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Atmospheres: Architectural Environments. Surrounding Objects
What 'really constitutes an architectural atmosphere', Peter Zumthor says, is 'this singular density and mood, this feeling of presence, well-being, harmony, beauty ...under whose spell I experience what I otherwise would not experience in precisely this way'. Zumthor's passion is the creation of buildings that produce this kind of effect, but how can one actually set out to achieve it? In nine short, illustrated chapters framed as a process of self-observation, Peter Zumthor describes what he has on his mind as he sets about creating the atmosphere of his houses. Images of spaces and buildings that affect him are every bit as important as particular pieces of music or books that inspire him. From the composition and 'presence' of the materials to the handling of proportions and the effect of light, this poetics of architecture enables the reader to recapitulate what really matters in the process of house design.
76 pages, Hardcover
First published January 1, 2006
About the author
Peter Zumthor
60 books242 followersFrom the Pritzker Prize website, http://www.pritzkerprize.com/laureate...
Peter Zumthor was born on April 26, 1943, the son of a cabinet maker, Oscar Zumthor, in Basel, Switzerland. He trained as a cabinet maker from 1958 to 1962. From 1963-67, he studied at the Kunstgewerbeschule, Vorkurs and Fachklasse with further studies in design at Pratt Institute in New York.
In 1967, he was employed by the Canton of Graubünden (Switzerland) in the Department for the Preservation of Monuments working as a building and planning consultant and architectural analyst of historical villages, in addition to realizing some restorations. He established his own practice in 1979 in Haldenstein, Switzerland where he still works with a small staff of fifteen. Zumthor is married to Annalisa Zumthor-Cuorad. They have three children, all adults, Anna Katharina, Peter Conradin, and Jon Paulin, and two grandchildren.
Since 1996, he has been a professor at the Academy of Architecture, Universitá della Svizzera Italiana, Mendrisio. He has also been a visiting professor at the University of Southern California Institute of Architecture and SCI-ARC in Los Angeles in 1988; at the Technische Universität, Munich in 1989; and at the Graduate School of Design, Harvard University in 1999.
His many awards include the Praemium Imperiale from the Japan Art Association in 2008 as well as the Carlsberg Architecture Prize in Denmark in 1998, and the Mies van der Rohe Award for European Architecture in 1999. In 2006, he received the Thomas Jefferson Foundation Medal in Architecture from the University of Virginia. The American Academy of Arts and Letters bestowed the Arnold W. Brunner Memorial Prize in Architecture in 2008.
In the recent book published by Barrons Educational Series, Inc. titled, Architectura, Elements of Architectural Style, with the distinguished architectural historian from Australia, Professor Miles Lewis, as general editor, the Zumthor’s Thermal Bath building at Vals is described as “a superb example of simple detailing that is used to create highly atmospheric spaces. The design contrasts cool, gray stone walls with the warmth of bronze railings, and light and water are employed to sculpt the spaces. The horizontal joints of the stonework mimic the horizontal lines of the water, and there is a subtle change in the texture of the stone at the waterline. Skylights inserted into narrow slots in the ceiling create a dramatic line of light that accentuates the fluidity of the water. Every detail of the building thus reinforces the importance of the bath on a variety of levels.”
In the book titled Thinking Architecture, first published by [Lars Müller Publishers] in 1998, Zumthor set down in his own words a philosophy of architecture. One sample of his thoughts is as follows: “I believe that architecture today needs to reflect on the tasks and possibilities which are inherently its own. Architecture is not a vehicle or a symbol for things that do not belong to its essence. In a society that celebrates the inessential, architecture can put up a resistance, counteract the waste of forms and meanings, and speak its own language. I believe that the language of architecture is not a question of a specific style. Every building is built for a specific use in a specific place and for a specific society. My buildings try to answer the questions that emerge from these simple facts as precisely and critically as they can.”
Peter Zumthor was born on April 26, 1943, the son of a cabinet maker, Oscar Zumthor, in Basel, Switzerland. He trained as a cabinet maker from 1958 to 1962. From 1963-67, he studied at the Kunstgewerbeschule, Vorkurs and Fachklasse with further studies in design at Pratt Institute in New York.
In 1967, he was employed by the Canton of Graubünden (Switzerland) in the Department for the Preservation of Monuments working as a building and planning consultant and architectural analyst of historical villages, in addition to realizing some restorations. He established his own practice in 1979 in Haldenstein, Switzerland where he still works with a small staff of fifteen. Zumthor is married to Annalisa Zumthor-Cuorad. They have three children, all adults, Anna Katharina, Peter Conradin, and Jon Paulin, and two grandchildren.
Since 1996, he has been a professor at the Academy of Architecture, Universitá della Svizzera Italiana, Mendrisio. He has also been a visiting professor at the University of Southern California Institute of Architecture and SCI-ARC in Los Angeles in 1988; at the Technische Universität, Munich in 1989; and at the Graduate School of Design, Harvard University in 1999.
His many awards include the Praemium Imperiale from the Japan Art Association in 2008 as well as the Carlsberg Architecture Prize in Denmark in 1998, and the Mies van der Rohe Award for European Architecture in 1999. In 2006, he received the Thomas Jefferson Foundation Medal in Architecture from the University of Virginia. The American Academy of Arts and Letters bestowed the Arnold W. Brunner Memorial Prize in Architecture in 2008.
