Private House by interior designer Annabell Kutucu located in Ibiza, Spain | The Hardt
Private Hous by interior designer Annabell Kutucu located in Spain. This tranquil holiday house was designed with natural and earth elements, interior designed and styled by the Berlin-based designer Annabell Kutucu. This fabulous retreat is located on the island of Ibiza. Ibiza is one of Balearic Islands, an archipelago of Spain in the Mediterranean Sea. Beginning with the outdoor living spaces, the home is surrounding by a raw, natural beauty. Its a tropical paradise you would never want to leave. An expansive swimming pool invites visitors to take a dip and enjoy the tropical weather. Plenty of lounge spaces offers relaxation, spaces to entertain or curl up and take a nap. From this vantage point, the swimming pool seems to be seamlessly integrated with the landscape. Beautiful, rugged surroundings give a relaxing vibe to this island retreat.
Riad La Maison located in Marrakech, Morocco | The Hardt
Starting at $175/night Riad La Maison situated in Marrakech, Morocco. The owner of the riad, Nicole Francesca has rigorously curated the riad with distinctive items from native artisans, flea markets and the souks, creating a trendy and welcoming area that you’ll sit up for returning to after a day after exploring Marrakech. The principle courtyard is house to a refreshing plunge pool surrounded by potted cactus and palms with Moroccan pillows and carpets to create the right lounge areas. The refined design extends to the rooms, the place the easy decor completely compliments a vivid house of impartial tones, and to the rooftop, which is the best place to absorb the rays on a scorching day or chill out by a heated fire for sundowners at night time.
There are three stunning double bedrooms + ensuites, capable of accommodating as much as 6 friends. The rooms are vivid with easy decor parts that completely accent the area to create each a conventional and trendy really feel, combining a contact of classic-industrial with Moroccan craft and light-weight-artwork.
La Maison is positioned within a part of the medina, which has fewer vacationers and guesthouses, permitting you to expertise an extra genuine facet of Marrakech, whereas nonetheless being inside strolling distance to the native Souks and most important sq. Jma El Fna. In case you really feel like staying in for the night, a house cooked dinner might be organized. This trendy area will encourage you and have you ever taking notes in your own residence. Plunge pool, kitchen, a rooftop terrace, free wifi, laundry, central heating, hearth, everyday breakfast, Dinner on deman
WORTH CHECKING OUT
Marrakech’s outdated medina is stuffed with well-known Marrakech Souks (15min stroll) and different locations of curiosity, reminiscent of Medersa Ben Youssef (10mins), the Museum of Marrakech (12min), The Picture Museum (10 min), the Dar El Bacha Palace, Jmaa El Fna Sq. (15min), Bahia Palace and Ferblantier Sq. (15mins) in addition to plenty of scrumptious eating places and conventional hammans.
Day journeys to the Ourika Valley, the coastal, UNESCO World Heritage city of Essaouira and the spectacular waterfalls 150km north of Marrakech, Cascades dOuzoud.
Library House by Atelier Branco Arquitetura situated in Brazil. When in the summertime of 2014, founding members of Atelier Branco, Matteo Arnone and Pep Pons had been approached to design a leisurely retreat within the small city of Vinhedo, the temporary posited that the homebe capable to accommodate at the very least two types ofwants: the necessity for a spot to learn, immersed inside theweb site’s vibrant vegetation; the necessity for a spot to suppose, reposed underneath the placidness of the realm’s boundless subtropical skies. The consumer, a left block activist in opposition to Brazil’s army dictatorship in his youth and now famed scholar of the historical past of political thought, had conceived of the home as a brief haven between São Paulo and Campinas, at which the State College he held educating posts because thestarting of the 19 eighties. It was thus neither to be an everlasting place of residence nor a vacationresidence as conventionally understood, howevera spot of reverie and contemplation, sometimesof labor, away from the bustle of Brazil’s hectic metropolitan life.
The most recentof 5constructed works designed by the younger Italo-Hispanic duo, Casa Biblioteca embodies the follow’s attentive analysis into architectural kind, matured eachthroughout their adolescence in Switzerland, the placethat they had been college students of the Accademia di Architettura di Mendrisio, and of theirskilled upbringings underneath practitioners of the caliber of Christian Kerez, Kengo Kuma and the 2 Aires Mateus brothers. It’s adaring scheme, nearlysolely realized in in-situ forged concrete, of which the constructional acumen and attentiveness to the element considerably attribute of all Atelier Branco’s architectural pursuits. Organizingapply in Sao Paulo in 2012, the 2 have, in actual fact, constructed up an attractive and considerablydifferent portfolio of which the content material ranges from the cautious crafting of furnishingsmerchandise and fittings to the design of economic showrooms and workplaceareas, to the development of quite a few residential tasks scattered all through Brazil by which their expertise has, maybe, greatest expressed itself in these few years.
