegger & Spiess.

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Fig. 112 House of the seven gardens concept model Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 5. Zurich: Verlag Scheidegger & Spiess.

Fig. 118 Tschlin Hotel site model Retrieved from http://movingcities.org/ movingmemos/peter-zumthor-buildings-andprojects-lisbon/

Fig. 113 House of the seven gardens interior model Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 5. Zurich: Verlag Scheidegger & Spiess.

Fig. 119 Zinc Mine Museum site model Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Fig. 114 Chivelstone site model Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 5. Zurich: Verlag Scheidegger & Spiess.

Fig. 120 City Gate Allgau site model Retrieved from http://www.null-entropy. com/2012/02/a-town-of-germans-hate-peterzumthors-pants/

Fig. 115 Chivelstone anatomical model Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 5. Zurich: Verlag Scheidegger & Spiess.

Fig. 121 Summer Restaurant Zurich site model Zumthor, P. (2014). Peter Zumthor Works 19852013, volume 4. Zurich: Verlag Scheidegger & Spiess.

Fig. 116 Annika Staudt and Peter Zumthor with the Perm State Gallery site model Retrieved from https://vimeo.com/59672528

Chapter Image ‘Modelling the Process’ Retrieved from http://www.metropolismag.com/ Intuitive-Connection/ Chapter Image ‘Peter Zumthor’ Retrieved from http://neueroadmovies.com/film/ notes-from-a-day-in-the-life-of-an-architect/

Fig. 117 Tschlin Hotel site model Retrieved from http://movingcities.org/ movingmemos/peter-zumthor-buildings-andprojects-lisbon/

Chapter Image ‘Using Models’ Retrieved from http://zumthor.tumblr.com

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Chapter Image ‘Materials’ Retrieved from http://zumthor.tumblr.com

Chapter Image ‘Appendix’ Rerieved from http://aasarchitecture. com/2016/01/peter-zumthors-zinc-minemuseum-next-open-in-norway.html

Chapter Image ‘Presentation and Representation’ Retrieved from http://zumthor.tumblr.com

Chapter Image ‘Course Descriptions’ Retrieved from http://thomasburla.ch/ content/48/45/architektur

Chapter Image ‘Atelier Zumthor’ Retrieved from http://neueroadmovies.com/film/ notes-from-a-day-in-the-life-of-an-architect/ Chapter Image ‘Studio Zumthor’ Retrieved from http://www.usi.ch/en/container_ prospective_students/prospective_students_ a b o u t _ u s i / c a m p u s _ m e n d r i s i o / u n i ve r s i t y _ campus_mendrisio_gallery.htm Chapter Image ‘Conclusion’ Retrieved from http://www.sebahat.ch/foto/tomhaller/people-portrait Chapter Image ‘Design’ Made by Author Chapter Image ‘Design Competition’ Made by Author Chapter Image ‘Design Process’ Made by Author Chapter Image ‘Design’ Made by Author

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For Watson

I would like to thank the following people whom have helped me design this project: Dr. J.C.T. Voorthuis, Ir. J.P.A. Schevers, R. Vleugels, My family, Nicola Burge, Lennert Hupkes, Jaap Ruhl Koen Schrauwen