Peter Zumthor Quotes

I grew up in a craftsman's home, where things were done with our own hands. I did cabinetmaking for four years and I hated it.

In a society that celebrates the inessential, architecture can put up a resistance, counteract the waste of forms and meanings and speak its own language.

In order to design buildings with a sensuous connection to life, one must think in a way that goes far beyond form and construction.

I need a close contact to the client, whoever it is, and a commitment of the client to go out and do a process together. I want to do the best for him. I need his respect and his patience. I want to work with a sophisticated person who's interested in a good building and not in my name.

Architecture has its place in the concrete world. This is where it exists. This is where it makes its statement.

The bottom line may be that my inventing buildings is, indeed, a very private kind of activity. But it's done to be shared. It is comforting and consoling. From the reactions I get I can see I'm not doing something strange.

I design for the use of a building and the place and for the people who use it ... the reputation for arrogance comes because when work is offered to me, I look whether I can find a genuine interest in quality.

In a fragment of a second you can understand: Things you know, things you don't know, things you don't know that you don't know, conscious, unconscious, things which in a fragrant of a second you can react to: we can all imagine why this capacity was given to us as human beings - I guess to survive. Architecture to me has the same kind of capacity. It takes longer to capture, but the essence to me is the same. I call this atmosphere. When you experience a building and it gets to you. It sticks in your memory and your feelings. I guess thats what I am trying to do.

I work anywhere between three and 10 years on a project, depending on the size. My lifetime is finite. Therefore, I have to look carefully at how many projects I want to put into my lifetime.

I work a little bit like a sculptor. When I start, my first idea for a building is with the material. I believe architecture is about that. It's not about paper, it's not about forms. It's about space and material.

Details, when they are successful, are not mere decoration. They do not distract or entertain. They lead to an understanding of the whole of which they are an inherent part.

Architecture is not about form

I would describe the distinction between city and landscape like this: cities tend to excite and agitate me; they make me feel big or small, self-confident, proud, curious, excited, tense, annoyed... or they intimidate me. But the landscape, if I give it the chance, offers me freedom and serenity. Nature has a different sense of time. Time is big in the landscape while in the city it is condensed, just like the city's space.

If you look at the Earth without architecture, it's sometimes a little bit unpleasant. So there is this basic human need to do shelter in the broadest sense of the word, whether it's a movie theater or a simple log cabin in the mountains. This is the core of architecture: To provide a space for human beings.

The first 10 years of my professional life had only to do with running away from my father. He was a wonderful cabinet-maker, and me being the eldest son, I had to take over his shop, his profession and so on and so on. I tried to escape by going to art school and then going on to industrial design and then interior design.

I'm not mainly interested in what buildings mean as symbols or vehicles for ideas.

If you're lucky, and a building succeeds, the real product has many more dimensions than you can ever imagine. You have the sun, the light, the rain, the birds, the feel.

My buildings should have an emotional core - a space which, in itself, has an emotional nice feeling.

My relationship to plants becomes closer and closer. They make me quiet; I like to be in their company.

Normally, architects render a service. They implement what other people want. This is not what I do. I like to develop the use of the building together with the client, in a process, so that as we go along we become more intelligent.

I am convinced that a good building must be capable of absorbing the traces of human life and taking on a specific richness ... I think of the patina of age on materials, of innumerable small scratches on surfaces, of varnish that has grown dull and brittle, and of edges polished by use.

Construction is the art of making a meaningful whole out of many parts. Buildings are witnesses to the human ability to construct concrete things. I believe that the real core of all architectural work lies in the act of construction. At the point in time concrete materials are assembled and erected, the architecture we have been looking for becomes part of the real world.

If, early on, you know how things are put together, then you can build. The architect is in charge of making - he is not an artist.

My first buildings, when I was about 30, were rejected for aesthetic reasons.

Presence is like a gap in the flow of history, where all of [a] sudden it is not past and not future.

I'm a passionate architect ... I do not work for money

Architecture has its own realm. It has a special physical relationship with life. I do not think of it primarily as either a message or symbol, but as an envelope and background for life which goes on in and around it, a sensitive container for the rhythm of footsteps on the floor, for the concentration of work, for the silence of sleep.

If a work of architecture consists of forms and contents that combine to create a strong fundamental mood powerful enough to affect us, it may possess the qualities of a work of art. This art has, however, nothing to do with interesting configurations or originality. It is concerned with insights and understanding, and above all truth. Perhaps poetry is unexpected truth. It lives in stillness. Architecture's artistic task is to give this still expectancy a form. The building itself is never poetic. At most, it may possess subtle qualities, which, at certain moments, permit us to understand something that we were never able to understand in quite this way before.

There was a time when I experienced architecture without thinking about it,

Architecture is exposed to life. If its body is sensitive enough, it can assume a quality that bears witness to past life.

I think the chance of finding beauty is higher if you don't work on it directly. Beauty in architecture is driven by practicality. This is what you learn from studying the old townscapes of the Swiss farmers.

Every time I imagine a garden in an architectural setting, it turns into a magical place. I think of gardens I have seen, that I believe I have seen, that I long to see, surrounded by simple walls, columns, arcades or the facades of buildings - sheltered places of great intimacy where I want to stay for a long time.

Small museums are great. Big museums are a drag.