Peter Zumthor: A Study of Atmosphere in Architecture by Sophy Botsford by sophy botsford

PETER ZUMTHOR A Study of Atmosphere in Architecture

Sophy Botsford

Peter Zumthor: A Peter Zumthor: A Study ofStudy of Atmosphere in Atmosphere in Architecture Architecture

By Sophy Botsford By Sophy Botsford

The study examines the Kolumba The study examines the Kolumba

Museum in Cologne, the Bruder Klaus Museum in Cologne, the Bruder Klaus This study analyses the methods used This study analyses the methods used Chapel in Mechernich and the Therme Chapel in Mechernich and the Therme by Peter Zumthor to create by Peter Zumthor to create Spa in Vals. Throughout the paper Spa in Vals. Throughout the paper atmosphere in architecture and the atmosphere in architecture and the there is a focus on light and materials, there is a focus on light and materials, effects of the atmosphere on the user. effects of the atmosphere on the user. exploring whether they are the most exploring whether they are the most The paper examines the subject The paper examines the subject important elements in the important elements in the through different lenses drawing on through different lenses drawing on construction of atmosphere. construction of atmosphere. Zumthor’s own writings in response Zumthor’s own writings in response

to the theories posed by German to the theories posed by German Investigating Zumthor’s design Investigating Zumthor’s design philosopher, Gernot Böhme and philosopher, Gernot Böhme and process, the relationship between the process, the relationship between the Finnish architect, Juhanni Pallasmaa. Finnish architect, Juhanni Pallasmaa. buildings and the landscape, buildings and the landscape, The theoretical investigation is The theoretical investigation is generators of atmospheres and the generators of atmospheres and the accompanied by observational studies accompanied by observational studies intended uses of each building, this intended uses of each building, this conducted during the author’s visits conducted during the author’s paper gives a subjective view from the visits paper gives a subjective view from the to Zumthor’s buildings alongside the to Zumthor’s buildings alongside the author’s experiences whilst also author’s experiences whilst also work of architectural photographer work of architectural photographer incorporating other influential voices incorporating other influential voices Hélène Binet who has photographed Hélène Binet who has photographed on the subject. on the subject. most of Zumthor’s projects. Through most of Zumthor’s projects. Through encompassing theoretical studies with encompassing theoretical studies with observational visits and photography, observational visits and photography, this project creates a fresh, subjective this project creates a fresh, subjective view on Zumthor’s methods of view on Zumthor’s methods of designing atmospheric architecture. designing atmospheric architecture.

Figure 1: Botsford, 2018, Bruder Klaus Chapel Figure 1: Botsford, 2018, Bruder Klaus Chapel

Table of Contents INTRODUCTION ..................................................................................................................................... 3 DELVING INTO ATMOSPHERE................................................................................................................. 4 THRESHOLDS AND RELATIONSHIP TO EXTERIOR ..................................................................................................... 5 TEMPERATURE ............................................................................................................................................... 5 LIGHT ........................................................................................................................................................... 6 MATERIALS ................................................................................................................................................... 7 SOUND ......................................................................................................................................................... 8 JOURNEY THROUGH SPACE ............................................................................................................................... 9 RELATIONSHIP TO HUMAN SCALE ...................................................................................................................... 9 STRUCTURAL ELEMENTS ................................................................................................................................. 10 CONTENTS OF A BUILDING .............................................................................................................................. 10 MEMORY .................................................................................................................................................... 11 APPROACHING ATMOSPHERE .............................................................................................................. 11 DESIGN PROCESS .......................................................................................................................................... 13 LANDSCAPE ................................................................................................................................................. 14 GENERATORS OF ATMOSPHERE ....................................................................................................................... 14 USES .......................................................................................................................................................... 14 EXPERIENCING ATMOSPHERE .............................................................................................................. 14 PROCESS ..................................................................................................................................................... 14 LANDSCAPE ................................................................................................................................................. 16 GENERATORS OF ATMOSPHERE ....................................................................................................................... 17 USES .......................................................................................................................................................... 21 CONCLUSION ....................................................................................................................................... 21 BIBLIOGRAPHY .................................................................................................................................... 23 INTERNET SOURCES ....................................................................................................................................... 23 FULL LIST OF FIGURES .......................................................................................................................... 25

Introduction The current architectural landscape has been shaped by the minds of

visionary architects; translating their ideas into reality. Atmosphere in

architecture has once again become of significance. German philosopher,

Gernot Böhme (2013: 21), brings into discussion the notion of atmosphere

and the reasoning behind ‘mindful

physical presence’ continuing to be of importance in our virtual world. He suggests the importance of

atmosphere is based on the increasing interest in embodied experience and deeper understanding of the human body.

Zumthor has gained recognition and prestigious status among architects for his works, which have won

numerous awards in recent years. His designs aim to alter the emotions of the user through the production of atmosphere.

According to Böhme (2013: 23) the

atmosphere of architecture was first realised by art nouveau artists who

believed that buildings should not be judged solely on the functionality of

spaces but on the human experience of them. Even though atmosphere

seems to be inherently connected to

architecture, there is a certain

vagueness surrounding the subject.

Finnish architect Juhanni Pallasmaa

(2014: 230) suggests that atmosphere is generated by a series of multisensory functions that combine

together to form an overall mood.

Böhme (2017: 69) would agree with this statement with his definition of atmosphere as ‘the sphere of felt bodily presence.’

In this study atmosphere is referred

to as, in Zumthor’s own words, ‘when a building manages to move me’

(Zumthor, 2006: 11). To elaborate

further, this understanding alludes to

the emotional response inflicted on a person by the interplay of different elements within a building.

It is apparent that contemporary

architecture today has moved away from ‘the fundamental sensory and mental issues concerning our

relationships with physical settings.’ (Pallasmaa, 2016: 127) Pallasmaa

indicates the lack of consideration for atmosphere in modern architecture and thus highlights the vitality of Zumthor’s work in the design industry today.