Belonging to this later collection, Casa Biblioteca is doubtlessprobably the most idiosyncratic of the bunch, each for the eccentricity of its consumer and the context it was born out of. It’s, actually, set atop of a steep north-going through terrain inside a clearing of Vinhedo’s dense ‘mata Atlantica’—the Atlantic forest which extends over the biggera part of Brazil’s littoral area. As a result ofweb site’s topographical attributes, its design follows a distinctly ‘sectional’ rationale such that the spatial and purposeful disposition of the missionis nearlytotally articulated within the relation between two contour strains. So as of relevance, the primaryof those two traces consists within the line of the bottom, of which the sloping profile has been manipulated to type a sequence of spacious horizontal terraces, match for inhabitation; the second consists within the line of the roof, which ever so barely hovers over the terrain’s uppermost retention wall to create a pointy, horizontal datum between the domesticated topography and the sky above it.
Ever a topos of Brazilian postwar structure from Artigas to Mendes da Rocha, right here too the concrete roof takes on an importantpositionwithin thededication of the undertakingeachwithin the articulation of its program as within the characterization of its outwards (and inwards) look. It’s a 15 cm skinny rectangular slab supported by eight lengthy-limbed pillars which, albeit ‘primary’ in its formal decision, distinguishes itself for the uncanny slenderness of its constitutive components. When approaching the home from the principalstreet, it’s thehigher face of this factor that presents itself to the viewer providingentry to a monumental viewing platform of ca. 20 by 10 meters, immersed inside the foliage of the encircling tree canopies. Instead of a parapet, the deck is circled by a meter large water mattress which, in flip, defines an oblong central island from which to ponder the view. This latter is lined with finely reduce Garapeira wooden boards which meet diagonally towards the deck’s symmetry line and levelin direction of the horizon.
A dentil within thewithin the perimeter of the roof permits for a staircase to be fitted alongside its central entry, main down between two concrete partitions into the home’s core area. That is an undivided, totally glazed, rectangular room internet hostingeverything of the home program, of which the peaksteadilywill increase as one descends from probably the most intimate to the extrauncovered areas of the house. The retention partitions which give it’s part the distinguished jagged profile are distinctive in the topas a result of the uneven slope of the prevailing terrain, however, spaced equally all through to create neat tripartite structural system spanning 5.50 meters longitudinally from pillar to pillar, and terrace entrance to terrace entrance. Consequently, though equal in depth, the three terraces acquiredistinctiveflooring-to-ceiling heights offering the actionswhich occur on them with levels of privateness and pure lighting situationsfinest suited to their wants. The sleeping areas are thus positioned onto the challenge’s uppermost terrace inside an intimate and dimly lit, 2.35-meter tall house. This stage overlooks the home’s central platform which measures four.15 meters in top and hosts the consumer’s studio; it’s thespace of the home most instantlylinked to the panorama having two centrally positioned glass doorwayssituated at both of its quick sides (the doorwaysadditionally underline the mission’s secondary axis of symmetry). Lastly, the terrace furthest from the home’s entrance is a dwelling and eatingspace overlooking the encircling greenery as if a loggia or a viewing deck; that is the brightest and most uncoveredspace of the home, rising 1.25 meters from floorstage and measuring 5.15 meters in the top.
A equally methodical strategy informs the situation of the core companies and storage services required by the consumerthat areboth carved into the mission’s retention partitions—as is the case with the 2bogsalongside first terrace whereby all parts are fully realized in in-situ forged concrete and which, in another way from all different areas of the house, are toplit and thus naked no visible connection in anyway to the outside—or fitted preciselytowards them—as with the kitchen components, bookcases and wardrobes. As such, the housestays untethered from partsoverseas to its ‘disegno’.
