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)
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)
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,