Tag Archives: PETER ZUMTHOR

PETER ZUMTHOR AND ELEMENTAL IDEAS

November 3, 2017

Zumthor’s original 2013 presentation model for LACMA. Though it looks like a conceptual diagram, this is actually the complete design for the project. (photo from inexhibit.com)

There are the usual suspects: Frank Gehry, Rem Koolhaas, Zaha Hadid, I.M. Pei, and so on. Call them celebrity architects or call them “Starchitects,” but one greater walks amongst these mere mortal rock stars. I speak of the one who is called an “architect’s architect.” He is Pritzker-winning, Swiss architect, Peter Zumthor.

Many non-architects may not even know the name of the enigmatic Zumthor, for his Haldenstein-based practice is small and artisanal, perhaps even cultish. But in a short time to come, Los Angeles will know Mr. Zumthor’s work.

LACMA’S campus building architects
upper left: William Pereira (photo by George Carrigues); upper right: Hardy Holzman Pfeiffer Architects (photo by Alison Martino); middle left: Albert C. Martin Sr. (photo from thepowerplayermag.com); middle right: Bruce Goff (photo from thepowerplayermag.com); lower left: Rem Koolhaas (photo by Kirk McKoy / Los Angeles Times); lower right: Renzo Piano (photo by Museum Associates / LACMA)

He has proposed a courageous addition to the Los Angeles County Museum of Art (“LACMA”). This museum campus has had a string of prominent designs of their time, from the 1965 concrete structures of William Pereira to the curious 1986 Post Post Modern addition of Hardy Holzman Pfeiffer Architects (my previous employer), from the 1994 purchase of the iconic Streamline Modern May Company department store by Albert C. Martin Sr. to the quirky yet poetic 1988 Pavilion for Japanese Art by Bruce Goff, and from the controversial 2004 unbuilt $300 million glass roof from Rem Koolhaas (my previous teacher, herehere and here) to the elegant but underwhelming 2008 and 2010 buildings of Renzo Piano.

Exterior view of Zumthor’s 2017 proposal for LACMA (photo from archdaily.com)
Interior view of Zumthor’s 2017 proposal for LACMA (photo from archdaily.com)

Contrasting all this noisy activity, Zumthor’s proposal is so elemental and simplistic that you have to wonder if this is pure genius, or is it a blob of ink that accidentally got turned into the $600 million dollar project?

However, this is how Zumthor excels. He generates ideas like we all did in architecture school or even as a child. Innocently.

Simple ideas come to us all, and if we stay true to our opening statement, then our architecture can result in greatness. But in the real world of client changes, limited budgets, unrealistic schedules, and construction shortcomings, our ideas of greatness are at best compromised. At worst, our ideas drown in a tidal wave of mediocre practicality and code compliance.

The Thermal Vals, Braubunden, Switzerland, by Zumthor (photo from arcspace.com)

Somehow, project after project, Zumthor keeps his conceptual visions alert and alive from the first day of the design process to the final day of construction. Take for example some of his concepts, such as this one for a hotel in Chile. The presentation appears to be no more than twigs, rocks and debris—literally. Yet , Zumthor addresses the mundane necessities of things like bathroom plumbing and air conditioning, or budget and constructability, and time after time, his final building parallels the essence of his first idea.

Presentation models for Zumthor’s Nomads of Atacama Hotel, San Pedro de Atacama, Chile (photo Peter Zumthor, Buildings and Projects, Volume 5)

If we common architects delivered such a presentation as the hotel above, in what seems like no more than a teenager’s effort, we would be laughed out of our client’s conference room. The genius of Peter Zumthor is almost Warholian. Not only are the ideas of Zumthor artistic in nature, but he is able to artfully convince a Board of Directors that his ideas are artistic and worth pursuing at all costs. As often critiqued, Andy Warhol’s genius was most profound not in the work, but rather, in how he convinced everyone that he was a genius.

Peers would not take this kind of cynicism with Zumthor. As the media discouraging called Zumthor’s LACMA scheme the “ink blob,” reminiscent of the neighboring La Brea Tar Pits, we had faith in our hero. This architect of poetry and practicality will work in the fire escapes and exit signs,  the desert sun beating through the enormous panes of glass, and the structural engineering to bridge over six lanes of traffic on Wilshire Boulevard.

Proposed Academy Museum of Motion Pictures (photo from dezeen.com)

With recent museums in Los Angeles, such as The Broad , the Petersen , the above mentioned Renzo Piano buildings at LACMA, and the in-construction Academy Museum of Motion Pictures also by Piano, each of these projects will look like what happens when talented architects try too hard, yelling like a child for attention. And then, Zumthor walks in the room with grace and calmness.