Architects in the modern era 3

have considered ambiences,

desire to allow the viewer ‘to feel the

something naïve, romantic and

work a vital reference for

feelings and moods as

entertaining instead of

regarding them as necessary

constituents of environmental

quality. (Pallasmaa 2016: 129) In the current architectural landscape, many architects strive for good

design, however the incorporation of

atmosphere is often overlooked. This study aims to analyse the

fundamental tactics used by Zumthor to create atmosphere in architecture

and the effects the atmosphere has on the user. In doing so, the paper offers a double perspective drawing on the works of Zumthor and testing his

theories through observations and

visits. The theoretical investigation is supported by a visual narrative that explores the work of architectural

photographer Hélène Binet alongside

the author’s photographs.

Binet has photographed the majority of Zumthor’s work, capturing the

mood generated by his attention to light and material, suggesting that

they are the primary components in

the design of atmosphere. (Giermann, 2015) In an interview with Anna

Winston (2015), Binet expresses her

atmosphere’ of the space, making her investigation.

Design process, landscape, generators of atmosphere and uses are all

explored in detail throughout this

report. These categories, originally

developed through the examination of the literature, formed the basis for observational investigation.

Delving into Atmosphere Referring mainly to Peter Zumthor’s

writings in his books Atmospheres and Thinking Architecture, this review addresses the methods he uses to

create atmosphere in architecture.

Comparing and contrasting different viewpoints on the fundamentals of atmospheric architecture, specific

tactics within the design approach are highlighted. The structure of the

review is based on the chronology of the features observed and

experienced when visiting a building as well as the narrative that unfolds through Zumthor’s writings.

Thresholds and Relationship to Exterior

When I build something in the

The primary notable feature of

me to make sure my building

Zumthor’s creation of atmosphere is his desire to design buildings that

grow naturally into their landscape.

(Zumthor, 1998: 17) He attempts to

achieve this by carefully considering his use of materials:

landscape, it is important to materials match the

historically grown substance of the landscape (Zumthor, 1998: 99).

Not only does Zumthor consider the

relationship between the building and its surroundings, but also the

interplay between interior and

exterior. This involves examining the thresholds of a building, how one

enters and the change between the

public realm and the private space.

Figure 2 (Botsford, 2018) highlights this relationship, showing the

contrast between the rough and

smooth surfaces at the Bruder Klaus Chapel in Mechernich, Germany.

Zumthor (1998: 87) contemplates the ‘careful and conscious staging of tension between inside and out,

public and intimate, and to thresholds, transitions and borders’ – to use his actual words.

Temperature Perhaps the most noticeable aspect in Zumthor’s design is his consideration of temperature. Temperature differs Figure 2: Botsford, 2018. Bruder Klaus Entrance.

significantly from other aspects of

design as it has an immediate effect 5

on the human body and therefore plays a crucial role in the first

impression of a space. Zumthor

considers temperature as an essential factor in the design of atmosphere, saying:

The temperature of rooms is

very important to me, how cool they are, how refreshing, the chiaroscuro of warmth that

caresses our bodies (Zumthor, 1998: 86).

Whilst a cold room can provoke a

sense of unease, a warm space may

induce a sense of calm and relaxation. That said, Böhme (2017: 61) suggests the warmth and coolness of a room is

produced not only by its comparative

temperature but also by the materials in a space. Often colours are referred to as cool and warm and thus we can

assume that these too, along with the

smoothness or roughness of a surface, have a large impact on the feeling of

Figure 3: Binet, 2007. Kolumba Light.

the Kolumba Museum in Cologne,

Germany. He regards the concept of light as somewhat ‘spiritual’;

reflecting on his experiences to form

temperature in a space.

quality of light in his designs

Light

(Zumthor, 2006: 56). He writes in Atmospheres about his own

After temperature, light is the next

observations and perceptions of light:

most apparent element considered in Zumthor’s creation of atmosphere. Figure 3 (Binet, 2007) illustrates

Zumthor’s abstract design of light at

Where and how the light fell.

Where the shadows were. And

the way the surfaces were dull 6

or sparkled or had their own depth (Zumthor, 2006: 57).

Böhme (2017: 76) also highlights the

materiality in designing atmospheres. Böhme (2017: 60) dedicates a large proportion of his book Atmospheric

Architectures to ‘Material Splendour’,

importance of light in producing

in which he suggests that the

‘create spaces.’ Böhme (2017: 76)

greatly influenced by the childhood

atmosphere, suggesting that light can appreciates that light can make a

space feel ‘serene, buoyant or gloomy,

‘atmospheric sensing’ of materials is experiences of the individual.

festive or homely,’ a viewpoint which

From a different perspective,

Materials

of the senses are extensions of touch

is shared by Zumthor.

Following light, materials can be

considered as the next most essential factor in Zumthor’s design. He is

intrigued by the compatibility of the

materials and the ways in which they can be manipulated to ‘become a

different thing each time’ (Zumthor, 2006: 25).

Materials in themselves cannot create atmosphere, it is in fact dependent on whether the ‘architect is able to

generate a meaningful situation for

them’ (Zumthor, 1998: 10). Zumthor

(1998: 86) ensures that the materials complement each other and work

together to create this meaningful space.

Both Böhme and Pallasmaa also emphasise the importance of

Pallasmaa (2005: 11) suggests that all and thus highlights materiality, or

tactility as he refers to it, as the most important factor in the creation of atmospheric architecture.

Zumthor suggests that combining materials in a building can either

strengthen it or destroy the design altogether:

There’s a point where they’re too far away from each other to react, and there’s a point where they’re too close

together, and that kills them (Zumthor 2006: 27). Figure 4 (Spier, 2001: 18)

demonstrates how Zumthor combined

materials to complement each other

at the Therme Vals, Switzerland. The two materials are similar in colour 7

Figure 4: Spier, S, 2001. Therme Vals Materiality.

and shape with differing surface

Sound

textures, thus complementing each

Materiality also has an effect on the

sensations to the user.

falling on the roof, the way footsteps

other well whilst creating different

Zumthor (1998: 24) believes that ‘a good building must be capable of

absorbing the traces of human life.’ Pallasmaa (2005: 32) would agree with this as he expresses that the

visible signs of aging enhance the

experience of materials. Zumthor (1998: 24) contemplates how

materials will be altered over time by human touch, namely, scratched

surfaces, dulled varnish and polished edges.

sound of a space. How the rain sounds change on different surfaces and how a door sounds when it closes are all

elements that can have an impact on the atmosphere of a building.