The neatness of the architectural format is even additional corroborated within the positioning of the steps. These, slightly theatrically transverse the housealongside its central axis to loop symmetrically across the perimeter of the homebeneath a concrete-paved, coated pathway. Howevermaybe, essentially the mostimportantside in giving the challengeit isconsiderably rudimentary grandeur is the choice and remedy of the supplies deployed. The nakedconstruction is realized completely out of bolstered concrete and was solidunderneath the course of the architects inside a single working day; the flooring, as with the higher terrace, are lined with lengthy and fantastic Garapeira wooden boards positioned perpendicular to the undertaking’s longitudinal axis; and the entireis sort ofsolely wrapped inside a single glazed facade of which the iron profiling and design motifs comply withthe enduring ‘paulistana’ custom of the 19 fifties. It’sparticularly the care gone into the design of those latter partswhich have made the fortune of the undertaking of which the noble sparseness may have simply been buried below the hideous chunkiness of recent-day aluminum frames. As an alternative, with its high-quality joinery and quasi-ethereal openness, the Casa Biblioteca consolidates its place amidst a wealthycustom of glass homes and pavilions which for the reason thatdaybreak of the twentieth century have virtually persistently affirmed themselves as privileged websites of architectural experimentation.
Maison T by Nghia-Architect located in Hanoi, Vietnam | The Hardt
Maison T by Nghia-Architect located in Hanoi, Vietnam. If we think aboutthe entireavenue as a full of life symphony that mesmerizes individuals with its rapid rhythm, then the homecould be a relaxation creating that small however soulful hole, simplysufficient for folks to drown into the life’s melody. The home in a typical Hanoi alley was designed for a younger man who’vesimplygot hereagain to hometown after a very long timeresidingoverseas. He needed a home with the privateareabut in addition open, a spotthe place he can have some goodstress-free time and a spot he can share with associates as a peaceable hideout. This consumeradditionally has the finestbuddydwelling with – his canine, so this homeshould be a pleasantarea for the canine, should have a backyard for each to take pleasure in nature.
Based mostly on the wants of the consumer and the situation of website plan, the architect supplied a free and open design, all of the boundaries of capabilities are disappeared. The home is quiet however open – a small home with simplysufficient of the whole lot. In a crowded and busy metropolis like Hanoi, folksmake the most ofevery single spacethey’ve. This home and its backyard stand humbly amongstall of the blocks of elevating buildings. As an alternative of utilizingall of the lands or maintaining an indoor house for ourselves, the home stands againto supplythe entire alley an inexperiencedarea, a small howevervaluablehole in an ‘inch of land is an oz. of gold’ city. The entrance gate is constructed by alternated bricks which created the sparse fence separated the home from the roadhoweveron thesimilar time shared the inexperiencedarea with neighbors.
The plan spaceis barelyforty sqm. Inside, the entirearea is related even when there aren’t anypartitions to mounted the features for any house. Mild and ventilations are brought into the homenormally and particularly for everyarea. The architect selected pure and rustic supplies for the home to carry the shutand cozyemotions, howevernonethelesshigh quality for a simplelifestyle.
Peter Zumthor Interview by Francesco Garutti for Klat Magazine. Peter Zumthor is without a doubt one of the greatest architects of his generation having designed countless iconic museums and cultural centers, the interview below helps shed some light on the private genius
He is contemporary art and architecture curator and editor. He was “Emerging Curator 2013–2014” at the Canadian Centre for Architecture in Montreal and took the position of Art Editor at Abitare between 2011 and 2013. Garutti worked as architect and researcher for Peter Zumthor Architekturbüro between 2007 and 2008 and was Zurich Correspondent for Domus Journal. In 2012 he curated the archive of Portikus Under Construction at Peep-Hole, Milan and published his critical essays on art and architecture in volumes and catalogs by Mousse Publishing, Bedford Press, Grotto Publications, Skyra Rizzoli New York among others. As studio program and contemporary art exhibiting projects curator at THEVIEW, Genoa, Garutti has presented solo shows of artists as Peter Wächtler, Haris Epaminonda, Ian Law among others. He’s currently Adjunct Professor of Interior Design in the Department of Architectural Sciences at the University of Genoa and has been a guest lecturer at Politecnico di Milano, Bocconi University Milano, Architectural Association London, University of Manchester and University of Antwerp among others. His recent editorial works include FAIRLAND – a collection of analytical standpoints and possible visions on the role of the art fair today published by Koenig Books (2014) – and his publications Can Design be Devious? is going to be released by CCA Montreal in 2016. He’s now working at the first solo show in an Italian institution by Belgian artists duo De Gruyter & Thys for Triennale di Milano.
