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Aquest treball tracta de buscar aquells factors de l'espai arquitectònic que influeixen en el seu caràcter, identitat, atmosfera o essència; aquells que costa d'apreciar de manera conscient, a simple vista; però estan presents en l'espai i són els que acaban difinint-lo. Mitjançant un estudi del pensament de Peter Zumthor, comprenem els factors essencials per a generar les atmosferes interiors de les seves obres. Després de conèixer el pensament de l'arquitecte s'elabora una anàlisi de tres obres que han tingut una gran rellevància al llarg de la seva trajectòria, on es reflecteix la coherència de les idees que l'arquitecte vol transmetre a l'usuari a través de l'atmosfera. Este trabajo trata de encontrar aquellos factores del espacio arquitectónico que influyen en su carácter, identidad, atmósfera o esencia; aquellos que son dificiles de apreciar de manera consciente, a simple vista; pero están presentes en el espacio y son los que acaban definiéndolo. Mediante un estudio del pensamiento de Peter Zumthor, comprendemos los factores esenciales para generar las atmósferas interiores de sus obras. Después de conocer el pensamiento del arquitecto se elabora un análisis de tres obras que han tenido una gran relevancia a lo largo de su trayectoria, donde se refleja la coherencia de las ideas que el arquitecto quiere transmitir al usuario a través de la atmósfera. This work seeks to find those factors in the architectural space that influence its character, identity, atmosphere or essence; those which are difficult to consciously appreciate, at first sight; but are present in space and are the ones that define it. Through a study of the thought of Peter Zumthor, we understand the essential factors to generate the interior atmospheres of his works. After learning the architect's thought, and the analysis of three works which have had great significance throughout his career, reflecting the consistency of the ideas that the architect wants to transmit to the user through the atmosphere.

Aquest treball és un anàlisis de l'evolució del pensament teòric i l'obra construïda de l'Arquitecte Peter Zumthor, i les relacions o dissonàncies entre aquestes. Este trabajo es un análisis de la evolución del pensamiento teórico y la obra construida del Arquitecto Peter Zumthor, y de las relaciones o disonancias entre ellas. This essay is an analysis of the evolution of the theoretical thinking and the built work of the architect Peter Zumthor, and the relationships or dissonances between them. Award-winning

La arquitectura de la memoria ha sido uno de los grandes paradigmas de la investigación en el ámbito de la arquitectura. Este tipo de arquitecturas se han utilizado para reflejar la memoria de los procesos más disruptivos del siglo XX. Para acotarnos, el ámbito de estudio de este trabajo va a estar en Berlín en uno de los solares cercanos a Postdamer Platz, en el cual se encontraban durante la Segunda Guerra Mundial las sedes de la Gestapo. En el año 1984, durante la Guerra Fría, la exposición del IBA convocó concursos para recuperar las zonas más degradadas por la presencia del Muro, entre las cuales se encontraba esta parcela. A este concurso se presentaron arquitectos como John Hejduk, Rafael Moneo, o Raimund Abraham, presentando propuestas de arquitecturas que trabajaban con la memoria del lugar proponiendo, a su vez, un espacio público para la ciudad. Ninguna de las propuestas llegó a construirse debido a reclamas ciudadanas. Posteriormente, tras la caída del muro, se convoca un segundo concurso en 1993, el cual gana el arquitecto Peter Zumthor y que nuevamente no se construye, postergándose la construcción de un espacio para la memoria hasta el año 2010, en el que la arquitecta Úrsula Wilms finalmente construyó el museo para la Topografía del Terror. El objetivo de este trabajo es hablar sobre la arquitectura en la que reside la memoria de un lugar, para ello se compone el palimpsesto de arquitecturas presentes y ausentes que se han dado sobre este escenario. The memorial architecture has been one of the greatest paradigms of research in the field of architecture. This type of architecture has been used to reflect the memory of the most disruptive processes of the 20th century. To limit us, the scope of study of this work will be in Berlin in one of the sites near Postdamer Platz, where the headquarters of the Gestapo were located during World War II. In 1984, during the Cold War, the IBA exhibition called design contests to recover the areas that were most degraded by the presence of the Wall, among which is this site. Architects such as John Hejduk, Rafael Moneo, or Raimund Abraham participated in this competition, presenting architectural designs that were related with the memory of the place, proposing, in turn, a public space for the city. None of the proposals was built due to citizen complaints. Subsequently, after the fall of the wall, a second contest was called in 1993, which was won by the architect Peter Zumthor and again it was not built, with the construction of a memory space being postponed until 2010, in which the architect Úrsula Wilms eventually built the museum for the Topography of Terror. The purpose of this work is talking about memorial architecture, for this the palimpsest of present and absent architectures that have occurred on this scene is composed. Universidad de Sevilla. Grado en Fundamentos de la Arquitectura

[ES] El presente trabajo recopila y analiza las distintas referencias que Peter Zumthor cita a lo largo de su obra "Atmósferas", uno de sus textos más conocidos. Mediante el estudio de dichas referencias se pretenden descubrir los parámetros esenciales más influyentes en su Arquitectura., [EN] The current project compiles and analyses the different references that Peter Zumthor mentions throughout his work "Atmósferas", one of his well-known texts. By means of these references the most outstanding parameters of his Architecture are exposed.