In the recent book published by Barrons Educational Series, Inc. titled, Architectura, Elements of Architectural Style, with the distinguished architectural historian from Australia, Professor Miles Lewis, as general editor, the Zumthor’s Thermal Bath building at Vals is described as “a superb example of simple detailing that is used to create highly atmospheric spaces. The design contrasts cool, gray stone walls with the warmth of bronze railings, and light and water are employed to sculpt the spaces. The horizontal joints of the stonework mimic the horizontal lines of the water, and there is a subtle change in the texture of the stone at the waterline. Skylights inserted into narrow slots in the ceiling create a dramatic line of light that accentuates the fluidity of the water. Every detail of the building thus reinforces the importance of the bath on a variety of levels.”
In the book titled Thinking Architecture, first published by [Lars Müller Publishers] in 1998, Zumthor set down in his own words a philosophy of architecture. One sample of his thoughts is as follows: “I believe that architecture today needs to reflect on the tasks and possibilities which are inherently its own. Architecture is not a vehicle or a symbol for things that do not belong to its essence. In a society that celebrates the inessential, architecture can put up a resistance, counteract the waste of forms and meanings, and speak its own language. I believe that the language of architecture is not a question of a specific style. Every building is built for a specific use in a specific place and for a specific society. My buildings try to answer the questions that emerge from these simple facts as precisely and critically as they can.”
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January 3, 2022
Ova knjiga je nastala na osnovu predavanja koje je Cumtor održao na jednom nemačkom festivalu 2003. godine. Kao takva, ona predstavlja više nego ugodan pregled onoga što arhitektura jeste i što treba da bude, posebno u odnosu na razmišljanje o atmosferi kao estetskoj kategoriji. Atmosfera je samorazumljiv, ali teško objašnjiv arhitektonski kvalitet, koji presudno određuje naš doživljaj nekog prostora. Identitet neke građevine je, osim u njenom fizičkom opisu, zasnovan upravo na tom njenom, atmosferičnom aspektu – koji Cumtor povezuje sa neposrednom, nelinearnom percepcijom okruženja. Atmosfera je, dakle, temeljno interaktivni fenomen, koji Cumtor poredi sa magijom – magijom prostora, odnosno, magijom realnog. Ta neuhvatljivost u uhvatljivosti prostora je nešto što ga i najviše inspiriše.
I zaista, neki doživljaji nas smesta prekriju, uvuku u svoj svet. Neke atmosfere poseduju jaču, neke slabiju auru. Neke se menjaju. A vrhunski arhitekta treba da činjenicu atmosfere uvaži i u projektantskom radu. Kao orijentaciju za ovaj poduhvat, Zumtor razvija sledeće teze:
1) TELO ARHITEKTURE – ovde je, čini se, dosta ideja pozajmljeno od Merlo-Pontija – uz pomoć sopstvenog tela mi sameravamo celokupnu stvarnost, pa i arhitekturu. Takođe, Ji-Fu Tuan je ovu sjajnu ideju razradio znatno elokventnije nekoliko decenija pre Zumtora.
2) KOMPATIBILNOST MATERIJALA – fascinantno je kako jedan isti materijal (drvo, metal, kamen) mogu da daju ogroman broj mogućih arhitektonskih rešenja. Neko ko razmišlja o pravljenju zgrade, mora razmisliti i o dobroj meri, jer đavo se krije u detaljima, pa i atmosfera.
3) ZVUK PROSTORA – enterijeri su uvek zbirke zvukova, čak i kada, naizgled, vlada u njima potpuna tišina. Sve ima neki svoj ton i to nije samo pitagorejska tema, već recimo i Džona Kejdža ili Juhanija Palasme. O tim vezama je isto moglo biti više reči.
4) TEMPERATURA PROSTORA – ne odnosi se samo na temperaturu merenu u celzijusima ili farenhajtima, već na lični dožviljaj materijala u kontekstu toplote – na primer, drvo je kućevnije, udobnije, dok je metal odbojan i hladan.
5) OBJEKTI U OKRUŽENJU – građevina nikad ne postoji sama za sebe – ona je deo pejzaža, predela – sa kojim, hteo to arhitekta ili ne, mora da komunicira.
6) IZMEĐU MIRA I ZAVOĐENJA – arhitektura je, naravno, prostorna umetnost, ali sa vremenskom dimenzijom – kako građevine stare, ali i kako ljudi stare (ili samo provode vreme) u građevini je izuzetno važno. Opet nije spomenut Palasma, a ovde bi mogao i Bašlar, ali pre svega u sledećem delu.
7) TENZIJA IZMEĐU UNUTRAŠNJEG I SPOLJAŠNJEG – e, ovo je prava Bašlarova tema. Cumtor primećuje kako zgrada uvek nešto govori ulici ili trgu na kome se nalazi – kao i da celina građevine predstavljaju i sitnice koje opet sameravamo u odnosu na sopstveno telo – od vrata do svih neprimetnih majušnih predmeta koji čine sastavni deo postojanja nekog objekta.