I’d like to start by asking you to tell me about this place, Haldenstein, where we are now and where you live and work.
In the beginning, I lived in that old red building (he points out of the large window that faces onto the patio of the house, ed). My son lives there now. It was in 1971 that we bought a house here, with the engineer Jürg Buchli. Fully in keeping with the ideals of sixty-eight, we renovated that building ourselves. Many years have gone by and I’ve constructed two more buildings here to live and work in. All in a very natural way, without planning.
The first wooden studio-house was built in 1985.
The idea of that building was to have a room on the upper floor for designing and working and to keep the room underneath, at the level of the garden, for the family, but in fact, I’ve never used it like that, as a gartensaal, I mean. In the red house, we had no space for a garden and I thought of designing the architecture in that way. Then seven or eight years ago my studio had grown and I had the chance to buy the piece of land nearby. I waited for the bank to let me have the funds, and when they came this other building was born. With the passing of time, I started to feel at home here. Perhaps not so much in the first ten years, but afterward yes. Now I think that this place has really great quality. Because in this small and pleasant corner among the Alps, all the houses belong to us or to friends. And this gives us the possibility of maintaining the quality of the place. It’s a little bit of paradise here. But perhaps the crucial thing to be said about this place is that living and working coincide here, there’s no difference. The image in a way is that of the farmer with a large working family, children, grandchildren and so on. This has always been the way I work.
Here there is a strange sense of the passing of time. Everyone who spends even just a day at your studio notices it. The atmosphere here seems suspended, but very dense. And this kind of relationship with time is at the bottom part of your practice.
I believe I am capable of creating an atmosphere. Yes, the time here is dense, characterized by concentration and intensity in the work. At the moment there’s a very fine group of twenty, twenty-five people who are working with me and it’s fantastic. It’s not a family, but a genuine community for doing something with passion. And it’s as if by being together we grow stronger as if everyone sprouted wings. Thomas Durisch who was one of my collaborators twenty years ago, once told me that for every architect in the studio doing things with me in a way gave strength to everyone. It was as if each of them thought while working together in the studio: “Yes, I could certainly do this too, indeed I could do it better.” Then when they went home some of them tried to do it by themselves, but realized that something didn’t work. It wasn’t the same thing. He said there’s a specific kind of atmosphere here, he called it fluidum. It’s like I’m curating this fluidum and the people somehow work in it. And now this atmosphere is very strong. It’s also nice that Annalisa (Zumthor’s wife, ed) is now working here. We are investing a little bit more in organizing things like table tennis and parties, between the studio and the house. People like to stay here and so do we. And this is very good for working. But you know, I want to say there’s a kind of mutual respect. It’s not about becoming friends, it’s about being good colleagues and working together.
I had the chance in the office to see you and your wife reviewing the projects together. It was interesting to see how you perfectly understood each other and how important it was for you to have feedback from a person close to you, but not an architect.
Now that Annalisa is here, I often go around in the office reviewing the projects with her. It’s very important to look at things with people who are not trained as architects, but who have good intuition and feeling. I mean Annalisa has been living with an architect for thirty-five years, so she can read and judge a project. This is very important. As we know, in the end, architecture is for normal people, not for specialists. Sometimes you become blind during the process. Days ago we were talking about the project of this house I’m designing for Tobey Maguire in Los Angeles. We were discussing the construction of a floor. I was totally convinced that the floor was not to be done in wood because everything else was already wood. I thought of something mineral, a kind of stone, but she said “wood.” We put wood in the model and it worked incredibly. That was the most interesting proposition for the project, just to conceive that everything would be done in wood. Sometimes a view from the outside can sort a problem out.
Yes, I understand what you mean. Going back to the issue of time for a moment, in your house-studio, you keep all the models, even those in one to one scale, of structural details, samples, and materials. You said you like to live amongst them. How do you reconcile the idea of the time you have with the idea of time your client might have?
Now, this is not so difficult anymore. It used to be difficult. Now clients like to get involved in a design process that can take years. People seem to understand… now that they know what I do. They understand that time is needed. But you have to explain to them that this is not just technical work: arriving at good architectural concepts is artistic work in the end. If you have to write a symphony or a string quartet or… it’s like writing a book. It takes the time it needs, and that’s it. The architecture I do is not something you can order at the store. For me, architecture is an authorial work. It’s not just rendering a service, it’s developing an idea with the client and becoming more intelligent together as the design process goes on.