[Resumen] Durante los últimos años, la mayor parte de la producción artística ha estado profundamente influenciada por las leyes del mercado. En este contexto, la obra de Peter Zumthor y Andrei Tarkovsky generan un oasis en el que pararse y reflexionar acerca de su obra y, en consecuencia, a dónde nos está llevando la situación actual. Esta forma de entender su correspondiente disciplina hace que sean ejemplos perfectos a la hora de instruir a jóvenes arquitectos y cineastas, y ayudarles a comprender de una forma más analítica ambas formas artísticas. En este trabajo se pretende hacer una reflexión a través de sus obras más relevantes y buscar puntos de convergencia entre ambos que nos ayuden a entender dicha tesitura y las posibles formas de enfrentarse a ella. [Resumo] Nos últimos anos, a maior parte da producción artística estivo profundamente influenciada polas leis do mercado. Neste contexto, a obra de Peter Zumthor e Andrei Tarkovsky xeran un oasis no cal poder pararse e refexionar acerca de ditas obras e, consecuentemente, ver a donde nos está levando a situación actual. A súa forma de comprender ditas disciplinas fai que sexan exemplos perfectos á hora de instruir a novos profesionais e axudarlles a comprender de forma máis analítica ambos campos artisísticos. Por ende, o traballo aquí exposto pretende facer una reflexión a través das súas obras máis relevantes á par de establecer puntos de converxencia que nos axuden a aentender a situación actual e dar posibles formas de enfrentarse a ela. [Abstract] Since the last few years, the most of the artistic production has been deeply influenced by the market laws. In this context, the work of Peter Zumthor and Andrei Tarkovsky lead up to an oasis where we could stop and look back on what we are seeing and, consecuently, asking where this situation are leading us. This understanding way their field of knowledge make that both of them be the perfect examples where the architecture and cinema students could be instructed and it help them to understand the complexity of both artistic fields. Therefore, this academic essay pretend to make and deeply reflection throught their more relevants buldings and try to find a point of convergence between the two that it help us two understand this situation and feasible ways of struggling it. Traballo fin de grao (UDC.ETSA). Estudos en arquitectura. Curso 2019/2020

When asked to deliver the Charles Eliot Norton Poetry Lectures at Harvard about the future of literature, Calvino came up with six qualities depicting each one through several literary examples. He titled them “Six Memos for the Next Millennium.” Similarly, we recognise several architectural sensations resulting from a composition of expressive qualities that are transversal to several works of architecture, independently of their typologies, construction techniques, materials, although these elements enter into the aesthetic composition. Central to our argument is the link established by Deleuze & Guattari between territory, matters of expression and the composition of sensations to define what we name of “Poetic Landscape,” following the idea of the becoming-expressive of the territory and how the territorial marks and the territory-house system are at the origin of art. We will analyse a landscape located in the cold and icy lands through the presentation of works by Peter Zumthor in order to contribute to the notion of Poetic Landscape addressing the values and qualities for the next millennium.

[ES] El presente Trabajo Final de Grado tiene por objeto el estudio del edificio las termas de Vals, obra del arquitecto Peter Zumthor, tanto desde el punto de vista arquitectónico como desde el constructivo. Para el arquitectónico se tendrán fundamentalmente en cuenta el tema de la materialidad, aunque sin olvidar aspectos relacionados con lo que podía considerarse inmaterialidad y que matizan de manera excelente la materia, como son la originalidad creadora del autor o su capacidad de suscitar atmósferas (sensaciones, recuerdos, imágenes). Desde el punto de vista constructivo, se analizarán los sistemas empleados en muros y cubiertas, que quedarán materializados con oportunas axonometrías constructivas., [EN] The purpose of this Final Degree Project is to study the building of the thermal baths in Vals, a work of the architect Peter Zumthor, both from the architectural point of view and from the construction point of view. Regarding architecture, the theme of materiality will be widely taken into consideration, although the aspects related to what could be considered as immateriality and which qualify the matter* in an excellent way, such as the creative originality of the author or his capacity to arouse atmospheres, sensations, memories and images must not be forgotten. From the constructive point of view, the systems used in walls and roofs will be analysed and the appropriate constructive axonometries will be offered.