Zumthor (1998: 86) appreciates ‘the way materials and surfaces respond to touching and tapping, and to the

silence that is prerequisite of hearing.’

Zumthor (2006: 29) suggests a

relationship between buildings and

instruments in the way they

manipulate and respond to sound. He uses the idea of buildings as

instruments to impose different

moods; a quiet space may create a

sense of unease, whilst the sound of

running water could evoke a relaxed environment.

Böhme (2017: 76) agrees that sound

can play a vital role in the atmosphere of a space, saying that ‘the music that pervades a space can make it

oppressive, energizing, compact or fragmented.’

Journey Through Space Moving away from the more sensuous modalities for creating atmosphere, we come to review the journey

through a space. Zumthor often talks about the idea of seduction in a

building, expressing how certain aspects of design can encourage

people to move through a space in

different ways. The curvature of the

Bruder Klaus Chapel, shown in figure 5 (Botsford, 2018), guides the visitor

into the space. Architects possess the power to construct a spatial journey, creating freedom or direction.

Zumthor (1998: 86) suggests that this is a balance between ‘following a path and discovering a path of our own,

wandering, strolling, being seduced.’

Figure 5: Botsford, 2018. Bruder Klaus Interior.

Böhme (2017: 75) agrees with this theory saying that ‘orientations, movement impressions and markings… create spatial

concentrations, directions, and constellations.’

Relationship to Human Scale After the consideration of how a

building can create a spatial journey for the user it is vital to explore the

relationship between the building’s scale and that of the user. The

photograph by Binet (2012), figure 6,

centimetres thick, and that

the relationship between the chair

outside, but where you have

depicts this idea of scale highlighting

division means inside and

and the large window at the Therme

this feeling of the interior as a

Vals. In Atmospheres, Zumthor (2006:

hidden mass you don’t

51) refers to this as ‘levels of

recognise (Zumthor, 2006: 51).

intimacy’. Whether it be the building

or parts of the building such as doors,

Structural Elements

handles or hinges, Zumthor thinks

upon them in relation to human scale.

The structure of the building also has a meaning in Zumthor’s work.

He conveys his thinking behind scale in architecture saying:

You don’t just take a ground

plan and draw lines and say: these are the walls, twelve

Atmospheres reflects his wonder at the physical elements and

components of a building. The way a building is made up can have a

‘sensual effect’ on Zumthor (2006:

23). He envisages that ‘buildings are bodies and need to be built

accordingly’ (Zumthor, 1998: 86) and consequently he ponders carefully upon the structural elements.

Contents of a Building The final physical consideration of

Zumthor’s design of atmosphere is the contents of a building. Zumthor

implies that he takes particular care in the objects within a space rather than merely the space itself:

I love thinking about the

personal things that people

surround themselves with in Figure 6: Binet, 2012. Therme Vals Chair.

order to feel at home and for

which I create room, space and 10

place (Zumthor, 1998: 86).

Figure 7 (Binet, 2008) shows

Zumthor’s careful positioning of

objects within space at the Kolumba Museum. Here he has framed the

object with the corridor so it can be seen on approach, encouraging the viewer to explore it further.

his design of meaningful spaces. Platt

& Spier (2010: 35) state that ‘he starts from atmosphere, which he recalls through memory and images.’

It can be argued that memories are

Zumthor’s main source of inspiration since he allows his designs to be

‘guided’ by his memories of places and emotions that reflect the

architecture he is looking to create. (Zumthor, 1998: 26)

Approaching Atmosphere We sense what kind of a space surrounds us. We sense its atmosphere. This has consequences for the

perception of architecture: if it is true that architecture creates spaces, then to

evaluate them one must go

inside these spaces. One has to Figure 7: Binet, 2008. Kolumba Museum Object.

Memory The last factor in Zumthor’s creation

of atmosphere is memory. Zumthor’s memories of buildings and places

from before he was an architect aid

be bodily present (Böhme,

2017: 74).

With this quotation from Böhme in mind, three of Zumthor’s buildings

were visited. The creative philosophy Zumthor possesses enables him to

translate these ideas from fiction to

reality. Zumthor (2006: 19) expresses

the visits. This was performed to

the idea that real things have the

atmosphere of the building imposed

his wonder at ‘the magic of the real,’ ability to make us feel a certain

emotion. This is carried throughout Zumthor’s work and thus it was of crucial importance that these

atmospheres were experienced

personally. The three buildings visited were: the Kolumba Museum in

Cologne (Germany), the Bruder Klaus Chapel in Mechernich (Germany) and

capture the immediate impression the on the author. By staying in

residences close to the buildings, the author gained insight into how the

architecture enhances and responds to the local communities. Each of these locations had different

surroundings, further demonstrating Zumthor’s ability to tailor the

atmosphere to the unique sites.

the Therme Spa in Vals (Switzerland).

different environmental

Zumthor’s books, Atmospheres and

The three buildings are subject to

surroundings, each projecting unique

The findings were evaluated alongside Thinking Architecture to determine

prospects of atmosphere to the

whether the aforementioned

and methods for creating atmosphere

discernible. Previous published

individual. Atmospheric generators

were experienced, observed, analysed and reflected upon throughout the visits.

Particular attention was given to the atmosphere encountered by the

author. Photographs were taken that highlighted key details and aspects

that would invigorate emotions and

sensory impressions to the individual. Alongside these photographs, notes

and sketches recorded what was seen, heard and experienced in each

individual moment in a reflection

notebook that was carried throughout

strategies for design were easily accounts of Zumthor’s work gave greater insight into the intended atmosphere of each space and

allowed a comparison between the author’s perceptions and that of others. This part of the study

provided an example of differing

perspectives to understand the extent to which Zumthor created

atmosphere in each space.

Photography acted as a tool for

investigation throughout, focusing on light, materials and the presence of the buildings in the landscape. An

atlas of photographs was created to

and findings are split into four

author’s experiences and those

enable comparisons between the

illustrate a dialogue between the

belonging to Hélène Binet. The atlas was structured with the author’s

photographs being accompanied by

smaller reference images from Hélène Binet’s collection. Aligning these

pictures enabled direct comparison

and investigation into Zumthor’s use of light and materials to create

atmosphere. The surrounding notes provoked thought and reflection on

the visits providing the basis for the

investigation. The atlas explored the

three buildings individually however,

categories to explore in depth and buildings.

