Even with the huge amount of architecture media available online, books still hold an unrivaled amount of information that websites and online journals just can’t provide...

A grande richiesta, abbiamo deciso di pubblicare sul sito le lunghe e straordinarie interviste apparse sul magazine cartaceo dal 2009 al 2011. Quaranta trascinanti conversazioni con i protagonisti dell’arte contemporanea, del design e dell’architettura. Una

Peter Zumthor is the Swiss architect who designed Therme Vals- the baths that made him known worldwide. He won many prizes for his works including Pritzker.

Desde 1998 referente de la cultura arquitectónica: METALOCUS es una publicación independiente dedicada a la arquitectura y más, mucho más ...

Image 1 of 21 from gallery of The Therme Vals / Peter Zumthor. Photograph by Andrea Ceriani

This article is part of an installment of essays and examples illuminating the essence of good architecture, which comprises of empathy, experience and beauty. The exploration of Peter Zumthor’s thermal baths in Vals, Switzerland, represents architecture as an extraordinary sensory experience.

Kolumba Museum / Peter Zumthor Photos © rasmus hjortshøj – COAST

Image 5 of 13 from gallery of Peter Zumthor's Bruder Klaus Field Chapel Through the Lens of Aldo Amoretti. Photograph by Aldo Amoretti

A look at the architecture of Peter Zumthor, who has won the prestigious gold medal at the Royal Institute of British Architects

Imagem 25 de 26 da galeria de Clássicos da Arquitetura: Capela Saint Benedict / Peter Zumthor. Fotografia de Marco Masetti

peter zumthor has presented plans to extend the fondation beyeler, an art museum located near basel in northwest switzerland.

Chur, Masans, Switzerland, 1989-1993 "The building is designed for residents who can still live on their own and look after themselves. It faces the Kronengasse and the old center of Masans. At the rear is the existing old people's home, whose nursing facilities can be used as required. The new building and the existing complex form a loose configuration, a kind of suburban ‘farmstead’ arranged around a spacious courtyard. Existing features, such as the low wall alongside the Kronengasse, a shed and a mighty lime tree, were incorporated into a new entrance situation, which now looks as if it had always been like that. The mood is informal and rural. Throughout the complex, consisting of 21 apartments, a guest room and a staff room, all connected by external corridors, one can see evidence of the declared design objectives, i.e. the creation of a rural atmosphere in a suburban setting, the sensuous presence of the materials (a basic triad of exposed concrete, tufa and larchwood), and clarity and legibility of construction detail. We want the building to seem relaxed and informal, like a big ‘rock’ in the open expanses of a mountain landscape, expertly worked with precise, careful, perhaps even old-fashioned craftsmanship. The apartments, although small, appear large, with bedroom doors which, when closed, seem to disappear into the built-in cupboards on either side. We want the inhabitants to feel at home, an impression enhanced by the use of elements which they recognize from their own lives in the surrounding villages: timber flooring that sounds hollow when you walk on it; wooden paneling on tufa walls; an integrated veranda protected from the wind; in a front corner of the wall, an oriel window with a view up the valley towards the evening sun; and the birchwood-clad kitchenette, a window through which one can see an inquisitive glance onto a private patio in the outdoor corridor or watch the comings and goings on the east side of the courtyard. The plan of the building is based on the idea of solid elements (supporting masonry piers, solid sanitary blocks, nonsupporting wooden boxes) placed at regular intervals in the overall ground plan within a large, flowing continuum of space." Text by Peter Zumthor. "The residents are welcome to furnish as they please their section of the large entrance porch to the east, which they overlook from their kitchen windows, and they make ample use of this opportunity. The sheltered balcony niches and the living room bow (bay) windows on the other side face west, up the valley, towards the setting sun". (font: dezeen.com). "The cells are more like big pieces of furniture themselves since their volume and partitioning doesn't seem to touch the ceiling and floor. The rhythm created as the cells move in and out and the play between depth and surface make the cells appear like individual notes of a musical score". (font: Ludwig Abache)

Image 2 of 22 from gallery of The Noble Simplicity of Peter Zumthor's Allmannajuvet Zinc Mine Museum. Photograph by Aldo Amoretti

Proof that working from home is a perk.

Peter Zumthor, Zumthor House, Haldenstein, 2005

Image 19 of 137 from gallery of A Photographer's Journey Through Zumthor Valley. Photograph by Felipe Camus

peter zumthor is an acclaimed swiss architect whose work is frequently described as uncompromising and minimalist. zumthor won the pritzker prize in 2009.

Explore small_moon's 233 photos on Flickr!

This project caught my eye from the first moment I saw it. The Steilneset Memorial is composed of two pieces- one completely by Peter Zumthor, the other an

Image 32 of 49 from gallery of Peter Zumthor's Therme Vals Through the Lens of Fernando Guerra. Photograph by Fernando Guerra | FG+SG

danish photographer rasmus hjortshøj has shared new images of peter zumthor's kolumba museum in the german city of cologne.

Peter Zumthor's home in the Swiss Alps, designed for his wife Annalisa and made from an array of woods including Canadian and Swiss maple.

The Briol guesthouse in Southern Tyrol, Italy, was built in the year 1928 by the painter Hubert Lanzinger. This is a hideout for lovers of the simple "freshness of summer". The mountain guesthouse is at an altitude of 1300 meters. After climbing through forests and mountain meadows, it takes an hour from the village of Barbian to reach it on foot. Briol is an old-style mountain hotel, intended primarily for summer occupation. Two of the parlours can be heated with wood stoves; the modest bathrooms and toilets are in the hallway. In the spacious rooms with large balconies, old-fashioned washing bowls and jugs of water are placed on wooden tables. Both owners, Johanna and Urban von Klebelsberg, and log-term guests have no desire to change any of this. However, for people who wish or need to have more comfortable facilities, for families with children or for small groups, Peter Zumthor has designed five freestanding "tree houses" on stilts. Situated at the edge of the woods to the west of the old guest house, each of the small buildings consists of one main living room and a large outdoor deck that looks out over the valley with a view of the Dolomites. The combination of such a view and life among the trees is such an impressive experience that the architects have to do little more than provide a good place to be and enjoy. The pile dwellings among the trees are basically annexes of the main building, with their own bathrooms and roomy service spaces. Meals are served in the main building. In winter when there's a lot of snow and the main "Briol" is closed, it will still be possible to use one or another of the small houses because there are wood stoves in the living rooms as well as small cooking niches. "Galerie Gross" Four-bed unit with separate "sleeping knapsack" and a gallery bedroom. Under the gallery facing the mountain: the vestibule and a small kitchen. "Rucksack" A tall, slender living room with a view and a separate bedroom suspended above, a "Rucksack" for up to four beds, with a view of the tree tops. "Mini" A large room with four beds and a larger balcony, surrounded on three sides by service spaces - the smallest unit, more to sleep in than to live in. "Gallerie Klein" A side entrance with a small kitchen, a tall living room with an outdoor deck, two beds on the gallery and down below a double bed behind the living room. "Türmchen" The traditional layout of a parlour with sleeping chamber above it. A long deck in front of the living room and, once again, a U-shaped layer of service spaces acting as a buffer around the living room.