8) NIVO INTIMNOSTI – opet varijacija na temu – masa zgrade spram sopstvene, lične. A i jasno je, neki prostori su intimniji, prisniji, neki su distancirani. To je isto delokrug atmosfere.
9) SVETLOST – nego šta! Svetlo je par excellance arhitektonski fenomen, a Cumtor ističe da dnevno svetlo doživljava na duhovan način. Formula je jasna: što više dobro vođenog dnevnog svetla, to bolje.
Uz navedene teze, Cumtor navodi i dva dodatka – još jednom ističe značaj okruženja, gde daje mali omaž Handkeovom doživljaju prostora, a nakon toga kaže kako mu je mnogo važnije da se neko seća poljupca pored neke zgrade, nego da ta zgrada završi u istoriji arhitekture. Napisa to Cumtor i dobi Prickera 2009. godine. U istoriji arhitekture je svakako, a verujem i, posredno, usput, u nečijoj emocionalnoj istoriji.
Dodaje samo još i da je u arhitekturi važna koherentnost, kao i dimenzija primene. Opet, ništa novo, sve što je Le Korbizje imao da kaže, tu je, na malom, skicirucnuto.
Sve u svemu, jedan simpatičan, pojednostavljen i neuznesen tekst programskog tipa, koji pre može da se doživi kao pregled sjajnih teza, nego vanserijsko predavanje. Može biti zanimljiv onima koji su, poput mene, autsajderi za ovu oblast.
I zaista, neki doživljaji nas smesta prekriju, uvuku u svoj svet. Neke atmosfere poseduju jaču, neke slabiju auru. Neke se menjaju. A vrhunski arhitekta treba da činjenicu atmosfere uvaži i u projektantskom radu. Kao orijentaciju za ovaj poduhvat, Zumtor razvija sledeće teze:
1) TELO ARHITEKTURE – ovde je, čini se, dosta ideja pozajmljeno od Merlo-Pontija – uz pomoć sopstvenog tela mi sameravamo celokupnu stvarnost, pa i arhitekturu. Takođe, Ji-Fu Tuan je ovu sjajnu ideju razradio znatno elokventnije nekoliko decenija pre Zumtora.
2) KOMPATIBILNOST MATERIJALA – fascinantno je kako jedan isti materijal (drvo, metal, kamen) mogu da daju ogroman broj mogućih arhitektonskih rešenja. Neko ko razmišlja o pravljenju zgrade, mora razmisliti i o dobroj meri, jer đavo se krije u detaljima, pa i atmosfera.
3) ZVUK PROSTORA – enterijeri su uvek zbirke zvukova, čak i kada, naizgled, vlada u njima potpuna tišina. Sve ima neki svoj ton i to nije samo pitagorejska tema, već recimo i Džona Kejdža ili Juhanija Palasme. O tim vezama je isto moglo biti više reči.
4) TEMPERATURA PROSTORA – ne odnosi se samo na temperaturu merenu u celzijusima ili farenhajtima, već na lični dožviljaj materijala u kontekstu toplote – na primer, drvo je kućevnije, udobnije, dok je metal odbojan i hladan.
5) OBJEKTI U OKRUŽENJU – građevina nikad ne postoji sama za sebe – ona je deo pejzaža, predela – sa kojim, hteo to arhitekta ili ne, mora da komunicira.
6) IZMEĐU MIRA I ZAVOĐENJA – arhitektura je, naravno, prostorna umetnost, ali sa vremenskom dimenzijom – kako građevine stare, ali i kako ljudi stare (ili samo provode vreme) u građevini je izuzetno važno. Opet nije spomenut Palasma, a ovde bi mogao i Bašlar, ali pre svega u sledećem delu.
7) TENZIJA IZMEĐU UNUTRAŠNJEG I SPOLJAŠNJEG – e, ovo je prava Bašlarova tema. Cumtor primećuje kako zgrada uvek nešto govori ulici ili trgu na kome se nalazi – kao i da celina građevine predstavljaju i sitnice koje opet sameravamo u odnosu na sopstveno telo – od vrata do svih neprimetnih majušnih predmeta koji čine sastavni deo postojanja nekog objekta.
8) NIVO INTIMNOSTI – opet varijacija na temu – masa zgrade spram sopstvene, lične. A i jasno je, neki prostori su intimniji, prisniji, neki su distancirani. To je isto delokrug atmosfere.
9) SVETLOST – nego šta! Svetlo je par excellance arhitektonski fenomen, a Cumtor ističe da dnevno svetlo doživljava na duhovan način. Formula je jasna: što više dobro vođenog dnevnog svetla, to bolje.
Uz navedene teze, Cumtor navodi i dva dodatka – još jednom ističe značaj okruženja, gde daje mali omaž Handkeovom doživljaju prostora, a nakon toga kaže kako mu je mnogo važnije da se neko seća poljupca pored neke zgrade, nego da ta zgrada završi u istoriji arhitekture. Napisa to Cumtor i dobi Prickera 2009. godine. U istoriji arhitekture je svakako, a verujem i, posredno, usput, u nečijoj emocionalnoj istoriji.