Design Process Zumthor is well recognised by his charcoal drawings and his use of models to stage atmospheres,

(illustrated in figure 8), as well as the

long duration of his projects.

An investigation of Zumthor’s design process is essential since it allows

it also acted as a comparison of the ways Zumthor used the

aforementioned strategies differently in each of the designs to create atmosphere.

It is interesting to note the similarities between many of the photographs,

implying the intended atmosphere of

the buildings was experienced by both individuals. Since photography was prohibited inside the Therme Vals

Spa, Hélène Binet’s photographs were

used alone to give an understanding of the internal atmosphere of the

space in correlation with the writing.

As previously mentioned, the analysis

Figure 8: Zumthor, 2006. Bruder Klaus Model.

insight into how he incorporates

Uses

principal research is from Zumthor’s

design strategy for creating

atmosphere into his work. The

Finally, an exploration of Zumthor’s

own writings as well as accounts of

atmosphere in relation to the

those who have visited his studio or worked with him.

buildings use presents a different

viewpoint on the reasoning behind his

Landscape

design. It can be assumed that all of

This section is an investigation of

and thus this section determines

Zumthor’s approach to relating a

building to its landscape and how this

can have an impact on the

atmosphere of a space. It also

considers the difference between designing in an urban and rural context.

Generators of Atmosphere Focusing primarily on the physical aspects of Zumthor’s design, this

subsection explores the subject from a first-hand perspective. The

relationship between materials and atmosphere are discussed, giving insight into the reasoning behind

Zumthor’s buildings have atmosphere whether he evokes different moods

dependent on the use of the building.

Experiencing Atmosphere Process Zumthor takes years to develop a

project, enabling him time to fully

engage with the atmosphere of the

space. Time is of great importance to

Zumthor as the design of atmosphere cannot be rushed.

forget, to go back, to turn

Zumthor’s decisions. Specifically, this

around, to contemplate and to

involves investigating his use of

reject, and all at different times

materials, light, sound and

of the day, under a changing

temperature referring to the author’s perceptions when visiting the spaces as well as opinions of others. As

referenced in the literature review,

each of these play a central role when designing atmospheric spaces.

There is time to observe, to

light. (Berteloot & Patteeuw,

2013: 87)

Zumthor experiments with light and 14

materials in his models. On their visit to Zumthor’s studio Platt and Spier saw the workings of many projects

through modelling. This is the main

source of development for Zumthor, working at large scales he can fully

understand how the spaces work

together and the atmosphere they

possess. Namely, as seen in figure 9

(Binet, Hauser & Zumthor, 2007: 138), for his design of Therme Vals he created stone models that were

plunged into water to discover the

effects of the luminous silts on the wet stone (Drozd et al., 2009: 7). Although

model making is common practice in most architecture firms the

interaction Zumthor has with his

Figure 10: Binet, Hauser & Zumthor, 2007. Zumthor’s Sketches.

to get a sense of the atmosphere of the space (Havik & Tielens, 2013: 47).

Sketches are crucial to every design

process as they enable fast translation

of ideas between the design team

however, Zumthor’s sketches are very abstract. He represents both the

material and immaterial elements of

the design through his sketches, using

amic children shouting in the fun-dedicated spaces and charcoal in a diagrammatical way to the relaxing sound of water models differs significantly to that of wing in the calm spaces of water therapy. Furthermore, AJN use different means of others. Whilst most architects use osphere representation at the time of the building stage.explore light (see figure 10 (Binet, They estimate the luminous nomena with numerical simulation in order to forecast as Hauser & Zumthor, 2007: 86-87)). precisely as possible, the real small scale sketch models to progress osphere of the building. Starting from these concepts he he same time as a project quickly, Zumthor presents the sketches done during the sketching process and until the beginning of building site, Peter Zumthor and his collaborators worked ondevelops the design, studying each of pictures of models to test the his as a more realistic representation. cts of light on the materials. The stone models were plunged into water to be able to the elements to create atmosphere, Filling them with people and erve the effects of the luminous slits on the wet stone (see figures 11 and 12). furniture, Zumthor works at eye level

gradually moving towards a

sophisticated design that can be drawn on computer.

Zumthor’s team works collaboratively

with one another. Platt & Spier (2010: 36) mentioned drawings pinned to the wall for design reviews, Figure 9: Binet, Hauser & Zumthor, 2007. Therme Vals Model.

suggesting that the studio works

together to develop a project (Platt &

12. 11. and 12. Photographs of models, Peter Zumthor, 1992; source: HAUSER Sigrid & ZUMTHOR Peter (texts), BINET Hélène (photographs). Peter Zumthor, Therme Vals, Infolio Editions, 2007, 190p., p.138.

Figure 11: Botsford, 2018. Therme Vals FaĂ§ade.

Spier, 2010: 36).

Landscape

Kolumba Museum is set in the heart of

Relating buildings to their landscape

Cologne city. Despite its vast rigid form clearly recognised from the

is central to all of Zumthorâ&#x20AC;&#x2122;s work. He

is strategic about selecting clients and thus creating the perfect scenarios

with the landscape to imbue a project

with atmosphere. The surroundings of each of the three case study buildings differ significantly from the next giving insight into how Zumthor creates atmosphere in different settings.

surrounding streets, the museum

appears to fit with its surroundings.

The warm grey of the handcrafted bricks along with their long, thin

shape creates an image of elegance,

reminiscent of the Church that stood before it.

In complete contrast to the Kolumba museum, the Bruder Klaus Chapel

resides in the middle of a field. Unlike Kolumba, the chapel can be seen for

miles around. The long walk from the car park to the chapel is part of the

experience, allowing for reflection as you approach. Zumthorâ&#x20AC;&#x2122;s use of

angles and a directed journey enables the chapel to present itself in stages.

