Peter Zumthor: Kunsthaus Bregenz Museum (1997)

The intensity of a brief experience, the feeling of being utterly suspended in time, beyond past and future—this belongs to many, perhaps even to all sensations of beauty. Something that has the radiation of beauty strikes a chord in me, and later, when it is over, I say: I was completely at one with myself and the world, at first holding my breath for a brief moment, then utterly absorbed and immersed, filled with wonder, feeling the vibrations, effortlessly excited and calm as well, enthralled by the magic of the appearance that has struck me. Feelings of joy. Happiness. The countenance of a sleeping child, unaware of being watched. Serene, undisturbed beauty. Nothing is mediated. Everything is itself. The flow of time has been halted, experience crystallized into an image whose beauty seems to indicate depth. While the feeling lasts, I have an inkling of the essence of things, of their most universal properties. I now suspect that these lie beyond any categories of thought.

Peter Zumthor, Thinking Architecture

Architect Peter Zumthor

Peter Zumthor - Saint Benedict Chapel, Sumvitg 1988

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"Dear To Me," by Peter Zumthor https://www.pinterest.es/pin/643170390554960526/

Peter Zumthor |  Hermitage Sogn Benedetg | studio_magga

Peter Zumthor

Thermes Val by Peter Zumthor. Photo @jonathanducrest

Peter Zumthor, Saint Benedict Chapel, Sumvitg, Switzerland, 1988 VS Unfinished swimming pool, Poggioreale, Italy, 2015 ph. Giuliano Severini

The Red Concrete Room · Kunsthaus Bregenz · Austria

As I entered the building, I felt as if I were putting on a coat. The moment of entry was not marked by a specific threshold but by the sudden change of perception. My experience was discontinuous in the sense that the outside was incompatible with the inside; the process of transition resembled a series of cuts in a cinematic montage. Hearing, smelling, touching and seeing were inseparably intertwined. The warmth and softness of the wooden floor under my shoes clearly differed from the coolness of the concrete steps. Inside the chapel, the smell of the wood was radically different from outside, where the scent of the forest mixed with the meadow. Because the floor seemed to be suspended, I felt like I was part of a resonant body, walking through some kind of huge instrument that echoed the noise of my footsteps. The light was unexpectedly bright. However, because there was no view to the outside, I was taken aback. While approaching the chapel my movement had been linear, so to speak. Once inside, however, the teardrop-shaped floor plan directed my movement into a loop, or spiral, until I eventually sat down on one of the massive wooden benches. For believers, this was certainly the moment for prayer. For me, it became a moment of great attention, where the memories of my trip to the chapel, the transition from the outside to the inside, the various sensations, and the reflection of the site blurred together.

Philip Ursprung, Professor of Modern and Contemporary Art, University of Zürich, Earthworks: The Architecture of Peter Zumthor, The Pritzker Architecture Prize, Peter Zumthor, 2009 Laureate

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Zumthor Studio - cryptic.k

Peter Zumthor https://www.pinterest.es/pin/821344050811009491/

Peter Zumthor | Bruder Klaus Feldkappelle | SOLO