Dodaje samo još i da je u arhitekturi važna koherentnost, kao i dimenzija primene. Opet, ništa novo, sve što je Le Korbizje imao da kaže, tu je, na malom, skicirucnuto.
Sve u svemu, jedan simpatičan, pojednostavljen i neuznesen tekst programskog tipa, koji pre može da se doživi kao pregled sjajnih teza, nego vanserijsko predavanje. Može biti zanimljiv onima koji su, poput mene, autsajderi za ovu oblast.
March 23, 2013
It’s always a pleasure to listen to smart people talk. It’s an even greater pleasure to read them. Atmospheres is such a book by Peter Zumthor, containing the architect’s lecture on architecture and its intricate relationship with atmosphere. The book, despite being brief, is brimming with passion and ideas that will make you rethink architecture and space.
The first thing that struck me about this book was how easy and accessible it was. Zumthor’s lecture was to the point, used no jargon, and was easy to understand for people like me who are not into architecture. It inspires the reader, and the lucky listeners who were there, to take a look around themselves and take note of the spaces, buildings, surroundings, environment, light—everything—and how they figure into our existences.
Zumthor begins by addressing what exactly is quality architecture: “Quality architecture to me is when a building manages to move me… How do people design things with such a beautiful, natural presence, things that move me every single time.” I felt that was a strong introduction to his lecture and a good indicator of his thoughts. He then begins discussing the act of existing and first impressions, connecting them with architecture and our views towards it. His thesis is compelling and thought-provoking.
Another great point he makes is about the presence, or rather the absence, of sound in buildings and places. We subconsciously associate people and places with specific sounds. It is something that I’d never thought about before, and it got me thinking about the places I had been to and the places that I’d stayed in. Another brilliant point that he makes is the “art of seduction” in architecture. He talks about functionality of hospital corridors, where people are guided towards a specific direction. More importantly, however, he discusses letting people roam around freely. He deliberates over the “voyage of discovery” that architecture provides for those in buildings, letting them “stroll at will—just drifting along.”
He also has a lot to say about the juxtaposition between the interior and exterior. I can’t help but cite him on this:
The only problem I can find with the book is its format. Lectures don’t translate very well to writing. Sections of the book feel superfluous; it could do with tighter editing. Some of the pictures, though they look great, don’t seem to relate well with the text and can often be distracting.
So, what can I say: I loved Atmospheres. It has kindled in me love and respect for architecture and space that I didn’t have before. Zumthor raises some very good points. I guess this book is aimed towards architecture students and enthusiasts, but I feel this is something everyone should read if they want some perspective on space, sound, light, memories, and everything else that makes our surroundings what they are.
The first thing that struck me about this book was how easy and accessible it was. Zumthor’s lecture was to the point, used no jargon, and was easy to understand for people like me who are not into architecture. It inspires the reader, and the lucky listeners who were there, to take a look around themselves and take note of the spaces, buildings, surroundings, environment, light—everything—and how they figure into our existences.
Zumthor begins by addressing what exactly is quality architecture: “Quality architecture to me is when a building manages to move me… How do people design things with such a beautiful, natural presence, things that move me every single time.” I felt that was a strong introduction to his lecture and a good indicator of his thoughts. He then begins discussing the act of existing and first impressions, connecting them with architecture and our views towards it. His thesis is compelling and thought-provoking.
Another great point he makes is about the presence, or rather the absence, of sound in buildings and places. We subconsciously associate people and places with specific sounds. It is something that I’d never thought about before, and it got me thinking about the places I had been to and the places that I’d stayed in. Another brilliant point that he makes is the “art of seduction” in architecture. He talks about functionality of hospital corridors, where people are guided towards a specific direction. More importantly, however, he discusses letting people roam around freely. He deliberates over the “voyage of discovery” that architecture provides for those in buildings, letting them “stroll at will—just drifting along.”
He also has a lot to say about the juxtaposition between the interior and exterior. I can’t help but cite him on this:
“…the almost imperceptible transition between the inside and the outside, an incredible sense of place, 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… Architecture knows this and uses it.”Finally, he moves on to surroundings and the impact of memory on the importance of a place. He carefully considers how memory is used to locate buildings and architecture in peoples’ minds. I thought it was a fascinating hypothesis, and I thought about my memories regarding old homes. I feel he makes a strong case, though I’d have to read more before I can make a reasonably educated conclusion.
The only problem I can find with the book is its format. Lectures don’t translate very well to writing. Sections of the book feel superfluous; it could do with tighter editing. Some of the pictures, though they look great, don’t seem to relate well with the text and can often be distracting.
So, what can I say: I loved Atmospheres. It has kindled in me love and respect for architecture and space that I didn’t have before. Zumthor raises some very good points. I guess this book is aimed towards architecture students and enthusiasts, but I feel this is something everyone should read if they want some perspective on space, sound, light, memories, and everything else that makes our surroundings what they are.