At first you see only one side, then the light gradually

reveals that the structure is a parallelogram. On the final approach you see the

triangular steel entrance door and small cross above it that

indicate its function. (Roxby, 2009)

Therme Vals presents a different

relationship between building and

landscape. The spa is imbedded into

the side of the mountain and is almost

unnoticeable from the hotel with a

contrasting imposing faĂ§ade at street

Figure 12: Binet, 2006. Therme Vals Light.

in the design of atmospheric spaces.

As aforementioned, temperature is

the first generator of atmosphere to

be noticed when inside the building.

level. The dark grey texture, visible in

comparable to the mountain rock in

is immediately hit by the cool

Generators of Atmosphere

welcome contrast from the warm

figure 11 (Botsford, 2018), is

summer that surrounds the valley.

It has been clearly evidenced in the literature that temperature, light,

materials and sound play a vital role

On visiting the Kolumba Museum, one

temperature of the interior, a

outdoors in summer. A similar

experience can be had at the Bruder Klaus Chapel where the pleasantly

cool interior presents itself after the 17

Figure 13: Botsford, 2018. Kolumba Museum High Windows.

long journey through the sweltering,

open fields. In complete contrast, the warmth of Therme Vals envelopes you, immediately relaxing you.

Once the visitor has felt the

immediate effects of the temperature, the light becomes apparent. All three of the buildings investigated are

relatively dimly lit incorporating

church.

The quality of light recalls the atmosphere of the Gothic

church that stood on this site, before the almost complete destruction of the city of

Cologne during World War II. (Gaskin, 2012: 9)

features of natural light. Perhaps the

Similarly, at the Therme Vals, slits in

Kolumba Museum is the large

into the space, evident in figure 12

most notable feature of light at the

perforated wall shedding shards of light on the remains of the gothic

the ceiling allow light to gently filter

(Binet, 2006). Both the Kolumba

Museum and the Therme Vals have 18

large seamless windows that boast

almost isolated from the rest of the

respectively. They also have a variety

is surrounded with private, grey

views over the city and mountains of spaces with different light. The

museum. The top floor central space rooms, lit from high windows, that

smaller pools at Therme Vals are dark

feel almost tomb-like (see figure 13,

a sense of privacy whilst heightening

with no windows making the user feel the other senses to experience the aromas of each space. The dark

doorways entice the visitors into each

room, lending a sense of adventure and discovery. At the Kolumba

Museum the long, narrow staircases are dimly lit from the top feeling

Figure 14: Botsford, 2018. Bruder Klaus Oculus.

(Botsford, 2018)).

Similar to these highly lit rooms is the oculus in the ceiling of the Bruder

Klaus chapel. Figure 14 (Botsford, 2018) shows the quality of light

flooding through the oculus. Megan

Sveivan (2011) refers to this as â&#x20AC;&#x2DC;the

flare of a star that can be attributed to

a reference of Brother Klaus’s vision in the womb’.

As discussed in the literature,

materials are essential to the design of atmosphere. Kolumba Museum

highlights the importance of history through Zumthor’s use of materials.

The specially crafted thin, grey bricks connect the new façade with the

remains of the gothic church on which it is built. This connection is

illustrated in figure 15 (Botsford,

2018). Zumthor’s use of materials at the Therme Vals play on the

sensitivity of the user’s naked bodies, mainly using texture to stimulate sensations through touch. The

textured walls of the grotto pool

evoke a sense of being inside the mountain whilst the coloured

terrazzo in the cold and hot pools

further emphasize the temperatures of each room.

In contrast to the inviting nature of the Therme Vals, the Bruder Klaus chapel entrance is concealed by a

triangular steel door, lending the

question of whether or not to enter.

The visitor is then led through a dark corridor and into the centre of the

chapel inducing a sense of mystery into the journey. The contrast

between the smooth exterior and

Figure 15: Botsford, 2018. Kolumba Museum Materiality.

rough interior of the chapel leads the visitor to question how it was built.

The experience and effects of sound

on the atmosphere of space have been considered in all three buildings, each

evoking a sense of peace. The

Kolumba Museum presents a quiet space away from the noise of the

streets that surround it. Similarly,

once inside the Bruder Klaus chapel, peace surrounds you, with the faint

sounds of nature flowing in through 20

the oculus. Finally, the Therme Vals

residences having a need for privacy

sounds of water and the quiet music

fire escapes and safety features that

induces a mood of relaxation with the in one of the rooms.

Uses

It can be argued that the sensory

reactions of the user and how they

experience the atmosphere of a space as a whole, drives every aspect of

Zumthor’s design. Thus, it is vital to consider who the user is in each scenario.

Designing for a specific user can have a large impact on the outcome of a

project. A prime illustration of this in Zumthor’s work is the free-flowing

design implemented in Therme Vals. Creating a relaxed atmosphere

through the layout of the space was central to the design highlighted by

the aforementioned idea of ‘seduction’ (Zumthor: 1998: 86). In contrast to this, at the Kolumba Museum, one feels as if they are directed up the

narrow staircases and towards the

carefully created light that encourages one to investigate and thus walk in a specific direction.

The intended usage of the building can also impact the design in more conventional ways, with private

and public spaces requiring services, must be considered during the design. Thus, it is clear that some aspects of

Zumthor’s designs do alter in relation

to the intended usage of each building.

Conclusion

Atmosphere in architecture is a

phenomenon frequently overlooked

in modern architecture. Nevertheless, there is an ever-increasing desire to engage with one’s emotions

suggesting these qualities are still

prevalent in the current architectural landscape and therefore highlighting

the importance of Zumthor’s work.

It has been clearly reported through both the literature and the author’s

observational study that there is not

one single method that Zumthor uses

to create atmosphere. Instead each of the previously mentioned strategies

work together to implement a feeling. Despite this, it can be suggested that

some are more vital to consider than others.

In visiting Zumthor’s buildings, one is

moved by the atmospheric qualities of design. Frequently light and materials have the largest impact on the mood 21

of the visitor. It can be suggested that

conjunction to make the user feel

important to consider when designing

these two features are the most

atmospheric architecture. From the

photographical study it is clear to see

that both light and materials play a

vital role in the design of atmospheric spaces. This is the belief of not only Zumthor and Binet but also Bรถhme and Pallasmaa. All four have highly

referenced in the past the vitality of light and material to design atmosphere.