Dissertação de Mestrado Integrado em Arquitetura apresentada à Faculdade de Ciências e Tecnologia Em norueguês, a palavra ås significa monte/montanha, como conjunto montanhoso/cume(eira) podendo, de igual modo, ser Deus e/ou entidade divina. Estes significados que derivam da mesma palavra, colocam a questão da relação entre o elemento físico natural (monte/montanha) e o elemento Divino/sagrado (Deus). O estudo desta relação começou com a viagem, com um percurso estudado previamente, mas desconhecido, de modo a explorar os anteriores conceitos. O objetivo foi refletir sobre o conhecimento adquirido (a experiência da montanha) associado à construção e humanização da paisagem. Questiona-se a relação da construção religiosa com a montanha e como a experiência permite descodificar a materialização do lugar sagrado. Através da experiência pessoal tornou-se possível identificar um conjunto de temas sobre a problematização da construção de um lugar, e procurar comprovar um conjunto de aproximações do sagrado por parte da arquitetura. Assim, pretende-se analisar e estudar como se transforma um espaço num lugar, e como a arquitetura é o instrumento para essa transformação, num local com privilegiada relação com o meio natural.A relevância do estudo de um lugar para a comunhão de cariz religioso poderá intensificar o significado do lugar, por se tratar de um espaço com um carácter específico e de proximidade entre o mundo material e o espiritual, onde a experiência está igualmente associada. Atendendo ao que foi dito, procurou-se exemplos arquitetónicos que correspondessem às temáticas previamente apresentadas e que respondessem à problematização, considerando-se pertinente a investigação da arquitetura religiosa no contexto alpino, mais concretamente através do estudo da arquitetura contemporânea religiosa no final da década de 80. Neste sentido, como casos de estudo foram selecionadas três capelas (1988-1994) localizadas no cantão de Graubünden, Suíça. In Norwegian, the word ås means hill/mountain, as well as a mountain ridge/ridge, and it may also be God and/or sacred identity. These meanings that derive from the same word, question the relationship between the natural physical element (hill/mountain) and the Divine element/sacred (God). The study of this relationship began with a journey, with a course previously studied, but unknown, in order to explore the previous concepts. The purpose was to reflect on the acquired knowledge (the experience of the mountain) associated to the construction and humanization of the landscape. It is questioned the relationship between the religious construction with the mountain and how the (personal) experience allows to decipher the materialization of the sacred place. Through personal experience it became possible to identify a set of themes on the problematization of the construction of a place, and to try to prove a set of approximations of the sacred by architecture. Thus, is intended to analyze and study how a space can be transformed into a place, and how architecture is the instrument for that transformation, in a place with a privileged relationship with the natural environment.The relevance of the study of a place for religious communion could intensify the meaning of the place, because it is a space with a specific character and proximity between the material and the spiritual world, where experience can also be associated. Taking into account what was said, we sought architectural examples that corresponded to the previously presented themes and that would respond to the problematization, considering the pertinence of the investigation of religious architecture in the Alpine context, more concretely through the study of contemporary religious architecture in the late 1980s. In this sense, three chapels (1988-1994) located in the canton of Graubünden, Switzerland, were selected as case studies.

One of the most complex interventions in architecture is when buildings with important patrimonial value are actualized. Not only for the technical construction, but for the ethical position of the author and the new aesthetic value that will acquire that work as part of a historic city. Achieving a balance so that contemporary architecture is not submitted to patrimonial, nor patrimonial is diminished in front of a contemporary intervention requires a balanced dialogue between both interventions that contribute in their opposite times. The hypothesis considers that every building whose author has a theoretical support based on Ethics, Memory and Phenomenology, is consistent with its historical context and ensures its presence in the culture of the place. Also Time, Abstraction, Vanguards, Subject, Aesthetics, Criticism, Synthesis and Historical Multiplicity are some of the topics to study their relationship. And constitute a framework of knowledge to formulate a theory that addresses the integration of contemporary intervention in a historical context. There are two objectives proposed in this study: on the one hand, it is important to have a theoretical basis in heritage interventions and, on the other hand, to propose a methodology that can be repeated in other case studies to make an architectural critique and to evaluate if the intervention is according to the historical context. The case study that will allow me to explain both the ethical stance of an architect and his constructed work is the Kolumba Museum by Peter Zumthor. For that reason, it will deepend as much in its written ideas as in its museum, besides other theoretical reflections. Una de las intervenciones más complejas que hay en la arquitectura es la de intervenir edificios con un valor patrimonial importante. No solo por lo construido sino por la postura ética del autor y el nuevo valor estético que cobrará esa obra como parte de una ciudad histórica. Lograr un equilibrio para que la arquitectura contemporánea no se someta a la patrimonial, ni la patrimonial se vea disminuida ante una intervención contemporánea requiere de un diálogo equilibrado donde ambas aporten en sus tiempos contrarios. La hipótesis considera que: Todo edificio cuyo autor tiene un soporte teórico basado en la Ética, la Memoria y la Fenomenología es coherente con su contexto histórico y asegura su presencia en la cultura del lugar. También se consideran otros conceptos como el Tiempo, la Abstracción, las Vanguardias, el Sujeto, la Estética, la Crítica, la Síntesis, y la Multiplicidad Histórica que son también tópicos para estudiar su relación y constituyen un marco de conocimientos para dar soporte a una teoría que aborde la integración de la intervención contemporánea en un contexto histórico. Son dos los Objetivos propuestos en este trabajo: por un lado es demostrar la importancia de tener una base teórica en intervenciones patrimoniales y por otro, plantear una metodología que sea capaz de repetirse en otros casos de estudio para hacer una crítica de arquitectura y evaluar si la intervención es acorde con el contexto histórico. El Museo Kolumba de Peter Zumthor me permite exponer la coherencia entre la obra construida con la ética del arquitecto y el sentido de apropiación de sus visitantes. Por ello se profundiza tanto en sus ideas escritas como en su museo, además de otras reflexiones teóricas.