November 26, 2017
من آموخته بودم که به نخستین رویارویی ام با هر چیز اعتماد نکنم و به آن فرصتِ بیشتری بدهم. سال ها گذشت و کمی پا به سن گذاشتم؛ باید اعتراف کنم که به تأثیرِ نخستین مواجهه ها باور پیدا کرده ام. در موردِ معماری نیز تا حدودی شبیه به همین است … اتمسفر را از طریقِ ادراکاتِ حسی مان دریافت می کنیم، شکلی از دریافت که به طورِ شگفت انگیزی سریع عمل می کند …
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دریافتم خیلی زیباست که وقتی ساختمانی می سازید، آن را در سکوت تصور کنید. منظورم این است که همیشه ساختمان را به مکانی ساکت تبدیل کنید … صداهایی را تصور کنید که فضاها در سکوتی که شما ایجاد کرده اید، خودشان با تناسبات و مصالحشان تولید می کنند.
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این ایده که چیزهایی که بر من به عنوانِ معمار تأثیر ندارند یا من نمی فهممشان، مکانِ خود را -مکانی که مستحقش هستند- در ساختمان دارند، تفکری است که به من بینشی از آینده ی ساختمان ها می دهد: آینده ای که بدونِ من اتفاق می افتد؛ حالِ مرا خوب می کند. کمکِ بزرگی است برای من که بتوانم آینده ی اتاق های خانه ای را که می سازم، تصور کنم، آن ها را همان طور تصور کنم که استفاده خواهند شد.
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فکر می کنم زمانی معماری به بالاترین سطحِ کیفیت نائل می شود که هنرِ کاربردی تلقی گردد و در زمانی در زیباترین حالتِ خود خواهد بود که اجزایش در موقعیتِ قرارگیری شان، مفید باشند، زمانی که انسجام داشته باشند. این امر زمانی اتفاق می افتد که هر چیزی به چیزِ دیگر وابسته باشد و حذفِ هر چیزِ منفرد، غیر ممکن باشد مگر با تخریبِ کلیت. مکان، فرم و عملکرد. فرم، مکان را بازتاب می دهد، مکان هم فرم را و عملکرد هر دو را.
——————————————————
دریافتم خیلی زیباست که وقتی ساختمانی می سازید، آن را در سکوت تصور کنید. منظورم این است که همیشه ساختمان را به مکانی ساکت تبدیل کنید … صداهایی را تصور کنید که فضاها در سکوتی که شما ایجاد کرده اید، خودشان با تناسبات و مصالحشان تولید می کنند.
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این ایده که چیزهایی که بر من به عنوانِ معمار تأثیر ندارند یا من نمی فهممشان، مکانِ خود را -مکانی که مستحقش هستند- در ساختمان دارند، تفکری است که به من بینشی از آینده ی ساختمان ها می دهد: آینده ای که بدونِ من اتفاق می افتد؛ حالِ مرا خوب می کند. کمکِ بزرگی است برای من که بتوانم آینده ی اتاق های خانه ای را که می سازم، تصور کنم، آن ها را همان طور تصور کنم که استفاده خواهند شد.
——————————————————
فکر می کنم زمانی معماری به بالاترین سطحِ کیفیت نائل می شود که هنرِ کاربردی تلقی گردد و در زمانی در زیباترین حالتِ خود خواهد بود که اجزایش در موقعیتِ قرارگیری شان، مفید باشند، زمانی که انسجام داشته باشند. این امر زمانی اتفاق می افتد که هر چیزی به چیزِ دیگر وابسته باشد و حذفِ هر چیزِ منفرد، غیر ممکن باشد مگر با تخریبِ کلیت. مکان، فرم و عملکرد. فرم، مکان را بازتاب می دهد، مکان هم فرم را و عملکرد هر دو را.
September 10, 2014
It's a beautiful book, very easy to read. It makes you realize that architecture is full of intentions and sensibilities (that can come from anywhere like art or music) instead of bricks and walls. Also it makes you appreciate elements like sound, levels of intimacy, light, etc... that transform a place into an atmospheric experience.
December 25, 2020
زومتور در اتمسفر از کیفیتها و ویژگیهایی صحبت میکند که در یک فضا میتوانند ما را "تکان دهند".
از صدای فضاها صحبت میکند و از سکوتشان.
از اینکه چطور معماری را بشنویم.
از تابش نور روی چیزها میگوید و از جزئیاتی که معمولا نمیبینیم.
از اینکه چطور معماری گاهی فریبمان میدهد.
و چطور گاهی با اطراف یکی میشود، انگار که همیشه همانجا بوده.
از صدای فضاها صحبت میکند و از سکوتشان.
از اینکه چطور معماری را بشنویم.
از تابش نور روی چیزها میگوید و از جزئیاتی که معمولا نمیبینیم.
از اینکه چطور معماری گاهی فریبمان میدهد.
و چطور گاهی با اطراف یکی میشود، انگار که همیشه همانجا بوده.