The use of light in all three of the

researched buildings creates mood in different ways with the Therme Vals

creating a dark soothing cone of light

certain emotions.

Comparing the works of Binet to the

photographs taken by the author, it is clear that there are many similarities.

This suggests that the aforementioned strategies of creating atmosphere

triggered the same emotive response in both scenarios, implying that

Zumthor has been successful in his

design of atmosphere. These findings bring to light a new viewpoint on

atmosphere. Although regarded as a personal and individual experience, atmosphere can in fact be seen as a shared phenomenon.

spreading down the walls and the

reflections of the light off the water. In contrast to this, the high windows at

the Kolumba Museum create a sense of unease and a feeling of

imprisonment alongside the

perforated wall resembling gun shots through a shield. Lastly the oculus at the Bruder Klaus points towards the

sky in reflection of the heavens in the Church.

The materials in each of the three

buildings are also very powerful in

the design of atmosphere. The rough and smooth surfaces work in

Bibliography Berteloot, M & Véronique, P., 2013. Form/ Formless. Building Atmosphere, OASE, (91), 83-92.

Böhme, G., 2013. Atmosphere as Mindful Physical Presence in Space. Building Atmosphere, OASE, (91), 21-32.

Gaskin, T., 2012. Interpretation and Conservation of Sacred Space: A Ritual-based Approach. Masters. Dalhousie University.

Havik, K & Tielens, G., 2013. Atmosphere, Compassion and Embodied Experience. A

conversation about Atmosphere with Juhani Pallasmaa. Building Atmosphere, OASE, (91), 33-53.

Pallasmaa, J., 2005. The Eyes of the Skin: Architecture and the Senses. Chichester:

Wiley-Academy.

Pallasmaa, J., 2014. Space, place and atmosphere. Emotion and peripherical

perception in architectural experience. Aesthetics and Philosophy of Experience, 4(1), pp. 230-245.

Platt, C & Spier, S., 2010. Seeking the Real: The Special Case of Peter Zumthor. Architectural Theory Review, 15(1), pp. 30-42.

Zumthor, P., 1998. Thinking architecture. Basel: Birkhäuser. Zumthor, P., 2006. Atmospheres. Basel: Birkhäuser.

Internet Sources Böhme, G., 2017. Atmospheric Architectures: The Aesthetics of Felt Spaces. [pdf] Berlin: Bloomsbury. Available at:

https://slowrotation.memoryoftheworld.org/Gernot%20Bohme/Atmospheric%20

Architectures_%20The%20Aes%20(48409)/Atmospheric%20Architectures_%20T he%20-%20Gernot%20Bohme.pdf [Accessed 27 Oct. 2018].

Drozd, C, Meunier, V, Simonnot, N & Hégron, G., 2009. What tools and modes of

representation to reflect an architectural atmosphere?. Conference on architectural visualisation – 9th international eaea conference: Projecting spaces. Cottbus,

Germany, Sept. 2009. [online] Available at: https://hal.archives-ouvertes.fr/hal-

01275083/document [Accessed 15 Nov. 2018].

Giermann, H., 2015. Hélène Binet: Fragments of Light. [online] Available at: https://www.archdaily.com/588698/helene-binet-fragments-oflight

[Accessed 27 Oct. 2018].

Pallasmaa, J., 2016. The Sixth Sense: The Meaning of Atmosphere and

Mood. Architectural Design, [e-journal] 86(6), pp.126-133. Available through:

University of Reading Library website <https://www.reading.ac.uk/library/> [Accessed 15 Nov. 2018].

Roxby, B., 2009. Zumthor’s Brother Klaus Chapel… or how I ended up on a farm in Germany. Design Roxx, [blog] 25 June. Available at:

http://www.roxx.com/2009/06/zumthors-brother-klaus-chapel-or-how-iended-

up-on-a-farm-in-germany/ [Accessed 9 Nov. 2018].

Sveiven, M., 2011. Bruder Klaus Field Chapel / Peter Zumthor. [online] Available at: https://www.archdaily.com/106352/bruder-klaus-fieldchapel-peter-zumthor

[Accessed 15 Nov. 2018].

Winston, A., 2015. Digital photographs can be "disturbing", says Hélène Binet. [online] Available at: https://www.dezeen.com/2015/03/23/helene-binet-

interview-analogue-architectural-photography-film-fragments-of-light-exhibitionwuho/ [Accessed 13 Feb. 2019].

Full List of Figures Figure 1: Botsford, S., 2018. Bruder Klaus Chapel. [photograph]

Figure 2: Botsford, S., 2018. Bruder Klaus Entrance. [photograph]

Figure 3: Binet, H., 2007. Kolumba Light. [online image] Available at:

http://helenebinet.com/photography/peter-zumthor/ [Accessed 10.12.18].

Figure 4: Spier, S., 2001. Therme Vals Materiality. [photograph] Place, authorship

and the concrete: three conversations with Peter Zumthor. Arg: Architectural Research Quarterly, 5(1), 15-36.

Figure 5: Botsford, S., 2018. Bruder Klaus Interior. [photograph]

Figure 6: Binet, H., 2012. Therme Vals Chair. [photograph] Available at:

http://ammann-gallery.com/artist/helene-binet/ [Accessed 10.12.18].

Figure 7: Binet, H., 2018. Kolumba Museum Object. [photograph] Available at:

http://helenebinet.com/photography/peter-zumthor/ [Accessed 10.12.18].

Figure 8: Zumthor, P., 2006. Bruder Klaus Model. [photograph] Atmospheres. Basel: Birkhäuser.

Figure 9: Binet, H, Hauser, S & Zumthor, P., 2007. Therme Vals Model. [photograph] Peter Zumthor Therme Vals. Scheidegger & Spiess.

Figure 10: Binet, H, Hauser, S & Zumthor, P., 2007. Zumthor’s Sketches. [sketch] Peter Zumthor Therme Vals. Scheidegger & Spiess.

