Peter Zumthor Quotes

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.

Architecture is not about form

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.

Architecture to me is whole. I cannot say I only care about this 25% and the other 75% I let go... it's just I want to work the way I want to work. In my shop, you can order certain things and other things you cannot. They are not available.

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.

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

I think space, architectural space, is my thing. It's not about facade, elevation, making image, making money. My passion is creating space.

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.

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

Designing is a matter of concentration. You go deep into what you want to do. It's about intensive research, really. The concentration is warm and intimate and like the fire inside the earth - intense but not distorted. You can go to a place, really feel it in your heart. It's actually a beautiful feeling.

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

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.

There is still a real need for good quality architecture, not paper architecture, but the real stuff.

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.

What I try to do is the art of building, and the art of building is the art of construction; it is not only about forms and shapes and images.

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

When I concentrate on a specific site or place for which I am going to design a building, I try to plumb its depths, its form, its history and its sensuous qualities.

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

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.

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.

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

I've said goodbye to the overworked notion that architecture has to save the world.

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

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.

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.

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.

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

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.

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 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.

Small museums are great. Big museums are a drag.

You feel a certain way in a glass or concrete or limestone building. It has an effect on your skin - the same with plywood or veneer, or solid timber. Wood doesn't steal energy from your body the way glass and concrete steal heat. When it's hot, a wood house feels cooler than a concrete one, and when it's cold, the other way around.