You very often use samples on a one to one scale to check details, space, and proportions. It’s something not so common in architectural practices in the world because it takes a lot of time.
Le Corbusier worked in this way. People told me his studio in Paris was full of one to one things, handles, doors and so on. It’s the same kind of curiosity and passion for things to be just right in scale, material, and proportions to the touch.
Zumthor House, Haldenstein, 2005. Photo: Pietro Savorelli.
You sometimes speak about memories and records as a part of the process of your inspiration. Can you tell me something more about it?
This is not a big mystery. We are all part of life and we absorb life. If we never had consciousness of what we experience and what we see, what we feel, we would not be human beings. This is the basic thing that we have. We have experience. From there I decide. I don’t take a decision through abstract concepts. If there’s an abstract concept, I try to translate it immediately in my mind into a physical form so that I can somehow feel it with my body, soul, and emotions somehow. The architecture I’m looking for doesn’t stay on paper as a concept. Therefore in my mind I always imagine my projects being part of the physical world.
You know, I thought immediately of you when I read The Museum of Innocence by Orhan Pamuk. The Turkish novelist collected thousands of objects and records in a room in Istanbul before starting to work on a novel set in the seventies, the time of his youth. He used all these objects as tools to write a story. He needed real objects as an inspiration for him to start writing. Now if you go to Istanbul you can visit that room.
I like it. I’ll do a lecture now in Helsinki and afterward at the Swiss National Museum in Zurich with the title: Love at First Sight, and the subtitle will be About Spaces and Things. I’ll talk about specific objects and the space created for them. For instance my private collection of things that I keep on my shelves. Let’s say half the people have this passion for objects. Nice. Of course you can develop a passion for things and also for places. I have the feeling that this place here is full of passion. People may think this is a remote place, but actually, it’s the center of my work. And geographically speaking I can reach the airport at Zurich in no time.
Working here I’ve never felt I was in a remote place. The architectural experience is unique of course, but it’s not just that. As you said it’s a mix of things: the place, but mostly the community of people. This makes the experience here stronger. It makes this place a sort of “right” place. And there’s another point. It was here that I met Richard Serra, the kind of person you maybe meet once in your life. Or Maurizio Cattelan. And the director Wim Wenders was here. This place, now that you’re here, has a catalyzing power. It can make us think about the notion of “center” in our contemporary society or the new idea of geography you were referring to before. What is your relationship with other world-famous architects?
Respect from a distance. The opinion of architects who don’t belong to the team working here would somehow disturb the work. Their opinion would bring the wrong kind of energy. The construction of a specific concept and emotion for a project developed here together over hundreds, maybe thousands of hours cannot be shared easily. Even good or intelligent critics would seem like an intrusion.
Here you’re not disturbed by anything and are completely into the work, only focused on that.
Yes, all the time. And if there’s something that can disturb this I have to eliminate it. You know I can be pretty hard and say: “Ok that’s it, out please.” Because I need to fire here and it has to be my fire.
In this connection, can I ask you something about the relations you have with the media? What do you think of the image of your work presented to the world?
It’s difficult. I’m still reluctant, but I’m trying to put it in a more polite form compared to twenty years ago. I could say that I’m more polite now! But it’s more like I’m trying to protect my work here. I’m happy that people can appreciate my work, that people can see it and so on. I’m trying to show and explain my practice and myself to the outside world, and make myself understood. For this reason, I have started to go out again, giving a lecture every once in a while. I go to the ETH in Zurich every three years or so to give a lecture and to talk so that the students can see how I work, my interests and passions, and my joy. This is all I want to convey to the outside. In the last years, we have started working on making a homepage for this office on the web. Probably it’s going to be a one-page website, with no images, and with only a text explaining the office philosophy: what we do and what we don’t want to do. Information about shows and books and publications, of course. It’s the same thing again: I don’t want to be snobbish by not having a page. We’ll do something simple, not advertising ourselves.
Peter Zumthor, Sogn Benedetg Chapel, Sumvitg, 1988. Photo: Hélène Binet.
Talking about distributing and disseminating thoughts about architecture, you’ve been a teacher. What kind of suggestion would you give to a student, to a young architect?