May 18, 2023
Touching and intimate, Zumthor’s minor excursion into architecture via this short published lecture is really quite wonderful. Nine chapters, three appendices. That’s all it takes to be seduced by the scale, form, light, proximity, coherence and concepts of beauty endemic to the applied art of architecture. One should reenter the slender walls of this lecture whenever they need to be reenchanted by space, perhaps merely their own space, and be reminded of the transcendental quality of natural light, the interplay and relation of diverse materials on one another, the sound an area emits when it is divorced/abstracted from potential distractions or external corruption, or maybe just the interactions various people have had within that structure and the events so overflowing with meaning that they have brought into existence, events which have become a part of the overall environment, that have entered into the very stuff of things (a smearing of being on the diverse walls, objects and surfaces). Good shit. I’m not an architect. If you don’t mind I’ll have recourse to a medium as squalid as TV, I’ll quote Rust Cohle, ‘Life's barely long enough to get good at one thing.’
December 29, 2016
We've arrived at the privileged point in life where our own children are starting to feed us with valuable reading suggestions. This was a Christmas present for our son, who is in the final stages of his architecture studies. Atmospheres is an enchanting meditation by a master artisan-builder on the core drivers behind his craft. In nine short sections and three appendices he explains, in plain language, the elements that guide him in the creation of 'stimmungsvol' spaces. It's all very earthy, very pragmatic and rooted in attuned attentiveness. The text was produced from a lecture with minimal editing so that is easy to hear the man speak while perusing the book. A nice object it is too. I only had trouble matching the visuals with the text. But probably this must have been carefully considered and I didn't grasp the sequencing logic. I'll have to buy my own copy when our son leaves the house.
January 30, 2020
i love this book , i highly recommend it to anyone ( not only architects )
everything about this book is simply perfect and who knew an architecture book will remind me of a poem ?
It is a kind of love, is it not?
How the cup holds the tea,
How the chair stands sturdy and foursquare,
How the floor receives the bottoms of shoes
Or toes. How soles of feet know
Where they’re supposed to be.
I’ve been thinking about the patience
Of ordinary things, how clothes
Wait respectfully in closets
And soap dries quietly in the dish,
And towels drink the wet
From the skin of the back.
And the lovely repetition of stairs.
And what is more generous than a window?
~ Pat Schneider
everything about this book is simply perfect and who knew an architecture book will remind me of a poem ?
It is a kind of love, is it not?
How the cup holds the tea,
How the chair stands sturdy and foursquare,
How the floor receives the bottoms of shoes
Or toes. How soles of feet know
Where they’re supposed to be.
I’ve been thinking about the patience
Of ordinary things, how clothes
Wait respectfully in closets
And soap dries quietly in the dish,
And towels drink the wet
From the skin of the back.
And the lovely repetition of stairs.
And what is more generous than a window?
~ Pat Schneider
August 23, 2020
Um livro que me aproxima da arquitetura e me ajuda a ver a sua essência, com pureza e poesia. Incrível ♥️
December 14, 2021
کوتاه و روان و زیبا. هر چند انتظارم بخاطر نویسنده کتاب کمی بالاتر بود اما احتمالا در هفتاد صفحه بیش از این نمیگنجید.
September 8, 2022
Kanskje den fineste (!!) beskrivelsen av arkitektur jeg har lest
November 29, 2022
This is a short and beautiful book which basically puts Peter Zumthor's lectures into perspective for the reader, this particular lecture is not available only in this medium so having the photographic examples for me as a fan of architecture without any deep scientific knowledge was terrific.
The lectures or the book are more philosophical than scientific but still offer you a look at what is essential for architects to consider and the steps and thought processes taken when architects think of the overall atmospheres of their work.
I would recommend this any day, it's very short and it makes you think in a light yet deep way.
The lectures or the book are more philosophical than scientific but still offer you a look at what is essential for architects to consider and the steps and thought processes taken when architects think of the overall atmospheres of their work.
I would recommend this any day, it's very short and it makes you think in a light yet deep way.
October 14, 2022
A great compilation of sensibilities and sensitivities to consider when designing a building or a space. Zumthor attempts to grasp something quite intangible and make it achievable; an interesting take on architecture and what makes a great building.
October 16, 2018
This book has an amazing approach to show how architecture is important for our environment. What an amazing job from Peter Zumthor.
April 19, 2021
Lo leí por la Facultad. Pero me fascina su manera de ver la arquitectura y su arquitectura. 💕
August 3, 2021
Simplemente una reflexión espectacular sobre la construcción sensorial de espacios y lugares.
October 2, 2021
Good for architecture students.
September 12, 2021
Peter Zumthor is underrated ❤
February 16, 2021
Super insightful and easy to understand.
March 17, 2016
Ini ialah buku pertama tentang falsafah seni bina yang aku pernah baca sepanjang hidup. Buku yang paling seni bina aku baca pun ialah Anjung Seri, itu pun hanyalah sekadar melihat gambar-gambar cantik. Peter menulis dengan bahasa yang mudah untuk difahami oleh semua orang, walaupun seseorang itu tidak pernah langsung belajar secara formal tentang seni bina.
Satu persoalan timbul tentang mengapa dan bagaimana sesebuah ruang tersebut boleh mempengaruhi emosi individu. Sebagai contoh, bagaimana mahu mencipta ruang supaya ianya berfungsi dengan baik sehingga pengguna dapat merasai dan menghargai setiap ruang yang diciptakan tersebut. Hal ini timbul semasa pertama kali lawatan aku ke Universiti Melbourne, kerana ruang-ruang yang disediakan di Universiti tersebut sangat kondusif dan bagi aku ianya sebuah ruang yang mengalakkan percambahan idea. Perkara ini juga terjawab sedikit lepas aku menonton cerita Stanford Prison Experiment dan hari ni aku rasa terjawab banyak lepas baca buku ni.