RESUMEN El presente artículo trata de profundizar, a través del estudio del museo Kolumba, en algunos condicionantes específicos que posee el proyecto que debe trabajar con arquitecturas del pasado, destacando entre ellos el modo en el que el objeto de partida queda incluido y contenido en el resultado final. La realidad última que el edificio construye, mediante la interpretación de lo preexistente, es el espacio invisible de la memoria (la pieza ausente). Las intervenciones llevadas a cabo a raíz de la destrucción de la iglesia de Santa Columba en la Segunda Guerra Mundial hasta la inauguración del presente museo nos permiten entender el proyecto de Zumthor como la culminación de una trayectoria iniciada años atrás por Rudolf Schwarz con la reconstrucción de Colonia. La sensibilidad y la convergencia interpretativa de los sucesivos autores que en este espacio intervienen originan una lectura conjunta que trasciende la personalidad individual de cada uno de ellos. Se tratará también en este artículo de la obra de tres artistas, presentes en el museo, especialmente vinculados a la memoria del sitio y de la destrucción desde ópticas y modos creativos diferentes: Ulrich Tillman, Bill Fontana y Richard Serra. SUMMARY Through the study of the Kolumba Museum, the article attempts an in–depth study of some specific determinants that the plan must have in order to work with architectures from the past, emphasising the way in which the initial objective is encompassed in the final result. Through the interpretation of the pre–existing, the final reality that the building constructs is the invisible space of the memory (the missing piece). The interventions carried out as a result of the destruction of the church of Santa Columba in World War II until the inauguration of the present museum, allow us to understand Zumthor’s plan as the culmination of a process begun years ago by Rudolf Schwarz with the reconstruction of Cologne. The sensitivity and the interpretive convergence of the successive authors who intervened in this space resulted in a joint interpretation that transcends the individual personality of each of them. The work of three artists represented in the museum will be discussed. They are specially connected to the memory of the site and the destruction from different viewpoints and creative methods: Ulrich Tillman, Bill Fontana and Richard Serra.

[EN] "Luxury" has always been a cause for debate throughout history. It was criticized by Plato and Aristotle and limited during the times of the old Roman Empire. However, luxury has now become a natural part of our lives. The change in the meaning of luxury represents the step from the ancient world to the modern world, and the step from feudalism to capitalism, becoming associated to new values:01_ The value of the private sphere and the individual. The step from the ancient world to the modern world also entails the step from public luxury to private luxury.02_ The emotional value of luxury. Our desires and imagination lead us towards new desires. As the value of something which is intangible.03_ The value of the superfluous. This would be a luxury which does not provide any added value.04_ The material value. The material value is closely linked to the emotional value of luxury, as it isn't so much about the cost of the material, but about the shapes and sensations which are obtained with it.05_ The value of refinement. The qualitative value of luxury, which leads towards the evolution of societies.06_ The value of innovation. Throughout history luxury has been the promoter of innovations. Technique has played a vital role in architecture, giving rise to new spatial possibilities.The thesis looks into the values associated to luxury, identifying them in the architecture of Adolf Loos aiming to represent a modern vision of luxury.The similarities in the biographies of Adolf Loos and Peter Zumthor (central European architects, both sons of artisan fathers, influences by their time spent in the United States,...) justify the choice the latter as a modern reference in the research, which establishes a link between said vision from the early 20th century and the architecture of the early 21st century. This proves how these values remain current even today, although logically their transfer to architecture is different.Lastly comparing this modern vision of luxury with contemporary visions of luxury by means of different conversation. The aim is to move away from the prejudice associated to luxury to prove how architecture can go beyond what is necessary with the aim of improving the living conditions of the inhabitant., [ES] El "lujo" ha sido siempre motivo de debate a largo de la historia. Ya fue criticado por Platón y Aristóteles y limitado en la antigua Roma. En el presente, el lujo se ha integrado de forma natural en nuestras vidas. El cambio del significado del lujo representa el paso del mundo clásico al mundo moderno, y el paso del feudalismo al capitalismo1, asociándole nuevos valores:01_ El valor de la esfera privada y el individuo. El paso del mundo clásico al mundo moderno implica también el paso del lujo público al lujo privado.02_ El valor emocional del lujo. Los deseos e imaginaciones llevan a nuevos deseos. Se trata del valor de lo intangible.03_ El valor de lo superfluo. Se trata de aquel lujo que no aporta ningún valor añadido.04_ El valor material. El valor material está íntimamente ligado al valor emocional del lujo, pues no se trata tanto del coste del material, sino en las formas y sensaciones que con él se consiguen.05_ El valor del refinamiento. Se trata del valor cualitativo del lujo, que lleva a evolucionar a las sociedades.06_ El valor de la innovación. El lujo ha sido a lo largo de la historia impulsor de innovaciones. La técnica ha jugado un papel vital, dando lugar a nuevas posibilidades espaciales.La Tesis investiga los valores asociados al lujo, identificándolos en la arquitectura de Adolf Loos para mostrar una visión moderna del lujo.Las similitudes en las biografías de Adolf Loos y Peter Zumthor (arquitectos de Europa Central, ambos hijos de padres artesanos, influenciados por sus vivencias en Estados Unidos,¿) justifican la elección de este último como un referente contemporáneo en la investigación, que establece un nexo entre dicha visión de principios del siglo XX y la arquitectura de principios del siglo XXI. Así se demuestra como dichos valores permanecen vigentes hoy en día, aunque lógicamente su traslación a la arquitectura sea diferente.Finalmente se contrasta esta visión moderna del lujo con las visiones contemporáneas del lujo mediante diferentes conversaciones. Se trata de alejarse de los prejuicios sobre el lujo para demostrar como la arquitectura puede ir más allá de lo necesario con el fin de mejorar las condiciones de vida del habitante., [CAT] El "luxe" ha estat sempre motiu de debat al llarg de la història. Ja fou criticat per Plató i per Aristòtil i limitat a l'antiga Roma. En el present, el luxe s'ha integrat de forma natural en les nostres vides. El canvi de significat del luxe representa el pas del món clàssic al món modern, i el pas del feudalisme al capitalisme , associant-li nou valors:01_ El valor de l'esfera privada i l'individu. El pas del món clàssic al món modern implica també el pas del luxe públic al luxe privat.02_ El valor emocional del luxe. Els desitjos i imaginacions porten a nous desitjos. Es tracta del valor de l'intangible.03_ El valor del superflu. Es tracta d'aquell luxe que no aporta cap valor afegit.04_ El valor material. El valor material està íntimament lligat al valor emocional del luxe, doncs, no es tracta tant del cost del material, sinó en les formes i sensacions que amb ell s'aconsegueixen.05_ El valor del refinament. Es tracta del valor qualitatiu del luxe, que porta a evolucionar a les societats.06_ El valor de la innovació. El luxe ha estat al llarg de la història impulsor d'innovacions. La tècnica ha jugat un paper vital, donant lloc a noves possibilitats espacials.La Tesi investiga els valors associats al luxe, identificant-los en l'arquitectura d'Adolf Loos per a mostrar una visió moderna del luxe. Les similituds en les biografies d'Adolf Loos i Peter Zumthor (arquitectes d'Europa Central, tots dos fills de pares artesans, influenciats per les seves vivències als Estats Units, ...) justifiquen l'elecció d'aquest últim com un referent contemporani en la recerca, que estableix un nexe entre aquesta visió de principis del segle XX i l'arquitectura del segle XXI. Així es demostra com aquests valors romanen vigents avui en dia, encara que lògicament la seva translació a l'arquitectura sigui diferent. Finalment es contrasta aquesta visió moderna del luxe amb diferents versions contemporànies del luxe mitjançant diferents converses. Es tracta d'allunyar-se dels prejudicis sobre el luxe per a demostrar com l'arquitectura pot anar més enllà del necessari amb la finalitat de millorar les condicions de vida de l'habitant., Bruns Banegas, S. (2015). Adolf Loos.Visiones del lujo en la arquitectura [Tesis doctoral no publicada]. Universitat Politècnica de València. doi:10.4995/Thesis/10251/55503., TESIS

