Peter Zumthor
is a swiss architect who earned recognition in approaching architecture in metaphysical idealogy (Quiros, Burns, Repp, 2001), which understands the fundamental nature of reality. It is important to analyze his works in the lens of tourism as this branch of philosophy can be applied to the positive act of grounding. As this generation is gearing towards the spirit of innovation and change as means of problem solving- must be complemented with an outlet to individuate. In the age of post-truth when we believe that we're right; and is integral in shaping the political, economic, socio-cultural and technological climate, a much better way to engage is to understand the value of authenticity- which is important to be discovered by an individual for the society. It is innate to each of us.
This writing attempts to understand the body of knowledge Zumthor contributed. I chose the architect to introduce perspective from international extent to expand our learning to local tourism profile in the form of case study. His personal life explains how he grew a body of knowledge from his father’s roots as a cabinet maker, academic attainment in Pratt Institute in New York, and as a conservationist architect in Department of Preservation of Monuments in Graubünden. He also achieved awards including: Praemium Imperiale, Pritzker Architecture Prize, and RIBA Gold Medal. Earning these awards is an honor for the recognition built in the architecture profession. Furthermore, he shared his knowledge in different academic institutions such as University of South California, Sci-Arc in LA, and Harvard Graduate School of Design- to name a few. As a constant improver in design, it will be an honor to receive these awards, to step on these schools, and to experience what it means to be in these responsibilities. I am in support of the architects practice, and share his design that we can emulate under our tourism development plan's framework.
Testaments of this architectural practice includes books such as Atmospheres and Thinking Architecture, and built structures: Therme Vals, a hotel and spa complex in Graubünden Canton in Switzerland, Kolumba Museum in Cologne Germany, and Almanajuvet Zinc Mine Museum in Sauda, Norway. These structures possess distinct characteristics which understands the Swiss architect’s thinking. I am keener on the architecture that plays along and the sensory experience it has to offer. What I am trying to highlight is his approach in architecture from his narratives, and architectural execution which puts the touristic value into understanding.
This writing attempts to understand the body of knowledge Zumthor contributed. I chose the architect to introduce perspective from international extent to expand our learning to local tourism profile in the form of case study. His personal life explains how he grew a body of knowledge from his father’s roots as a cabinet maker, academic attainment in Pratt Institute in New York, and as a conservationist architect in Department of Preservation of Monuments in Graubünden. He also achieved awards including: Praemium Imperiale, Pritzker Architecture Prize, and RIBA Gold Medal. Earning these awards is an honor for the recognition built in the architecture profession. Furthermore, he shared his knowledge in different academic institutions such as University of South California, Sci-Arc in LA, and Harvard Graduate School of Design- to name a few. As a constant improver in design, it will be an honor to receive these awards, to step on these schools, and to experience what it means to be in these responsibilities. I am in support of the architects practice, and share his design that we can emulate under our tourism development plan's framework.
Testaments of this architectural practice includes books such as Atmospheres and Thinking Architecture, and built structures: Therme Vals, a hotel and spa complex in Graubünden Canton in Switzerland, Kolumba Museum in Cologne Germany, and Almanajuvet Zinc Mine Museum in Sauda, Norway. These structures possess distinct characteristics which understands the Swiss architect’s thinking. I am keener on the architecture that plays along and the sensory experience it has to offer. What I am trying to highlight is his approach in architecture from his narratives, and architectural execution which puts the touristic value into understanding.
Zumthor’s
works revolves the intimate insights of architecture which he defines that “quality architecture is when a building manages to move”. It encompasses the
subjects of phenomenology, learning consciousness as experienced in space, is
integral to what he coins “the magic of the real”. This idea has
been expressed personally in his books (Atmospheres and Thinking Architecture).
He puts the human existence at its focal point - that is to seek for what can
be the built environment casts an impact to its user: “An architect…can apply forms to a building that satisfy the need for innovation, or novelty, status or
lifestyle…and yet values architecture that makes people feel good, look good,
gives a certain dignity or freedom (Zumthor, 1998). This defines an
architecture that is grounded to its genius loci or a location's distinctive atmosphere- that is widely evident from
its mass, material, and sensory experience. His projects are designed
for a specific use, in a specific place, and for a specific society- an oeuvre
which values the physical, perceptual, and conceptual orders of the built
environment. Learning his works will address the general lack of understanding of our country's untapped tourism resources and noncompetitive tourism industry. I am to instill that natural, cultural, and heritage sites are non renewable resources that may suffer degradation due to direct or indirect misuse, over-exploitation, pollution, and natural disasters.