Peter menerangkan sembilan perkara-perkara asas yang dititikberatkan beliau dalam memastikan sesebuah ruang atau bangunan tersebut berfungsi sepenuhnya dan ianya saling berkait rapat dengan emosi individu serta beberapa perkara-perkara lain. Kesemuanya memberi pencerahan kepada aku kenapa pengalaman individu berbeza-beza ketika memasuki sesebuah ruang.
Aku bersetuju dengan penulis, bagi aku tujuan akhir senibina bukanlah untuk mencapai bentuk-bentuk yang canggih atau sesetengah orang menganggap ianya sebuah (seni?) tetapi ialah untuk mencapai kebahagiaan dan kegembiraan ketika menggunakan ruang tersebut. Sebagai contoh, aku melihat bangunan KLCC hanyalah sekadar bangunan yang megah dan sekadar simbol kekayaan sesebuah negara semata-mata. Berada di dalam ruang bangunan KLCC yang tingkatnya berjumlah 88 hanyalah sekadar memasuki ruang-ruang ofis bangunan empat tingkat. Sebaliknya pengalaman aku berada di sebuah rumah kaum Gipsi di Kashmir sangat mengembirakan aku. Walaupun ruangnya hanya sebesar Bilik Master (Master Bedroom) dan luarannya hanyalah sebentuk kiub, aku dapat rasakan bagaimana ruang itu berfungsi untuk mereka boleh berinteraksi antara satu sama lain.
Satu persoalan timbul tentang mengapa dan bagaimana sesebuah ruang tersebut boleh mempengaruhi emosi individu. Sebagai contoh, bagaimana mahu mencipta ruang supaya ianya berfungsi dengan baik sehingga pengguna dapat merasai dan menghargai setiap ruang yang diciptakan tersebut. Hal ini timbul semasa pertama kali lawatan aku ke Universiti Melbourne, kerana ruang-ruang yang disediakan di Universiti tersebut sangat kondusif dan bagi aku ianya sebuah ruang yang mengalakkan percambahan idea. Perkara ini juga terjawab sedikit lepas aku menonton cerita Stanford Prison Experiment dan hari ni aku rasa terjawab banyak lepas baca buku ni.
Peter menerangkan sembilan perkara-perkara asas yang dititikberatkan beliau dalam memastikan sesebuah ruang atau bangunan tersebut berfungsi sepenuhnya dan ianya saling berkait rapat dengan emosi individu serta beberapa perkara-perkara lain. Kesemuanya memberi pencerahan kepada aku kenapa pengalaman individu berbeza-beza ketika memasuki sesebuah ruang.
Aku bersetuju dengan penulis, bagi aku tujuan akhir senibina bukanlah untuk mencapai bentuk-bentuk yang canggih atau sesetengah orang menganggap ianya sebuah (seni?) tetapi ialah untuk mencapai kebahagiaan dan kegembiraan ketika menggunakan ruang tersebut. Sebagai contoh, aku melihat bangunan KLCC hanyalah sekadar bangunan yang megah dan sekadar simbol kekayaan sesebuah negara semata-mata. Berada di dalam ruang bangunan KLCC yang tingkatnya berjumlah 88 hanyalah sekadar memasuki ruang-ruang ofis bangunan empat tingkat. Sebaliknya pengalaman aku berada di sebuah rumah kaum Gipsi di Kashmir sangat mengembirakan aku. Walaupun ruangnya hanya sebesar Bilik Master (Master Bedroom) dan luarannya hanyalah sebentuk kiub, aku dapat rasakan bagaimana ruang itu berfungsi untuk mereka boleh berinteraksi antara satu sama lain.
May 15, 2021
What an interesting little book that presents a lot of information within the span of 60 something pages. Peter Zumthor Starts by answering a common question in architecture "what do we mean when we speak of architectural quality" and his opinion is "architecture does not mean inclusion in architectural guides or histories of architecture or getting my work into this or that publication. Quality architecture to me is when a building manages to move me". which made me think what is my opinion and thoughts towards this question.
Furthermore, He brings up nine points that he takes into consideration while designing a space. I was fascinated by the simplest things that could slip someone's mind can have a large impact and every material used in the construction of a building can represent a feeling toward the user of the space. In his sixth point "Between Composure and Seduction" he says "Architecture is a spatial art, as people always say. But architecture is also a temporal art" and I did think at first that architecture is a spatial art, but this point made me think how it's much more complex and Peter Zumthor explains it as "architecture like music is a temporal art. That means thinking about the way people move in a building".
These are two points that stood out the most to me personally out of many that are mentioned in this book and I think that all points are important when it comes to designing. Architecture is so complex that each person has their own style and points towards design and no one has the right answer. So this what makes it unique is experimentation and seeing what works and what doesn't till the best outcome could be achieved.