Attefall-house: Greater than the sum of its parts? I am exploring how to create a small scale space which is more than just a functional space, a space that also provides an architectural experience. I am using the Swedish Attefall-house as a case study. This small, permit-free construction comes with a frame and it has clearly defined rules and limitations. The smallness of it allows for experimentation and in the normally hard-regulated Swedish building climate, it provides an opportunity to try out ideas without having to be too serious. I am trying to create this sensory experience by fusing function and context together with selected architects’ and artists’ ideas. What happens when these seemingly disparate ingredients combine? Will the whole be greater than the sum of its parts? Attefallshus: Större än summan av delarna? Jag utforskar hur man kan skapa ett rum i liten skala som är mer än bara ett funktionellt rum, ett rum som också är en arkitektonisk upplevelse. Jag använder mig av Attefallshuset som fallstudie. Denna lilla, bygglovsbefriade, konstruktion kommer med en ram, den har tydligt definierade regler och begränsningar. Dess storlek tillåter experimenterande och, i det normalt hårt reglerade svenska bygglovsklimatet, erbjuder en möjlighet att testa idéer utan att behöva vara för allvarlig. Jag försöker skapa denna sensoriska upplevelse genom en fusion av funktion och kontext tillsammans med ett urval av arkitekters och konstnärers idéer. Vad händer när dessa till synes disparata ingredienser kombineras? Blir helheten större än summan av delarna?

O artigo tem como intenção discutir a essência e a aparência em Pedreira das Almas, de Jorge Andrade, através da performance da voz das personagens. Segundo Paul Zumthor, a performance é virtualmente um ato teatral, em que se integram todos os elementos visuais, auditivos e táteis que constituem a presença de um corpo e as circunstâncias nas quais ele existe.

[EN] The article analyzes the drawings of several renowned Swiss architects (Herzog & de Meuron, Peter Zumthor, Peter Märkli, Marianne Burkhalter and Christian Kerez) and defends the existence of several common features, denoting a method of eminently conceptual work. These are: the free choice of media and materials, lack of graphic academicism, non-pictorial use of the canvas, expression of the drawing process, the inclusion of texts and annotations, the use of sets and repetitions, the dominance of two-dimensionality and diagrammatic reduction. These features are compared, in some cases, with the work of conceptual artists or close to conceptual art, justifying the thesis defended, [ES] El artículo analiza los dibujos de varios arquitectos suizos de reconocido prestigio (Herzog & de Meuron, Peter Zumthor, Peter Märkli, Marianne Burkhalter y Christian Kerez) y defiende la existencia de varios rasgos comunes, que denotan un método de trabajo eminentemente conceptual. Estos son: la elección libre de soportes y materiales, la falta de academicismo gráfico, el uso no pictórico del lienzo, la expresión del proceso de dibujo, la inclusión de textos y anotaciones, el uso de series y repeticiones, el predominio de la bidimensionalidad, y la reducción diagramática. Estos rasgos son comparados, en algunos casos, con el trabajo de artistas conceptuales o próximos al arte conceptual, justificando la tesis defendida