Saint Benedict Chapel, Sumvitg, Braubunden, Switzerland, by Zumthor (photo by Felipe Camus)

THE NOISE OF ARCHITECTURE

September 22, 2017

(photo from jimjenningsarchitecture.com)

I am not referring to the acoustic engineering of a concert hall or the aural quality of a restaurant. Rather, all works of architecture have a certain artistic volume level, from blank mute to in-your-face loud. The visual and experiential clamor of a building can reverberate with a subtle hum, or brash feedback and distortion.

Here I list fifteen projects that represent the dynamic range of architecture’s capacity to blare, starting with silence and increasing to an uproar.

1. If you are wondering where the architecture is, that is exactly the point. The Tidal Pools de Leca da Palmeira intentionally blur the lines between nature and manmade. In so doing, Alvaro Siza (here and here) created a quiet structure for Porto, Portugal.

(photo from mimoa.eu)
(photo from uncubemagazine.com)

2. Present though voiceless, Jim Jennings’ Art Pool + Pavilion in Calistoga, California, provides the visitor nothing to relate to. The project is powerfully hush and abstract. (Black and white image above.)

3. Looking like not much more than a barn, rock star architect, Peter Zumthor, delivers a house/office, offering only a single window for scale. Here in Hadlerstein, Switzerland, Zumthor barely speaks and shows off his capacity for restraint.

4. The Benesse House in the Kagawa District of Japan does not need to yell to get your attention. Practicing a meditative Zen-like harmony, Tadao Ando’s (here and here) building is at noiseless peace.

(photo by Tadao Ando)

5. What appears to be a typical sacred building starts at first through its name, the “Cardboard Cathedral.” Then it hits you: Shigeru Ban literally used cardboard tubes for this New Zealand project.

(photo by Stephen Goodenough)

6. Like a child’s toy, a cylinder on top of a box comprises the Stockholm Public Library in Sweden. But for Gunnar Asplund, this is no simple toy. The sheer scale and volume makes the building’s presence loud and clear.

(photo from architectsjournal.co.uk)

7. Wang Shu’s China Academy of Art seems to be contextual with the vernacular of Hangzhou, China. But it is the architect’s details and use of materials in innovative ways that provide this project a slight degree of commotion.

(photo from npr.org)

8. For his Experimental House in Muuratsalo, Finland, Alvar Aalto generated an outcry with his brick patterns.

(photo from Architizer.com)

9. Rafael Moneo (here and here) used a cylinder, as did Asplund above. But for Moneo’s Atocha Train Station in Madrid, the crisp brick pillars form a cylinder in an untraditional way. And they resound with a majestic boom.

(photo from europaenfotos.com)

10. For a housing project cutely entitled “Xanadu,” Taller de Arquitectura (here and here) created something that demands more attention that your generic hillside apartment. In La Manzanera Alicante, Spain, Xanadu may have some items that appear to be normal, like clay tile, gable roofs, painted stucco and residential scale windows—but upon a second look, the overall composition is a hullabaloo.

(photo by Ricardo Bofill)

11. The green, glazed terra cotta, exterior tiles on this addition possesses a visual bark, especially in counterpoint to the traditional original building. In Sarasota, Florida, Macado Silvetti clearly wanted the Center for Asian Art to create a racket when having the new holler to the old.

(photo from machado-silvetti.com)

12. I typical attribute the work of Antonio Gaudi to jazz. His fantastical improvised vision of the world, seen here at Casa Batlo in Barcelona, breaks the rules of composition and color, resulting in an intuitive, lyrical work.

(photo from apetcher.wordpress.com)

13. The historic collaboration between Chinese artist, Ai Weiwei, and Swiss architects, Herzog & de Meuron (here and here) offered up the 2008 Olympics’ Chinese National Stadium, also known as the famous “Bird’s Nest”. This artistic structure in Beijing blasted onto the world stage with its surreal knitting of massive steel members, alongside the building’s enormous presence.

(photo from hoesthetics.net)

14. This image of the Lou Ruvo Center for Brain Health in Las Vegas has not been distorted. Frank Gehry (here, here, herehere and here) designed an interior that has quite an uproar—one that questions if such noise is good for the purpose of this facility, the healthiness of one’s brain.

(photo from newsroom.clevelandclinic.org)

15. Similar to the Center for Asian Art, above, this Royal Ontario Museum in Toronto represents a dialogue between old and new. But here, Studio Libeskind’s (LINK best friends) new addition screams and cries for attention. The juxtaposition fascinates, but does architecture need to bellow like this?

© Poon Design Inc.