Figure 11: Botsford, S., 2018. Therme Vals Façade. [photograph]

Figure 12: Binet, H., 2006. Therme Vals Light. [photograph] Available at:

http://helenebinet.com/photography/peter-zumthor/ [Accessed 10.12.18]. Figure 13: Botsford, S., 2018. Kolumba Museum High Window. [photograph] Figure 14: Botsford, S., 2018. Bruder Klaus Oculus. [photograph]

Figure 15: Botsford, S., 2018. Kolumba Museum Materiality. [photograph]

KOLUMBA MUSEUM, COLOGNE 19th September 2018, 11:00

Fig. 1

Fig. 2

Cold reception area. ‘establishing a dialogue between new and old architecture’ (Bianchini, 2018) Peaceful courtyard in the centre of the city.

Fig. 4

Fig. 5

Fig.3

Fig. 7

Fig. 6

Fig. 8

â&#x20AC;&#x2DC;general sensation of quietness and timeless permanenceâ&#x20AC;&#x2122; (Bianchini, 2018)

Perforated wall letting light through into the space - appear like gunshots through a shield.

Large leather curtain makes you unsure of whether or not to enter.

Fig. 9

â&#x20AC;&#x2DC;creating a dialogue between the collection and the memory of the observerâ&#x20AC;&#x2122; (Bianchini, 2018)

Fig. 14

Large, seamless windows overlooking the city. Fig. 15

Tall, narrow staircases.

Fig. 16

Reflective surfaces carrying light through the space.

Fig. 17

BRUDER KLAUS FIELD CHAPEL, MECHERNICH 20th September 2018, 13:25

Fig. 18

Fig. 19

Fig. 24

Fig. 20

Fig. 25

Very hot day.

Stands out from all around in the landscape.

Fig. 21

Long, contemplative walk alone to the chapel with singing of birds and rustling trees.

Fig. 22

Fig. 23

Signposts show you the way but there is a certain uncertainty since there are so few people and cars around.

Contrast between exterior and interior texture is fascinating.

â&#x20AC;&#x2DC;rigid and orthogonal exterior, whose inner sanctuary is quite unexpectedly the oppositeâ&#x20AC;&#x2122; (Pearson, 2016)

Fig. 26

Narrow entrance leads you round the corner and into the centre of the chapel giving a sense of adventure.

Solid, smooth metal door enclosing the rough interior.

Fig. 27

Fig. 28

Fig. 29

Fig. 30

Light from the oculus reminds you of the time of day. Cool interior contrasting the heat outside, relaxing after the walk.

â&#x20AC;&#x2DC;Solitude consumes you, though comfort surrounds you.â&#x20AC;&#x2122; (Pearson, 2016)

Fig. 32

Fig. 31

Lit candles give a feeling of warmth and peaceful.

Pin pricks of light through the holes in the walls.

Fig. 33

Puddle in the centre of the floor reflecting the light from the oculus, resembles a font in other churches.

Fig. 34

Materials tell story of how it was built.

Fig. 35

THERME SPA, VALS 21st September 2018, 16:40

Fig. 37

â&#x20AC;&#x2DC;therme vals stands out precisely because of the way it is intergated into the landscapeâ&#x20AC;&#x2122; (Holmes, 2016) Fig. 36

Fig. 38

Dark corridor to enter, leading downwards, can hear the water and feel the warmth from the spa. Small opening to the left near the changing rooms gives a peak of the spa below. Taps from the wall giving a sense of the spring.

Striking facade from below contrasting hidden form from above.

21st September 2018, 20:40 Warm lights inside at night feel inviting.

Fig. 39

Fig. 41

Set into the landscape, although very large can easily go unnoticed when walking down the road. Fig. 40

Fig. 42

Fig. 43

Each room has a different theme: 1.Hot pool – Red textured floor gives feeling of walking on hot coals. 2.Cold pool – Blue floor and lighting makes the experience much colder. 3.Spring pool – Very dark, only water illuminated to focus on floating petals.

‘Peter Zumthor plays with the sensations of the users’ naked bodies.’ (Drozd et al., 2009: 4)

Fig. 45

Fig. 44

Each room like a mystery to find, feels like an adventure.

Warm waters inviting you in .

Cave room through a small passage feels very hidden and private with much rougher walls compared to the rest of the spa to resemble the feeling of a cave, echos.

Slits in ceilings dispursing light down the walls.

‘One of the structural elements there is the water – it’s quite amazing’ (Wahlsten, 2015)

Seamless pools.

Fig. 46

Fig. 47

Sound of water and jets is very soothing and relaxing.

Most pools lit below water so reflects onto the walls creating a dancing display on the grey concrete.

Green roof outside makes you feel like you are really set into the mountains.

Beautiful smells in both Steam and Spring rooms, both very dark to heighten sense of smell.

Warm inside compared to outside makes you feel sleepy as you go inside.