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2013, Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2013, Dünya üzerindeki mimarlık üretimlerinin ne kadarı yeni bir söz söyler, ne kadarı yeni potansiyellere açıktır? Bu çalışma böyle bir kaygıyla filizlendi. Peki mimarlık eyleme biçimlerini nasıl kapattı? Kuşkusuz gündelik hayatı ve gündelik mekanları kuran sermaye ve (mimarlık iktidarı dahil) otoritenin, bu kapalılıkta etkisi büyük. Bu düzen içinde artık nitelikten çok nicelik üreten mimarlıklar, ürettikleri mekanları da deneyimden yoksun bırakmaktadır. Bu araştırma, mimari üretimin zamanda değişen ve deneyim ile düşünce üreten bir pozisyonda olabileceğini işaret ederek, bazı mimarlıkların ayırdedilebilmesi için, araç edindiği felsefe ile bir eleştiri çerçevesi kurar. Mimarlık ve diğer yaratıcı üretim pratiklerinin eylemselliği açabildikleri aralıkların peşindedir. Bu aralık, Deleuze ve Bergson’un fark ve zaman kavrayışı ile kurulmuş, bu kavrayışı olumlayan mimari örnekler tartışılmıştır. Kavramsal çerçevesi kurulurken, Bergson’un Bölme yöntemi esas alınarak, ikili olarak varlığın hareketi ele alınmıştır. Eyleme biçimlerinin kapalılığı için gerçekleşme, eyleme biçimlerinin açıklığı için ise edimselleşme hareketleri tariflenir. Bu terimler, Deleuze ontolojisinin varlığın hareketi anlatısından (biçimsel neden hareketi ve etkin neden hareketi olarak) gelmektedir. Gerçekleşme diye nitelendirilen sürecin şartları benzerlik ve sınırlandırma, edimselleşme diye adlandırılan sürecin şartları ise fark ve yaratma olarak kabul edilir. Mimarlık pratiğinde üretim sürecine karşılık gelen Gerçekleşme ve Edimselleşme, organizasyonel işleyiş olarak iki tür çoklukta Düzen Çokluğu ve Örgütlenme Çokluğu olarak tanımlanır. Ele alınan örnek üretimler, mekan oluşumları açısından yeni potansiyeller barındıran ve zamansal doğası olan mimarlıklardır. Her yapının edimselleştiği ve edimselleşmediği durumları olabilir. Bu yüzden buradaki örnekler birbirlerinden edimselleşme süreçleri ve koşulları bakımından farklılaşacak şekilde seçilmiştir. Toplu konut gibi kentsel ve yapısal anlamda katı bir mimarlık üretiminin edimselleşmeye ne kadar açılabildiği Paris 17° konut bloğu projesiyle; dini bir yapı olarak hem de tek aktörlü üretim olan Zumthor’un Bruder Klaus Şapel inin edimselleştiği süreç ve virtüellikleri; ve son olarak örgütlenme biçimlerinin en görünür olduğu örnek olan HafenCity Üniversitesi projesi UdN in edimselleşme süreçleri tartışılmaktadır. Edimselleşme ile düşünebilmek, yaratıcı üretim pratiklerine bir eleştiri gözlüğü sunabilir, hem de henüz tasarlanmamış gelecek üretimler için, eyleme biçimlerine yönelik açıcı bir bakış açısı olabilir. Çalışmanın niyeti, inşa edilmiş yapıları anlamlandırmak değil, (anlamlandırmak dışsallaştırmak olurdu), özgürleştirici bir düşünsel yaklaşımı, bu tarz bir üretimin alanına yaymaktır., Architecture around the world, has become a discipline of building quantity rather than quality. How many of them bring forth new potentials? Proportionally, it must be so less when it is considered that there are so much investments in construction in recent years. What stops innovation? Apparently capital and authority are the fundamental issues of underlying causes. The space and everyday life which goes throuh that space are determined by those causes. And that brings on spaces which are lack of experience. Actually, this study is mostly interested in the conditions which make architecture open for change, rather than the conditions which close it. Everything “designed”is brand new and different. So where is the line when you say that a building is “different” or “qualified”? According to this study, it is about vitality and time concept of designed space. To analyse spaces in the concept of time, philosophy of Henri Bergson and Gilles Deleuze is used as a tool. By the help of “the division method” of Bergson, the frame is set up in comperatively two paths. In the first one, the “formal cause movement” of the being is belong to a linear time belief. So it is a passive movement which the being doesn’t change itself, or make others change. The second one “efficient cause movement”, is about being’s producvitiviy and producibility. “Formal cause” is the movement of the “possible” and “efficient cause” is the movement of “virtual”. Possible turns into “real”, virtual turns into “actual”. To make this terminology of virtual and actual clear, we need some definitions. “Possible” and “Virtual” are two of the terms which Bergson used in his books ‘Time and Tree Will’ and in ‘Matter and Memon’. “The real” is what exist here and now, “the possible” is what can exist. What can happen always depends on what already happens. The possible turns into real by “realization”. On the other hand “virtual” is not a possibility, it is an alternative reality which has not been realized. Virtual comes up to life as by “actualisation”. Moreover, the rules of realization are resemblance and limitation. And the rules of actualization are difference and of creation. In order to be actualized, the virtual must create its own lines of actualization in positive acts. Meanwhile, according to the division method, beings can be divided according to their difference type. “Difference in kind” and “difference in degree”. Since operating architecture can be perceived as “the organization of space”, and the output of the movements are mostly “multiplicity”, the last part of the theoretical frame is very related to architecture. “Multiplicity of order” is related to realization, since it is a predicted and static event. On the other hand “the multiplicity of organization” is related to actualisation since it is an unforeseeable event. Multiplicity of order has differences in degree which are homogeneous and static. On the contrary multiplicity of organization has differences in kind which are heterogeneous and changing. Eventually the direction of the study is going to be in the context of “virtual” and “actual” of Bergson reading of Deleuze, tracing the differentiation lines of some architectural projects. It is a critique of realisation and an affirmation of actualisation. Since it is about multiplicity, event is the thing now, not the being. So this study is chasing experience and change in space. During actualisation things change over time. What is the act of making difference in architecture? When people feel themselves in space, they feel like they can change something. They can feel it if the space is “open” to effects of time, nature and people. They realize that being in a space makes a difference. Even though they were generated with an architect/ architects, the three case studies are spaces where they are open to change over time. The projects mentioned are like they are planned and drawn as the “possible”. Then during realization it differentiates (from what was planned). So it is actualized. Therefore it means it is managed to design the “virtual”. The first one is Bruder Klaus Chapel of Peter Zumthor. The actualisation takes place in the process of thei construction because of the way the wood is used. Therefore you can see changes in material. It is not possible to represent the walls constructed by burning the tree logs down. It is an experience. And also the space itself is also “living” or “vital” because it is not resisting against time. It differentiates in time. The second one is Paris 17° housing blocks by Lacaton, Vassal and Druot. It is an existing building, which was planned to be demolished and built a new one. The group of architects (their name is “Plus”) suggests not to demolish it, but to extend the building outwards of its border. This is creating a potential, which can change itself and affect others. The actualisation occur in the process of organization and will also occur during the life of the building. The actors related to this project are the city authorities, architects, the people living in the building and the other residents of the city. Plus architects, managed to organize multiplicity and let each user affect and develop the space. In the end each apartment has “unprogrammed extra space” to change it. What is more, the public areas of the block is also extended. Building turned into a luxury housing apartment, not in general meaning, but for personal meaning. The third and the last one is UdN (University of Neighbourhood) project of HafenCity University in Hamburg. It is an old building, which is going to be demolished. HCU owns the building for five years and use it as a both 1/1 scale space production and to make research in the district including itself. They reuse waste materials from other construction sites. Design process, construction process, living process and even the process of organization of the actors are mixed altogether. In every moment it is being used, and everytime it is in change. For every programme, a new organisation is created. And during that programme it is rebuilt for several times. Neither the building nor the actors resist to change in time. The users can feel the vitality of the space everytime. It is “operating architecture” by creating differences and experience. In conclusion, actualisation as a thinking method for creative design practices such as architecture, provides a critique filter. The intention of the study is not to give meaning to the space, it would be extrinsic. However it is expected to create a liberating and intellectual approach of space of built environment. It seems important to liberate operating architecture from the capitalist system and the authorities, to create a differentiation line for itself., Yüksek Lisans, M.Sc.

