Extract from Peter
Zumthor, Hortus Conclusus 2011.
Directors’ Foreword:
Julia Peyton-Jones, Hans Ulrich Obrist.
Zumthor’s
architectural design practices consider each project in terms of a
comprehensive and encompassing sensory experience. Looking at more
than the physical fabric and form of the building, he often draws
inspiration from memories of childhood experience. His projects aim
to reference all aspects of sensory perception, addressing the
relationship between the human body and the ways it may interact
within the built environment. Many of Zumthor’s projects have been
specifically noted for their thoughtful and evocative play on scale,
colour, material and light in harmony with the buildings function and
surroundings. (Peyton-Jones 2011: 9)
Waverley Site
Hortus Conclusus
Sensing Spaces
Oculus Pavilion
Variegated and mutable
veiling of transparencies through sunlight and a gentle breeze.
Shadow (voids) and
Forms (layered movements)
Permeable membrane
(time passes through here)
The River (Jackie
Leven/Kenneth Patchen,The Skaters) a corporeal presence on loss,
memory/absence, subjectivity and flow.
Kengo Kuma. Complete
Works, Kenneth Frampton.
‘Our aim is to
create architecture that confronts and fuses with the earth.’
‘Architecture should not be cut off from the
ground like a building designed and transported to the site.’
Kuma’s
‘anti-objective’ architecture is anti-perspectival in that it is
categorically anti-thetical to the subject/object split of the
occidental tradition.
‘The asymmetrical
projection of the Water/Glass volume, derived from the diagonal
platform of the Noh stage, makes it explicit that there is no single
ideal point from which this waterborne scene may be experienced.’
(Frampton, 2012:12)
Katsura Aesthetic.
Non Corporeal
Architecture ( 2001 A Space Odyssey, the final room with its
dematerialised phantom character of absence and voyeurism)
Japanese Vernacular,
Void/Ma space, Translucency, Sequence of Spaces,
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