Therme Vals
The 15 bath
spaces of Therme Vals extends a contemplative environment designed to mirror
the state of the water within it. Visitors are to occupy a cave like floor plan
where it allows the user to wonder in seductive, and non-linear manner. “His
design does not enforce any rules but puts the visitors into tests. It makes
them question all the time their position and the space around them” (Dreki).
Certain elements enrich the act of resting by both natural and man-made
intervention. The space evokes the opportunity to hear the sound of bubbles,
steam, and the silence inside the mountain, the tactile component of quartz
masonry, and the play of light which are translated to break mass, determine
temperature of water, and define meditative experiential tale.
Kolumba Diocesan Mueum
Kolumba
Diocesan Museum is a juxtaposition between now and the glorious and gloomy
chapters of the past. It is a uniquely dense archeological site of the former
St. Kolumba Church- obliterated in World War II. The architect’s task is to
accommodate the site’s art collection, keep outdoor temperature and humidity
while the works in collection had to be kept within strict curatorial limits,
and minimize intervention with the ruins. The architectural narrative of old
and new is a symbol of Christianity’s faith- an amir fati in the course of two millennia.
A once dead
landscape is commissioned by Norwegian Public Roads Administration in Sauda, a along
the Ryfylke tourist route, Southwest of Norway. Black orthogonal pavilions on
the route are of museums, café, lavatories, and parking. These are positioned
to recall the industrial structures and the workers that used to occupy the
site to memorialize and contextualize that in society’s margins. The harsh
world of the 19th century had turned unviable from falling commodity
prices and declining ore deposits, which advocates for a structure perceived to
remain modest. The structure is of creosote-coated laminated pine frames,
plywood walls coated with jute burlap, corrugated zinc roof and doors, and
handles of rough forged zinc- as Zumthor calls a work of an artist-architect.
Conclusion
The works of Peter Zumthor does not promise a better life, but comfort us in act of grounding/ withdrawal. Each of us are looking for the next new thing- which is inevitable in our psychological makeup. What more with faster information, when immediate pleasure is accessible is not making us happier, but for an individual's pursuit of something for society. In my personal take; it is what defines the "magic of the real". The simple forms of Zumthor's built structure is not to exoticize the act of travelling, but to represent its authentic value- that is translated through substance. It also face weaknesses which involves the time for intensive research, and meticulous translation. It is not for development strongly directed for what can be quantified immediately such as returns of investment; however, it opens up to different opportunities. Engagement with locals through participatory discourse, its builders, and other stakeholders will guide public and private investment decisions -this can be a building block of socio-cultural, political, economic, and technological progress. Lastly, is to beware of the dangers of affect from Zumthor's ouevre as it manages to move, and connect personally, may cloud a materialized dogma of an obsolete spirit. Architecture and tourism should emulate good qualities; but in the passing of time, are innovations which will align to its authentic value sought for architectural and touristic practice. As the nature of reality unfold, must understand that we are the drivers of constant innovation and change; and for us to embrace it, must be complemented with an outlet to individuate.
5 July, 2011 B. P. D. (2011, July 5). 'Zumthor's Diocesan Museum shows
clearly and movingly the continuity of Christian faith'. Retrieved May 1, 2020,
from
https://www.architectural-review.com/buildings/zumthors-diocesan-museum-shows-clearly-and-movingly-the-continuity-of-christian-faith/8616966.article
Dreki, M. (n.d.). Architecture And Phenomenology: Zumthor's Therme Vals
Spa Examined With A Phenomenological Approach. Retrieved May 1, 2020, from
https://www.academia.edu/30674328/ARCHITECTURE_AND_PHENOMENOLOGY_ZUMTHOR_S_THERME_VALS_SPA_EXAMINED_WITH_A_PHENOMENOLOGICAL_APPROACH
Hybel, J. (2013, June 24). Kolumba Museum. Retrieved May 1, 2020, from
https://arcspace.com/feature/kolumba-museum/
Quiros, L. D., Burns, D., & Repp, E. (2001). Achieving the
Metaphysics of Architecture: The Architecture of Peter Zumthor. Retrieved from
http://www.quirpa.com/docs/achieving_the_metaphysics_of_architecture__peter_zumthor.html
Slessor, C. (2017, January 27). Allmannajuvet Zinc Mine Museum in Norway
by Peter Zumthor: 'The progeny of an artist-architect'. Retrieved May 1, 2020,
from https://www.architectural-review.com/buildings/allmannajuvet-zinc-mine-museum-in-norway-by-peter-zumthor-the-progeny-of-an-artist-architect/10016453.article
Zumthor, P. (1998). Thinking architecture. Baden: Lars
Müller.
Zumthor, P. (2006). Peter Zumthor: atmospheres: architectural
environments, surrounding objects. Basel: Birkhäuser.