En este articulo se presenta la obra del pintor suizo Helmut Federle, que tras un aparente minimalismo geometrico esconde una complejidad basada en los matices sensoriales, las referencias simbolicas y las contradicciones provocadas. Ademas de su obra artistica individual, Federle ha realizado varios trabajos en colaboracion con algunos arquitectos, como Herzog y de Meuron, Adolf Krischanitz o Roger Diener. Existen importantes conexiones entre la obra pictorica del artista y la arquitectura de estos, lo cual se demuestra analizando comparativamente la obra del pintor y de los arquitectos, sus respectivas argumentaciones teoricas, asi como sus mutuas aportaciones; y por supuesto sus dibujos, entendidos en ambos casos como un instrumento de experimentacion e ideacion espontanea. Palabras clave: Federle, pintura, minimalismo, Herzog y de Meuron, Zumthor.

This essay considers noise in architectural discourse as it might lend form to issues hitherto tabled in rather different terms. We ask what noise offers this discussion or, perhaps better put, what seeing architectural debates in terms of distinctions between noise and silence, random and structured sound, silence as absence and pregnant void might add to disciplinary debates within architectural theory and criticism. By treating these acoustic values analogously rather than literally we wish to suggest that reading the late postmodern moment through this filter opens out new possibilities for a critical assessment of this period and its present-day legacies.

The general qualities of Peter Zumthor’s work, an extremely careful, sensitive, slow and respectful craft, make his nearly perfect architecture a very interesting object for analysis and research. All the more so in these times of vertiginous production and an almost blind exaltation of the new and the original, a time when the discipline of architecture, and consumer society in general, are moving more and more away from constructive traditions and from the wisdom of master builders. His work is a somewhat ‘resisting’ position, a fruitful and hopeful moving forward against the current, carried out on the basis of a very special reading of the place and its traditions, a very wise and precise selection of materials and a desire to approach technical and sensitive excellence in each and every aspect of the process and the built result.