Furthermore, He brings up nine points that he takes into consideration while designing a space. I was fascinated by the simplest things that could slip someone's mind can have a large impact and every material used in the construction of a building can represent a feeling toward the user of the space. In his sixth point "Between Composure and Seduction" he says "Architecture is a spatial art, as people always say. But architecture is also a temporal art" and I did think at first that architecture is a spatial art, but this point made me think how it's much more complex and Peter Zumthor explains it as "architecture like music is a temporal art. That means thinking about the way people move in a building".
These are two points that stood out the most to me personally out of many that are mentioned in this book and I think that all points are important when it comes to designing. Architecture is so complex that each person has their own style and points towards design and no one has the right answer. So this what makes it unique is experimentation and seeing what works and what doesn't till the best outcome could be achieved.
April 9, 2018
Absolutely wonderful, I wish I could give this more than 5 stars. As an interior designer in the making with a passion for interior spaces and architecture, this book and the ideas Zumthor presented resonate with me. People underestimate the power and importance of atmospheres, it is usually taken for granted. I felt butterflies while reading this, and I am sure I will be re-reading this again.
February 27, 2023
esse livro me ajudou a não abandonar a faculdade
January 10, 2022
oh mên đọc lại lần hai cho zui hihi
February 16, 2022
read for class.
October 3, 2020
Me ha encantado la manera tan exacta como describe lo que la arquitectura lo hace sentir, por que la ama, y por lo tanto, como debe de ser. Me sentí muy identificada con su forma de concebir como debe de ser la arquitectura "emotiva", que te transporte, que genere un entorno, sentimientos y experiencias.
Es una filosofía que habla de la arquitectura desde el corazón, y es justo como yo considero que todos deberíamos de diseñar, con el corazón, dejando un poco de nosotros en cada edificio y a su vez, logrando cumplir con el objetivo de satisfacer las necesidades para las que fuimos llamados.
Por último, un punto muy importante con el que me quedo es el de diseñar con razón, a consciencia, y que no se necesite explicar el por qué, ya que, al estar dentro y utilizarlo, se explica solo.
Sin duda lo recomiendo para todos aquellos apasionados de la arquitectura de verdad, de esa que te conmueve, te transporta y emociona.
Es una filosofía que habla de la arquitectura desde el corazón, y es justo como yo considero que todos deberíamos de diseñar, con el corazón, dejando un poco de nosotros en cada edificio y a su vez, logrando cumplir con el objetivo de satisfacer las necesidades para las que fuimos llamados.
Por último, un punto muy importante con el que me quedo es el de diseñar con razón, a consciencia, y que no se necesite explicar el por qué, ya que, al estar dentro y utilizarlo, se explica solo.
Sin duda lo recomiendo para todos aquellos apasionados de la arquitectura de verdad, de esa que te conmueve, te transporta y emociona.
November 19, 2022
Very short but its quality is unmeasurable.
Every sentence is well thought out, and the insight it gives into what architecture is made of is brilliant.
I have enjoyed it and learned so much of it and I believe that with time I will come to learn and discover a lot of hidden meanings in Peter Zumthor's words.
It really deserves its acknowledgment as a book every architect must read.
The layers as I like to call them that he appoints in the book are things we may as architects use in the buildings we design but if we really put them as they ought to be our design would make more sense of what it should be.
Definitely a book I would go to it for guidance along the way to put it to use in whatever I am planning.
Highly recommended to every architect designer artist and sculpturer etc.
Every sentence is well thought out, and the insight it gives into what architecture is made of is brilliant.
I have enjoyed it and learned so much of it and I believe that with time I will come to learn and discover a lot of hidden meanings in Peter Zumthor's words.
It really deserves its acknowledgment as a book every architect must read.
The layers as I like to call them that he appoints in the book are things we may as architects use in the buildings we design but if we really put them as they ought to be our design would make more sense of what it should be.
Definitely a book I would go to it for guidance along the way to put it to use in whatever I am planning.
Highly recommended to every architect designer artist and sculpturer etc.
November 7, 2020
The book is AMAZING! It's a must read for all architects and architectural enthusiasts. The way this book curates different elements that form a certain atmosphere is very easy and quick to read and understand. It's a way of curating an experience, which is a major part of architecture and adding to the surrounding environment. It basically shows Zumthor's approach to creating his works which sets him apart from other architects. To me personally, I would definitely put this guide to use in my project's approach and hopefully find "the proof of the pudding in the eating..."
February 12, 2021
As an interior architect, I found the descriptions very poetic and the ideas presented mostly aligned with the way I view spaces as well! I feel like Zumthor was able to put my feelings into words. The only reason I'm giving it 4 instead of 5 stars is that I felt it was a bit vague and very much subjective. I wish the 9 chapters were described in more details with more references instead of fully depending on personal opinions and rhetorical questions. But for what it is, a written down brief lecture, it was a good read.
July 29, 2017
I would definitely recommend reading this book. Zumthor shared his thoughts in a language that is very easy to follow. Anyone can understand it. I am an interior architecture student and we've been learning about all of them techniques before. It is a great starting point to learning about creating an atmosphere and understanding our environment. I wish Zumthor could come up with a more in depth version of it.
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