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大师讲谈|彼得•卒姆托的自述第1张图片


彼得•卒姆托(Peter Zumthor)说,我正在努力改变我那神秘的名声
I'm trying to change my mysterious reputation, says Peter Zumthor

由专筑网缕夕,李韧编译

在五十年的职业生涯中,瑞士建筑师彼得•卒姆托(Michael Zumthor)仿佛是一个传说,他对于媒体一直保持低调。他与Dezeen记者谈到试图通过网球明星罗杰•费德勒(Roger Federer)的来消除自己神秘的名声。

卒姆托,今年74岁,1979年他成立了自己的工作室和画室,它们位于瑞士东部的哈尔登施泰因的一个山村,是个约30名成员的小团体。

他的工作室规模小、地理位置偏远,慕名而来的客户时常要经受漫长的等待,这些已经让他在媒体面前成为一个“隐居的山地隐士”的形象。

但是,卒姆托正在努力摆脱这个称号,他在接受采访时告诉Dezeen记者,他正在为伦佐•皮亚诺设计的巴塞尔基金会画廊进行扩展工作。

他说:“有趣的是,我的这种形象始终挥之不去而我尽力改变它。” “谁知道我说的‘但是你不像人们说的那样’,不是传闻呢!”

“我认为15年前,我试图让自己不受影响,所以我的反应可能有点苛刻。”他补充说,“但是即使这样,事实也并非如此,我并不愿意封闭自己,现在依旧不是。”

Swiss architect Peter Zumthor has attracted a cult following over his five-decade career, but kept a famously low profile in the media. He spoke to Dezeen about trying to dispel his mysterious reputation by taking cues from media-shy tennis star Roger Federer.
Zumthor, 74, works with a small team of around 30 based in Haldenstein, a mountain village in eastern Switzerland where his studio Atelier Peter Zumthor has been based since 1979.
The scale of his studio, its remote location and the notoriously rigorous vetting and waiting process his clients experience have contributed to his media portrayal as a "reclusive mountain-dwelling hermit".
But it's a reputation Zumthor is trying hard to rid himself of, he told Dezeen in an interview at the Fondation Beyeler in Basel, where he is working on an extension for the Renzo Piano-designed gallery.
"It's interesting that it's still lingering on. I'm doing my best to change this image," he said. "Whoever knows me says 'but you're not like people say', but that's not how the rumour goes!"
"I think 10, 15 years ago I tried to protect myself much more from influences. I was then maybe a bit harsh in my reaction," he added. "But even then it was not true. A myth. But then I was more reluctant and closed, and now I'm not."

大师讲谈|彼得•卒姆托的自述第2张图片

瓦尔斯温泉浴场于1996年开业,是卒姆托最著名的建筑之一。自从在1979年成立了彼得•卒姆托工作室(Arelier Peter Zumthor)之后所完成的大约20个项目其中之一/Therme Vals, which opened in 1996, is one of Zumthor's best-known buildings. It is one of around just 20 projects completed by the architect since he set up Atelier Peter Zumthor in 1979. Photograph by Fernando Guerra

卒姆托也没有官方网站,在过去曾经回避电话采访,使得记者必须去他的工作室采访他。记者报道的故事引起了读者们的兴趣,而随着他的各种优秀作品的诞生,他的名声变得更加复杂。

当卒姆托赢得2009年普利兹克奖,评委团表示他的工作是“不变的时尚”。

而在2013年卒姆托RIBA金牌获胜的文章中,卫报的建筑评论家Oliver Wainwright把他称为“建筑的神秘人物”。

Wainwright写道:“他具有神秘的名声,作为一个隐蔽的山地隐士,一种材料的修道士,他的标准很严格,因此很少有客户有足够的耐心,或者足够的钱来放纵他无法妥协的做法。

但是,卒姆托表示他现在采用的方式是根据瑞士网球运动员罗杰•费德勒(Roger Federer)的办法,虽然他通常是不情愿的,但仍然很放心地接受受访。
卒姆托说:“我的孩子已经教过我了,我应该更温柔。我的儿子说,你应该像罗杰•费德勒,你知道,如果有人上来就说‘拍个照吧’,‘好的’——这是一个好人的表现,没关系,去做吧。”

记者专程从欧洲各地飞来参加这次的新闻发布会,他公布了他在家乡巴塞尔的贝耶勒基金会的三个花园亭子的设计方案。

他为这个采访戴上耳机麦克风,并来到地板上,随后在房间里解释了他的手绘模型和图纸。相机的快门声大得几乎盖过他的说话声。

Zumthor, who has no website, has in the past shunned phone interviews in favour of summoning journalists to his studio. They have gone on to regale readers with tales of their pilgrimages and compound the "myth" that has grown up around his practice.
When Zumthor won architecture's most illustrious award, the Pritzker Prize, in 2009, even the jury remarked on his decision to keep his practice small and secluded, but concluded that it kept his work "untouched by fad or fashion".
And in an article marking Zumthor's RIBA Gold Medal win in 2013, The Guardian's architecture critic Oliver Wainwright dubbed him "architecture's man of mystery".
"He has a mythic reputation as a reclusive mountain-dwelling hermit, a monk of materials, with standards so exacting that few clients have the patience, or deep enough pockets, to indulge his uncompromising approach," wrote Wainwright.
But Zumthor says he's now trialling a more relaxed to approach to publicity based on the unlikely role model of Swiss tennis player Roger Federer – often a reluctant but relenting interviewee.
"My children have taught me I should be much softer," said Zumthor. "My son said, 'you should be like Roger Federer, you know, if someone comes up say "yeah, take a photo", "yeah, [have a] signature" – be a nice guy, it doesn't matter, do it'."
Journalists flew in from all over Europe to do just this at a press conference unveiling his plans for three garden pavilions at the Fondation Beyeler in his hometown of Basel.
He donned a headset microphone for the occasion and took to the floor – followed by the room – to explain his hand-rendered models and drawings of the scheme. His explanations were almost inaudible over the clicking of camera lenses.