If you start to become an architect you should somehow start to build up your personality. You should ask yourself questions like: Who am I? What do I have inside me? What do I like? Why do I like this? When teaching you should encourage people to come up with this attitude. You really have to be careful not to suffocate them with many big theories. I think it could be very dangerous to start your education in architecture in an abstract way. You have to create a good atmosphere so that people can express themselves. Not impress anybody. And there are other important things to learn which really could be taught and in my opinion, are not taught enough. This is a discipline too. It’s a mestiere, the craft of making. You should take it seriously. Light is light, the shadow is shadow and there’s construction. Architects should learn everything about construction!
How did you learn things?
It’s a good question. One could say I’m an autodidact, but I think I’m the opposite! I grew up in a family where everything was made by hand. “The craft of making” again. So in my house, this was a sort of tradition. We were doing everything by ourselves. I learned in a really technical way, my father was a cabinetmaker. I had to work in my father’s shop, I didn’t want to do that, but he forced me to do it so that I could walk in his footsteps. That was a very powerful experience. I had to stay there eight hours a day, sometimes doing very repetitive and boring work. In this way, I learned how to aim at quality and precision in my work with endurance and persistence. Then I went to the Kunstgewerbeschule in Basel, the Academy of Applied Arts, and there the school was organized on the lines of the Bauhaus: a one-year course, Vorkurs, of preparation teaching the basics of design, and the Fachklasse, teaching the knowledge of a specific field. In my case, this was furniture and interior design. I didn’t know it at the time, but looking back I saw that everything I learned there I learned in the first year, during the basic course. Not during the Fachklasse. In the Vorkurs I learned about the principles of composition with lines, areas and volumes, the principles of writing and typography, the techniques for recognizing and mixing colors. Then drawing objects, animals, plants, human beings by hand, and this practice was mainly about looking precisely. All drawing is about looking… You start to draw cubes there for instance. Yes, drawing cubes. If I remember well it was twelve hours a week of drawing cubes. For the first half year, only drawing cubes.
Yes. You have the cube on the stand in front of you, you have to draw it and then the teacher sits down and places his eyes where your eyes were and looks at your work, maybe saying: “Are you looking at this cube from a helicopter or what? I don’t see this cube like this. Start again.” Then the same thing with writing. We had to learn to handwrite, with a big pen, Carolingian script. My teacher studied it at the Bauhaus itself. Here everything was about negative and positive space. Everything is done by hand. The first day of the Vorkurs I remember the professor came in saying: “Hey guys, this school is called Kunstgewerbeschule, but what you are doing from now for a year has nothing to do with Kunst (art, ed). Just so that you know.” And he was right in a way, it was mestiere. These were my two basic pieces of training, and then in 1967 came a sort of ethnological education in art history for me: ten years at the Department for the Preservation of Monuments in the Canton of Graubünden. Looking at farmhouses, looking at settlements. I wrote a couple of books on this topic. I was doing inventories, studying the structures of historical settlements and checking historical art forms inside buildings: for instance the decoration on the façade of farmhouses, like graffiti in the Engadine. It was a way to learn art history from the bottom up. I was studying vernacular architecture. It was a fantastic and formative experience. Before that, I had also studied at the Pratt Institute in New York, and there I really learned nothing. I went to the industrial design class and the teacher looked at the material I had done before and told me: “I cannot teach you anything, none of my students can do what you have already done.” But one good thing was that I met there Sibyl Moholy-Nagy, László’s wife. She was teaching History of Architecture at the Pratt and I wrote two papers for her course. She was an eyewitness to European architecture, I remember she often talked about all these people like Mies van der Rohe, who had been her friend.
Peter Zumthor, Memorial to the Burning of Witches, Vardø, 2007-ongoing (model). Photo: Jiri Havran.
How do you view your early projects now, looking back? How has the way you design changed over the years?
