請問今早 Bruder Klaus Chapel 影片的網址？
Bruder Klaus Chapel 影片
AI 概述 布魯德·克勞斯·菲爾德教堂由彼得·卒姆託在德國梅赫尼希設計，獻給弗呂的聖尼古拉斯（1417–1487）。他被親切地稱為「克勞斯兄弟」（Bruder Klaus）或尼古拉斯·馮·弗呂（Nikolaus von Flüe），是一位15世紀的瑞士隱士、神秘主義者，也是瑞士和天主教農村青年運動的守護聖人。關於聖人和教堂的重要訊息：聖人：尼古拉斯·馮·弗呂曾是一位農民，育有十個孩子，也是一名瑞士衛兵，後來成為一名隱士，以其對和平與冥想的奉獻而聞名。地點：這座教堂位於德國艾費爾地區，由當地農民赫爾曼-約瑟夫和特魯德爾·沙伊特維勒夫婦委託建造。設計與用途：教堂建於2005年至2007年間，是一個混凝土結構的帳篷狀建築，建在112根樹幹之上，這些樹幹後來被燒毀，留下了一個漆黑的、充滿冥想氛圍的內部空間。用途：這座教堂是朝聖和靜默冥想的場所，旨在紀念聖人的苦行生活。教堂於2007 年，這裡成為了對建築和靈性感興趣的人們的熱門目的地。
AI Overview
- The Saint: Nicholas of Flüe was a farmer, father of ten, and Swiss guardsman who later became a hermit, known for his commitment to peace and meditation.
- Location: The chapel is located in the Eifel region of Germany, commissioned by local farmers Hermann-Josef and Trudel Scheidtweiler.
- Design & Purpose: Built between 2005 and 2007, the structure is a concrete, tent-like form built over 112 tree trunks that were later burned away, leaving a blackened, contemplative interior.
- Patronage: The chapel is a place of pilgrimage and silent meditation, honoring the saint's ascetic life. [1, 2, 3, 4, 5, 6, 7]
彼得‧卒姆托， 中國建築工業，2013
此書將一些重要做品分別在7~8處講解，卻沒索引。
無法摸翻約8500元/5本的：
此書將一些重要做品分別在7~8處講解，卻沒索引。
無法摸翻約8500元/5本的：
Peter Zumthor: Buildings and Projects, 1985-2013 Hardcover – May 15, 2014 by
- Hardcover: 850 pages
- Publisher: Scheidegger and Spiess; Slp edition (May 15, 2014)
- Language: English
- Hardcover: 850 pages
- Publisher: Scheidegger and Spiess; Slp edition (May 15, 2014)
- Language: English
Pritzker Prize Goes to Peter Zumthor
He is not a celebrity architect, not one of the names that show up on shortlists for museums and concert hall projects or known beyond architecture circles. He hasn’t designed many buildings; the one he is best known for is a thermal spa in an Alpine commune. And he has toiled in relative obscurity for the last 30 years in a remote village in the Swiss mountains.
Peter Zumthor’s art museum in Bregenz, Austria, has glass walls that can serve as billboards or video screens at night. More Photos »
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The interior of the St. Benedict Chapel, designed by Peter Zumthor, in Sumvitg, Switzerland. More Photos >
But on Monday the Swiss architect Peter Zumthor is to be named the winner of the 2009 Pritzker Prize, the highest recognition for architects.
“He has conceived his method of practice almost as carefully as each of his projects,” the citation from the nine-member Pritzker jury says. “He develops buildings of great integrity — untouched by fad or fashion. Declining a majority of the commissions that come his way, he only accepts a project if he feels a deep affinity for its program, and from the moment of commitment, his devotion is complete, overseeing the project’s realization to the very last detail.”
For Mr. Zumthor, 65, winning the Pritzker, which is awarded annually to a living architect and regarded as architecture’s equivalent of the Nobel Prize, is a kind of vindication. “You can do your work, you do your thing, and it gets recognized,” he said in a telephone interview from Haldenstein, the Swiss village where he lives and works.
Mr. Zumthor is the 33rd laureate to receive the prize, which consists of a $100,000 grant and a bronze medallion and is awarded at a different architecturally significant location each year. This year’s ceremony is to be held on May 29 in Buenos Aires.
The project most closely associated with Mr. Zumthor is the spa he completed in 1996 for the Hotel Therme in Vals, an Alpine village in Switzerland. Using slabs of quartzite that evoke stacked Roman bricks, Mr. Zumthor created a contemporary take on the baths of antiquity.
He is also known for his use of wood, as in St. Benedict Chapel in Sumvitg, Switzerland, which evokes a giant hot tub.
The Pritzker jury praised Mr. Zumthor’s use of materials. “In Zumthor’s skillful hands, like those of the consummate craftsman, materials from cedar shingles to sandblasted glass are used in a way that celebrates their own unique qualities, all in the service of an architecture of permanence,” the citation said, adding, “In paring down architecture to its barest yet most sumptuous essentials, he has reaffirmed architecture’s indispensable place in a fragile world.”
Mr. Zumthor said that his projects generally originated with materials. “I work a little bit like a sculptor,” he said. “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.”
Mr. Zumthor’s buildings do not share a common vernacular. They range from tall and circular to low-slung and boxy. For his Field Chapel to St. Nikolaus von der Flüe, completed in 2007, in Mechernich, Germany, Mr. Zumthor formed the interior from 112 tree trunks configured like a tent. Over 24 days, layers of concrete were poured around the structure. Then for three weeks a fire was kept burning inside so that the dried tree trunks could be easily removed from the concrete shell. The chapel floor was covered with lead, which was melted on site and manually ladled onto the floor.
For an art museum in Bregenz, Austria — a four-story cube of concrete, steel and glass that opened in 1997 — Mr. Zumthor used glass walls that at night can become giant billboards or video screens.
His Kolumba Art Museum in Cologne, Germany, completed in 2007, rises out of the ruins of the Gothic St. Kolumba Church, destroyed in World War II. The Pritzker jury called the project “a startling contemporary work, but also one that is completely at ease with its many layers of history.”
Mr. Zumthor said that he deliberately kept his office small— no more than 20 people. “That’s the way it’s going to be so that I can be the author of everything,” he said.
“I’m not a producer of images,” he added. “I’m this guy who, when I take on a commission, I do it inside out, everything myself, with my team.”
One of Mr. Zumthor’s best-known designs never came to fruition. In 1993 he won the competition for a museum and documentation center on the horrors of Nazism to be built on the site of Gestapo headquarters in Berlin. Mr. Zumthor’s submission called for an extended three-story building with a framework consisting of concrete rods. The project, called the Topography of Terror, was partly built and then abandoned when the government decided not to go ahead for financial reasons. The unfinished building was demolished in 2004.
Born in Basel, Switzerland, Mr. Zumthor as a teenager served a four-year apprenticeship with a cabinetmaker. He studied at the Basel Arts and Crafts School and spent a year at Pratt Institute in New York. In the 1970s he moved to Graubünden, Switzerland, to work for the Department for the Preservation of Monuments. He established his own practice in 1979 in Haldenstein, where he and his wife, Annalisa Zumthor-Cuorad, brought up their three children.
Mr. Zumthor said that his village had been an inspiration and a refuge. “It helps you concentrate,” he said. “And also collaborators coming here are not distracted by all the things of the big city. To come up with me, you’re in the Alps. It’s sort of a commitment. It’s a beautiful feeling. Of course you have to like the mountains.”
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