1) How does Peter Zumthor talk about the "Magic of the Real" and explain how this compares, in terms of the subtleties, to Michael Benedikt's "Architecture for Reality"?
Benedikt and Zumthor both speak of the experience of architecture and the emotions that different atmospheres present to us. Zumthor speaks more of how to generate these atmospheres explaining how certain aspects are attainable through architecture. Benedikt looks more at atmospheres and certain degrees of reality that have already been produced and explains how architecture is presented to us.
2) Material Compatibility, Temperature of a Space and Levels of Intimacy are some conditions that both Peter Zumthor, in “Atmospheres”, and Richard Serra, in “Weight and Measure”, make a point of articulating when consider space. Where in their explanation of these overlapping conditions are they similar and where do they differ?
Material Compatibility- Zumthor speaks of material compatibility as the interaction between materials and the composure of these materials giving a rise to radiance. He also explains materials to be endless because of all the ways that they can be spaced, manipulated and applied. Serra can relate to this in the way that he did not want any part of his structure to be symbolic. This was accomplished by non object based work and his choice of material. He wanted his work to be viewed without restriction or distraction in order to give an extra degree of purity to his sculpture. He also considered spacing and repetition that Zumthor explains to be another endless quality.
Temperature of a Space- Zumthor defines temperature of space as being material based and the sense of warmth that some materials are able to give off. He speaks of the physiological relationship through the absorption of body heat and the literal relationship that wood is warmer than steel. Serra defines the temperature of space as a more object based relationship between the body, room, and sculpture. He did not want his sculpture to be a sculpture of the space condition that the octagonal volume formed. He also dealt with the vertical and horizontal axis that represented the space around the sculpture.
Levels of Intimacy- Zumthor speaks of this intimacy as the relationship between the scale of the body and the spaces that it interacts with. He concentrates on thresholds and passageways. Serra notices this scale as well when he deals with a 1 to 1 relationship in his sculpture. Because of this the mind is not concentrating on understanding scale, and is free to concentrate on the work itself. He also considers this in the dimensions of the rectangular room, making sure that the space does not distract viewers from his work.
3) Zumthor looks towards experiential conditions when creating architecture, what are other methods architects use when generating architecture and what is the corresponding building?
Some that we spoke of in seminar was proportionality of classical architecture and measurement, unit based approach, algorithmic investigation, programmatic approach, and the formal investigation. I think that the algorithmic approach is a very important aspect to generating architecture. This was touched on some by Stan Allen in Field Conditions. When speaking of the Cordoba Mosque he explains how it started with one set condition. This was the field condition of column spacing. Replicating this condition the mosque was formed to provide vast spaces to hold bodies. Without starting with this condition the mosque wouldn’t have been able to provide enough space for its guests. It also wouldn’t have the sense of unity and spirituality that it does today.
4) For Zumthor at the end of the day, after figuring use, sound, place, light and the other listed conditions, if the coherence isn’t beautiful the process is started again. Beauty is simultaneously subjective for the individual, as held “in the eye of the beholder”, and universally recognizable. Define your subjective understanding of what beautiful architecture is.
I believe that beautiful architecture is architecture that relates to the site on which it is placed and that is sound with the environment that surrounds it. I think this is accomplished by what Zumthor would describe as material compatibility, levels of intimacy and surroundings. I believe that a building should look natural on its site, and that it should be unique to it in the way that it would not fit on any other site. Almost as if the site was created by nature only for one building. A building with a strong sense of belonging.
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