RESUMEN El presente articulo trata de profundizar, a traves del estudio del museo Kolumba, en algunos condicionantes especificos que posee el proyecto que debe trabajar con arquitecturas del pasado, destacando entre ellos el modo en el que el objeto de partida queda incluido y contenido en el resultado final. La realidad ultima que el edificio construye, mediante la interpretacion de lo preexistente, es el espacio invisible de la memoria (la pieza ausente). Las intervenciones llevadas a cabo a raiz de la destruccion de la iglesia de Santa Columba en la Segunda Guerra Mundial hasta la inauguracion del presente museo nos permiten entender el proyecto de Zumthor como la culminacion de una trayectoria iniciada anos atras por Rudolf Schwarz con la reconstruccion de Colonia. La sensibilidad y la convergencia interpretativa de los sucesivos autores que en este espacio intervienen originan una lectura conjunta que trasciende la personalidad individual de cada uno de ellos. Se tratara tambien en este articulo de la obra de tres artistas, presentes en el museo, especialmente vinculados a la memoria del sitio y de la destruccion desde opticas y modos creativos diferentes: Ulrich Tillman, Bill Fontana y Richard Serra. SUMMARY Through the study of the Kolumba Museum, the article attempts an in–depth study of some specific determinants that the plan must have in order to work with architectures from the past, emphasising the way in which the initial objective is encompassed in the final result. Through the interpretation of the pre–existing, the final reality that the building constructs is the invisible space of the memory (the missing piece). The interventions carried out as a result of the destruction of the church of Santa Columba in World War II until the inauguration of the present museum, allow us to understand Zumthor’s plan as the culmination of a process begun years ago by Rudolf Schwarz with the reconstruction of Cologne. The sensitivity and the interpretive convergence of the successive authors who intervened in this space resulted in a joint interpretation that transcends the individual personality of each of them. The work of three artists represented in the museum will be discussed. They are specially connected to the memory of the site and the destruction from different viewpoints and creative methods: Ulrich Tillman, Bill Fontana and Richard Serra.

The general qualities of Peter Zumthor’s work, an extremely careful, sensitive, slow and respectful craft, make his nearly perfect architecture a very interesting object for analysis and research. All the more so in these times of vertiginous production and an almost blind exaltation of the new and the original, a time when the discipline of architecture, and consumer society in general, are moving more and more away from constructive traditions and from the wisdom of master builders. His work is a somewhat ‘resisting’ position, a fruitful and hopeful moving forward against the current, carried out on the basis of a very special reading of the place and its traditions, a very wise and precise selection of materials and a desire to approach technical and sensitive excellence in each and every aspect of the process and the built result.

Članak opisuje doprinos Paula Zumthora proučavanju književnosti.

This masters project is a media center (radio and television station) for the Radio e Televisiun Rumantscha, located in Chur, Switzerland. Developed while studing at the Accademia d' Architettura under the direction of Peter Zumthor, the new media acts as a new headpiece to the historic district of Chur. Though contextual with its surroundings, the media center remains unique through its flowing interior spaces, positioning of techinical rooms and large window fields. Master of Architecture

The following thesis is comprised of a pair of projects focused on the making of architecture through the concept of framing. The work was conducted at the Academia d'Architettura in Mendrisio, Switzerland, under the direction of Peter Zumthor, Miguel Kreisler and Myriam Sterling, emphasizing the relationship between ordered structures and contextual propriety. The making of architecture is inherently most pure when approached as the subtraction of unnecessary elements and a distillation of what is required for a specific program on a particular site. Life is given to structure through habitation; therefore the senses of the inhabitant must be engaged through interaction with the philosophical and tectonic elements of a place. In this didactic, the structure is made complete by its inhabitation and it completes the sensory framing of place by establishing the vantage point of the inhabitant. The confluence of inhabiting space and marking place together result in an architecture of experience. Master of Architecture

Resumen El artículo se centra en la escena suiza contemporánea, y presenta diversos ejemplos de cómo es expresada visualmente la esencia atmosférica en el proyecto arquitectónico. [Resumen] El texto se estructura relacionando la atmósfera con varios aspectos: el lugar, la escala humana, la luz y el aire. Entre los arquitectos tratados se incluyen Herzog & de Meuron, Peter Zumthor, Christian Kerez, Gigon & Guyer, Miroslav Šik y Philippe Rahm. Se distinguen dos modos de expresión: los de carácter abstracto y diagramático y los que buscan la previsualización realística. En ambos casos, lo importante es la capacidad de evocar la vivencia de la arquitectura proyectada. [Abstract] Th e article focuses on contemporary Swiss scene, and presents several examples of how atmospheric essence is visually expressed in architectural design. Th e text structure considers the relationship between atmosphere and other variables: the place, the human scale, light and air. Among the architects covered are Herzog & de Meuron, Peter Zumthor, Christian Kerez, Gigon & Guyer, Miroslav Šik and Philippe Rahm. Two approaches can be identifi ed: an abstract and diagrammatic, and a realistic. What matters, in both cases, is the ability to evoke the experience of the designed architecture.