Fig. 48

List of Illustrations

Fig. 1 Binet, H., 1997-2011. Kolumba Museum Entrance. [photograph] Available at: http://helenebinet. com/photography/peter-zumthor/ [Accessed 10 Dec. 2018]. Fig. 2 Binet, H., 2012. Kolumba Museum Façade. Composing Space: The photographs of Hélène Binet. Phaidon Press. [photograph] Available at: https://uk.phaidon.com/store/photography/composing-space-9780714861197/#tab-1 [Accessed 10 Dec. 2018]. Fig. 3 Botsford, S., 2018. Materiality. [photograph] Fig. 4 Botsford, S., 2018. Kolumba Museum. [photograph] Fig. 5 Botsford, S., 2018. Courtyard. [photograph] Fig. 6 Binet, H., 1997-2011. Speckled Light. [photograph] Available at: http://helenebinet.com/photography/peter-zumthor/ [Accessed 10 Dec. 2018]. Fig. 7 Binet, H., 1997-2011. Perforated Walls. [photograph] Available at: http://helenebinet.com/photography/peter-zumthor/ [Accessed 10 Dec. 2018]. Fig. 8 Binet, H., 1997-2011. Excavated Ruins. [photograph] Available at: http://helenebinet.com/photography/peter-zumthor/ [Accessed 10 Dec. 2018]. Fig. 9 Botsford, S., 2018. Excavated Ruins. [photograph] Fig. 10 Binet, H., 1997-2011. High Window. [photograph] Available at: http://helenebinet.com/photography/peter-zumthor/ [Accessed 10 Dec. 2018]. Fig. 11 Botsford, S., 2018. High Window. [photograph] Fig. 12 Binet, H., 1997-2011. Curtains. [photograph] Available at: http://helenebinet.com/photography/peter-zumthor/ [Accessed 10 Dec. 2018]. Fig. 13 Botsford, S., 2018. Curtains. [photograph] Fig. 14 Binet, H., 1997-2011. Reflections. [photograph] Available at: http://helenebinet.com/photography/peter-zumthor/ [Accessed 10 Dec. 2018]. Fig. 15 Botsford, S. 2018. Window Light. [sketch] Fig. 16 Botsford, S., 2018. Staircase. [photograph] Fig. 17 Botsford, S., 2018. Reflections. [photograph] Fig. 18 Botsford, S., 2018. Bruder Klaus Chapel. [photograph] Fig. 19 Botsford, S., 2018. Journey 1. [photograph] Fig. 20 Botsford, S., 2018. Journey 2. [photograph] Fig. 21 Botsford, S., 2018. Journey 3. [photograph] Fig. 22 Botsford, S., 2018. Journey 4. [photograph] Fig. 23 Botsford, S., 2018. Journey 5. [photograph] Fig. 24 Binet, H., 2009. Bruder Klaus Chapel Exterior. [photograph] Available at: http://ammann-gallery.com/artist/helene-binet/ [Accessed 10 Dec. 2018]. Fig. 25 Binet, H., 1997-2011. Bruder Klaus Chapel Exterior. [photograph] Available at: http://helenebinet.com/photography/peter-zumthor/ [Accessed 10 Dec. 2018]. Fig. 26 Binet, H., 2009. Materiality. [photograph] Available at: http://ammann-gallery.com/artist/ helene-binet/ [Accessed 10 Dec. 2018]. Fig. 27 Botsford, S., 2018. Doorway. [photograph] Fig. 28 Botsford, S., 2018. Materiality. [photograph] Fig. 29 Binet, H., 1997-2011. Oculus. [photograph] Available at: http://helenebinet.com/photography/ peter-zumthor/ [Accessed 10 Dec. 2018]. Fig. 30 Binet, H., 2009. Filtered Light. [photograph] Available at: http://ammann-gallery.com/artist/ helene-binet/ [Accessed 10 Dec. 2018]. Fig. 31 Botsford, S. 2018. Oculus Light. [sketch] Fig. 32 Botsford, S., 2018. Oculus. [photograph] Fig. 33 Binet, H., 2012. Bruder Klaus Candles. Composing Space: The photographs of Hélène Binet. Phaidon Press. [photograph] Available at: https://uk.phaidon.com/store/photography/composing-space-9780714861197/#tab-1 [Accessed 10 Dec. 2018]. Fig. 34 Botsford, S., 2018. Curved Walls. [photograph] Fig. 35 Botsford, S., 2018. Corridor. [photograph]

Fig. 36 Botsford, S. 2018. Therme Vals Light Reflection. [sketch] Fig. 37 Binet, H., 2006. Mountain View. [photograph] Available at: http://ammann-gallery.com/artist/ helene-binet/ [Accessed 10 Dec. 2018]. Fig. 38 Botsford, S., 2018. Therme Vals Façade. [photograph] Fig. 39 Botsford, S., 2018. Night Time Lights. [photograph] Fig. 40 Botsford, S., 2018. Therme Vals Façade. [photograph] Fig. 41 Botsford, S. 2018. Light Dispursion. [sketch] Fig. 42 Botsford, S., 2018. Hidden View. [photograph] Fig. 43 Binet, H., 2012. Pools. Composing Space: The photographs of Hélène Binet. Phaidon Press. [photograph] Available at: https://uk.phaidon.com/store/photography/composing-space-9780714861197/#tab-1 [Accessed 10 Dec. 2018]. Fig. 44 Binet, H., 2012. Chair. Composing Space: The photographs of Hélène Binet. Phaidon Press. [photograph] Available at: https://uk.phaidon.com/store/photography/composing-space-9780714861197/#tab-1 [Accessed 10 Dec. 2018]. Fig. 45 Botsford, S., 2018. Window Reflection. [photograph] Fig. 46 Binet, H., 1997-2011. Filtered Light. [photograph] Available at: http://helenebinet.com/photography/peter-zumthor/ [Accessed 10 Dec. 2018]. Fig. 47 Binet, H., 1997-2011. Reflection. [photograph] Available at: http://helenebinet.com/photography/peter-zumthor/ [Accessed 10 Dec. 2018]. Fig. 48 Binet, H., 1997-2011. Filtered Light. [photograph] Available at: http://helenebinet.com/photography/peter-zumthor/ [Accessed 10 Dec. 2018].

Bibliography

Bianchini, R., 2018. Kolumba - Art museum of the Archdiocese of Cologne. [online] Available at: https:// www.inexhibit.com/mymuseum/kolumba-art-museum-cologne-peter-zumthor/ [Accessed 15 Nov. 2018]. Drozd, C, Meunier, V, Simonnot, N & Hégron, G., 2009. What tools and modes of representation to reflect an architectural atmosphere?. Conference on architectural visualisation – 9th international eaea conference: Projecting spaces. Cottbus, Germany, Sept. 2009. [online] Available at: https://hal. archives-ouvertes.fr/hal-01275083/document [Accessed 15 Nov. 2018]. Gaskin, T., 2012. Interpretation and Conservation of Sacred Space: A Ritual-based Approach. Masters. Dalhousie University. Holmes, N., 2016. Turning nature into prize winning architecture. [online] Available at: https://www. jllrealviews.com/viewpoint/turning-nature-prize-winning-architecture/ [Accessed 15 Nov. 2018]. Pearson, M., 2016. Atmospheric Monk: Peter Zumthor’s Bruder Klaus FIeld Chapel. [online] Available at: https://www.linkedin.com/pulse/atmospheric-monk-peter-zumthors-bruder-klaus-field-chapelpearson/ [Accessed 15 Nov. 2018]. Wahlsten, M., 2015. Hélène Binet receives Julius Shulman Award. [Blog] Grand Tour. Available at: https://www.grandtourmagazine.com/tag/therme-vals/ [Accessed 20 Nov. 2018].