大师讲谈|彼得•卒姆托的自述第3张图片

卒姆托目前正在完成伦佐•皮亚诺设计的巴塞尔基金会博物馆的扩展设计/Zumthor is currently working on a trio of building to extend the Renzo Piano-designed Fondation Beyeler in Basel

项目将在2021年完成,由于卒姆托以前的项目耗时较长,所以这次项目的时间同样难以预料——这将会让他的建筑工程数量提高到20个左右。

他将他对建筑的缓慢而不妥协的做法,与一位作曲家或一位艺术家相比较。

卒姆托说:“我像一个艺术家一样工作,我画自己的画,我不能将我的画委托给别人。我要做自己的建筑,就需要有人来帮助我,我需要人才,并与他们谈论,但是我同样不能把工作委托给他们。”

“这是一个过程,这就是上一个时代的建筑师的工作过程,直到今天仍是如此,这并不特别,我说我做什么,我就做什么,这是我的工作,这也是你从我这里应得的作品。”

尽管卒姆托在媒体中不常出现,但卒姆托是Dezeen热搜榜的五大建筑师之一,这意味着他是2016年搜索量最多的人物之一。

关于他最受赞誉的作品“瓦尔斯温泉浴场”的故事以及洛杉矶艺术博物馆的项目的几次推送,确保他在2017年Dezeen热搜榜的牢固地位。

卒姆托在接受采访时就这些作品进行讨论,他说,在瓦尔斯设计的温泉浴场和酒店在卖给一位“自负”的商人之后就已经毁掉了。

“这个项目是一个社会项目,我和我的妻子在社区生活了近二十年,它是这个社区拥有的物品,并且是成功的设计。”他说。

“它现在属于一个买了这一切的人,这个当地人将其毁掉了。”

When the project completes in 2021 – a potentially improbable estimation given the lengthly timescales of Zumthor's previous projects – it will bring his number of built works to around 20.
He likens his slow and uncompromising approach to architecture to a composer creating a piece of music, or an artist working on a painting.
"I work like an artist and then I make my paintings, and I cannot delegate my paintings," said Zumthor. "To do my kind of architecture I need people to help me, I need talent, and to talk and discuss and so on but I cannot delegate the work to them."
"It's a process and this is how architects in former times, and today still, work. It's not so special. I say what what I do and I do it, this is how I work and this is what you get in my shop."
Despite his infrequent appearances in the media, Zumthor was among the top five architects on the inaugural Dezeen Hot List – meaning he was one of the most searched-for figures on the site in 2016.
The popularity of stories about his most acclaimed work, the Therme Vals spa, and the several iterations of plans for his extension to the Los Angeles County Museum of Art ensure he will make it onto the Dezeen Hot List for 2017.
Discussing these works during the interview, Zumthor said the thermal baths and hotel he designed in the Swiss hamlet of Vals had been destroyed following their sale to an "egotistical" developer.
"This project was a social project, me and my wife lived there for almost 20 years with the community and it was owned by the community and was successful," he said.
"It now belongs to a financial figure who bought all of it and destroyed it. The tragic thing is that it's an egotistical local guy that killed it all."

大师讲谈|彼得•卒姆托的自述第4张图片

卒姆托还参与了洛杉矶艺术博物馆的扩展工作,最初这是基于该地区的焦油坑,但现在已经参考沙地并且重新修改/'Zumthor is also working on a serpentine extension to the Los Angeles County Museum of Art, which was originally based on the area's tar pits but has now been reworked to reference sand.

他还解释说,他之所以决定重新制定这个LACMA扩展方案,是因为该扩展方案原本是以附近的La Brea焦油坑为基础,而这只是个美好的愿景,因为当前的现状只能让人联想到沙子。

“这与我们必须穿过一个林荫大道有关。”他说,“所以这里的第一个形象更像是与焦油坑相关的黑色之花。”

“为了跨越这道障碍,所以建筑物必须改变形式,从而才能有更多的力量,现在更多的是沙土,而且在这之前这与焦油紧密相关。”

He also explained his decision to rework the plans for this serpentine LACMA extension, which had originally been based on the nearby La Brea tar pits, in favour of a vision that now recalls sand.
"This has to do with the fact that we had to cross a big boulevard," he said, "and so the first image was more like the black flower relating to the tar pits."
"To cross the street you cannot be organic, so the building had to change its form, have more muscle and strength. It's now more sand and earth, and before it was relating to the tar."


出处:本文译自www.dezeen.com/,转载请注明出处。

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