Lightness and PainBuildings13Protective Housing for Roman Archaeological Excavations,Chur,Graubunden 1985-86名Zumthor Studio,Haldenstein,Graubunden,1985-8653Caplutta Sogn Benedetg.Sumvitg.Graubunden,1985-198875Homes for Senior Citizens,Chur,Masans,Graubunden,1989-199397Gugalun House,Versam,Graubunden,1990-1994117Spittelhof Estate,Biel-Benken,Baselland,1989-1996143Thermal Bath Vals,Vajs.Graubinden19201Kunsthaus Bregen2,Bregenz,Austri通，1990-1997/入253TracesHelene BinetProjects256Community Center,Landquart,Graubunden,1987258Apartment Building with Stores in Zurich's Old Town,1988262Holiday Hotel,Swiss Association of the Blind,Willerzell,Schwyz,1989264Burghalde Apartment Building,Baden,Aargau,1989266Mountain Restaurant and Cable Car Station,Rothorn,Valbella,Graubunden,1990270"Topography of Terror,"International Exhibition and Documentation Center,Berlin,1993-278Lindau Casino,Lake Constance,Germany,1995282Herz Jesu Church,Munich,1996286Kolumba,Diocesan Museum,Cologne,1997-292Villa in Kusnacht on Lake Zurich,1997294Swiss Pavilion Expo 2000,Hanover,1997-298Laban Centre for Movement and Dance,London,1997305List of Works310Biography311Awards,Exhibitions313Bibliography318CollaboratorsZ.dZ沁 When I try to identify the aesthetic intentions that motivate me in theprocess of designing buildings,I realize that my thoughts revolvearound themes such as place,material,energy,presence,recollec-tion,memories,images,density,atmosphere,permanence,andconcentration.During the course of my work,I try to give theseabstract terms concrete contents relevant to the actual assignment,keeping in mind that what I am designing will be part of a place,partof its surroundings,that it will be used and loved,discovered andbequeathed,given away,abandoned,and perhaps even hated -inshort,that it will be lived in,in the widest sense.Martin Heidegger gave the title "Bauen,Wohnen,Denken"("Building,Dwelling,Thinking")to an essay with his reflections on what it meanswhen men build homes and live in specific places.Building,dwelling,and thinking are activities which belong together and which men useas ways to learn about and be part of the world.Heidegger observedthat our thinking,as abstract as it may seem,is closely connectedwith our experience of place.This has something to do with the factthat man exists in places,that it is from places that he forms his rela-tionships with the world-or simply,that he lives in the world.Thus,the thought process is not abstract but works with spatialimages.It has sensuous components.It uses the images of placesand spaces to which we have access,which we remember.In otherwords:thought travels through a specific space which contains tracesof place and architecture.筑Z.ZC.RET When I design,I try to use the spatially associative quality of thought.I regard the store of personal and collective experiences of dwelling,of having been in places and spaces that we have stored in ourbodies,as the fertile ground and starting point of my work.It is fromthis wealth of experience that the first images emerge,the imagesfrom which the new and innovative form and presence eventuallydevelop.For me,the work on the design is a process which beginswith and returns to dwelling.In my mind,I envisage what it will feellike to live in the house I am designing,I try to imagine its physicalemanations,recalling at the same time all the experiences of placeand space we are capable of making,those that we have made andthose that we have yet to make,and I dream of the experiencesI would like us to make in the house as yet unbuilt.曲当津麦7.79CNEThus,the quest for the new object that I shall design and buildconsists largely of reflection upon the way we really experience themany places of our so different dwellings throughout the world-in aforest,on a bridge,on a town square,in a house,in a room,in myroom,in your room,in summer,in the morning,at twilight,in the rain.I hear the sounds of cars moving outside,the voices of the birds,andthe steps of the passers-by.I see the rusty metal of the door,theblue of the hills in the background,the shimmer of the air over theasphalt.I feel the warmth reflected by the wall behind me.The cur-tains in the slender window recesses move gently in the breeze,andthe air smells damp from yesterday's rain,preserved by the soil inthe plant troughs.Everything I see,the cement slabs that hold theearth,the wires of the trellis,the chiseled balusters on the terrace,the plastered arch over the passageway they all show traces of典鬃sesand of dwelling. And when I look more carefully,the things I see start to tell me some-thing about why,how and for what purpose they were made.All thiscomes to light,or is concealed,within their form and presence.I am impressed by the natural,self-evident presence of an ensemblethat rings true,a milieu or a room that fits.Did the harmony betweenthe work of nature and the work of man,the interplay between den-sity,lightness and void,between sounds and smells,light and shade,materials and forms occur naturally or was it carefully composed?The casual passer-by,inhabitant or stroller,who could be me,is notconcerned with such questions.He is concerned with houses andspaces that fit,that blend with their surroundings and are attuned totheir use.He is concerned with places and houses that make him feelat home that leave him free to live in peace while giving him incon-spicuous support,that make him look good,and that charm him withunexpected attributes.I like the idea that the house I build contributes to the atmosphericdensity of a place,a place which its inhabitants and passers-by willremember with pleasure.筑Z.Z
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