The method has become much better. I teach the people working with me, and I think that now it’s functioning very well. We do things and then we talk about them. We do and we talk all the time. The process is very model-related, its core is image-related and I’m the director of it all. As you know, I gather everybody in the office in front of the project and I make up the questions. I put the questions in the right order and I wait for a reaction. When somebody wants to explain his answer I always say: “Please, no. Just say if you like this solution or that solution.” If you start to rationalize you cover up the immediate reaction, your immediate feeling. It’s more like keeping this fluidum of immediate reaction to things. I really don’t want to kill off this first reaction by talking about it too early. And most of all I think that every emotional reaction is true for the person feeling it. It cannot be argued by another person. I think this procedure is pretty perfect for me. The most difficult thing for me is that I’m impatient. My wife is helping me to be patient with my architects, I think I’m getting a bit better now. In the last few years, I’ve been trying to improve my understanding of individual people, of what a person is able to do and what not. Before I was probably a bit too schematic in thinking that everybody should be able to do everything, which is completely stupid. Somehow a while ago I was taking myself as a measure, a reference for my collaborators, expecting them to become like me. Referring to your questions about my old projects now, I can say that two days ago there was a concert in the Protective Housing for Roman Archaeological Excavations in Chur, a project I completed in 1986, and there I could see that certain details of the architecture were disturbing me. Small things, but I was really smiling when I looked at them. “These elements are too small,” I thought, or “these others should not be flush, they should stick out.” So in a way, I could see that I have developed. Thirty years of always looking, checking, looking and looking again at details and proportions. Maybe I’ve become a little better than thirty years ago.
I remember one day we were talking in the office about a sample of zinc for a roof of the Almannajuvet Mine Museum project, in Norway. We were discussing the material and the roof structure, and suddenly you said something like: “It’s perfect for the floor!.” We looked at each other in the office, surprised and not understanding what kind of floor you were referring to. You realized that instead of the poured lead, zinc would have been perfect material for the floor of the Bruder Klaus Chapel, a project completed a couple of years before.
I’d forgotten this!
In a way, it’s interesting to think of the possibility of making amendments to designs during the life of a building. Can I ask you now to talk a bit about some of your current projects? I’m referring for instance to the Memorial to the Witches Burned in the Finnmark, at Vardø in Norway. It’s a project you carried out with the artist Louise Bourgeois during the last period of her life. How was it working together?
We were invited to do a memorial building, she as an artist and me as an architect. I asked her to start, but she wanted me to start. So I designed my building, my interpretation of the task, and she took my design and reacted to it with her installation. So the memorial now consists of two buildings, a glass pavilion with a fire burning in it reflected by huge mirrors and my corridor building almost a hundred and twenty meters long. It’s a textile space with windows and bulbs lighting a biographical text on each of the ninety-one victims. The long textile space hangs in a wooden scaffolding. It’s a dark narrow passage. Two ramps as accesses on each side. Both buildings, the corridor, and the pavilion are situated exactly on the spots on the seashore where the women were burnt.
Can you tell me about some of your projects that you couldn’t build?
Projects are never in vain. Sometimes ideas never built come up again. It happens many times. I worked for three or four years to make something for a project called Poetic Landscape in the North of Germany. But it didn’t work and only later did I find out that the Bruder Klaus Chapel was the product of all the work I had done on the Poetic Landscape. Thomas Durisch is preparing a new monograph on my work and I’m sure it will be possible to see how ideas and projects that may have never been built or published reappear in other proposals.
It will be possible to find analogies between projects really distant in time. Looking back at the whole opus of an artist or an architect it’s nice to have the chance to see how all the ideas and themes explored can go together and can be summed up in a few strong and crucial concepts. But maybe it’s something that happens only with great artists and architects.
In my experience some things and concepts are basic. They always reoccur.
Make sure you check out another interview below that goes in depth with Peter Zumthor on The Therme Vals!
Casa Spodsbjerg by Arkitema Architects located in Spodsbjerg, Denmark | The Hardt
Casa Spodsbjerg by Arkitema Architects located in Spodsbjerg, Denmark. The 2,583 ft² (240 m²) summer home sits on a plot facing the Storebælt, that previously held an old summer house from the 1920s a new house has been constructed. A residence that can house a growing family with both children and grandchildren A dwelling that is the summer home of a couple and at the same time function as an ideal setting for family weekends and sunny summer holidays.
The house has been designed with inspiration drawn from the previous building that had grown organically to cover new needs and to adapt to the site-specific qualities of the plot. The building is made up of two parallel and staggered volumes that contain living rooms, bedrooms and bathrooms respectively. The living room with a ceiling height of 12 ft (3.7 meters) has an unhindered view of the sea and the tiny beach at the foot of the building, whereas the bedrooms are more sheltered.
The house sits on a tall base of site-cast concrete, containing garage, basement, spa and a family room with sea view and access to a sunny recess close to the seashore. Sitting rooms and bedrooms are on the first floor, cantilevered from the base. This part of the building is clad with black painted wooden boards with some characteristic sliding panels that open towards the sea towards the east or the evening sun towards the west.