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As a museum constructed atop postwar ruins, Peter Zumthor’s Kolumba Museum in Cologne exemplifies a reconciliatory approach to integrating new architecture with historical remains. The current Kolumba Museum embodies multiple historical layers—those of medieval Gothic, wartime destruction, and the modern present—coexisting within a single architectural continuum. This study analyzes how the symbolic terms “inclusivity” and “temporal reconciliation,” directly articulated by Zumthor himself, are embodied in the physical design and in the way it is experienced. More specifically, the study explores how Zumthor’s design incorporates past structures, spatial sequences, and sensory experience to create continuity between historical memory and contemporary use. By examining form, sensation, and movement, this study offers a comprehensive analysis of how architectural design mediates between preservation and transformation. That is, architectural heritage is not merely confined to a fixed structure from the past but is substantively transformed into a medium of contemporary experience, thereby reinforcing its value as a sustainable cultural narrative. Accordingly, this study highlights the broad potential embedded in contemporary urban regeneration efforts, emphasizing the value and role of proactive design methodologies that go beyond static, unaltered preservation to incorporate architectural reinterpretation.

The architecture in the rural environment leaves a trail of forgotten pre-existence during depopulation processes. The anonymous practice of continuous updating that these constructions have undergone involves their enlargement and adaptation to new requirements in the sense of primary functionality, but also in the evolving ways of inhabiting. It shows an ability to update the heritage without rhetoric, presenting economic, social, and environmental sustainability. These considerations point towards an investigation of the upgrading of architecture in the rural environment as a source of action strategies in an adaptive reuse context. The methodological approach is based on a case study analysis of two intervention projects from the early 1990s in Grisons, namely the pioneering projects of Peter Märkli in Walenstadtberg in 1992/99 and Peter Zumthor in Versam in 1994. The analysis of both cases demonstrates a tectonic correlation between the spatial form development and the potential of traditional building systems. Furthermore, both cases prove the possibility of typological shifts when it comes to updating the built heritage for preservation. Finally, this study elucidates the exemplary role of both cases with respect to the renewed approaches to old and new in the context of the rural environment.

El concepto de \"presencia\" está adquiriendo una relevancia creciente en arquitectura, especialmente desde su consideración por Peter Zumthor en Atmósferas, 2006. Este artículo analiza el inasible concepto desde una perspectiva interdisciplinar que incluye psicología, neurología y filosofía, con el objetivo de explorar sus posibilidades como herramienta proyectual. Tras revisar su definición y aplicaciones en distintas disciplinas, se profundiza en su relación con las emociones humanas, utilizando modelos como el círculo de las emociones de Robert Plutchik y la teoría de los estímulos emocionalmente competentes de Antonio Damasio. El texto aborda la construcción de espacios capaces de evocar emociones, enfatizando la interacción entre estímulo arquitectónico y experiencia personal. También se discute la imposibilidad de desvincular la \"presencia\" de las connotaciones culturales y subjetivas, destacando la necesidad de comprender cómo los atributos arquitectónicos pueden materializar estímulos emocionales. Finalmente, se propone que el estudio de la \"presencia\" como estímulo ofrece una estrategia de diseño consciente de su impacto emocional y su capacidad de influir en la experiencia del usuario.

In his own works, the Swiss architect Peter Zumthor may overcome these problems of aesthetics. I believe that he has no problem in explaining the role of aesthetics in architecture. This does not mean, however, that he has invented a new theory of aesthetics. He is not at all interested in theoretical speculation. Zumthor expects to overcome problems of aesthetics by trying to return to a situation in which such problems do not occur. Aesthetic problems began when in modern thinking the world was divided into subjects and objects. Zumthor tries to see the world once again as a whole. This presents aesthetic issues in a new light.

Every year since the beginning of the new century, the Serpentine Gallery in London has commissioned a summer pavilion from a famous architect. This summer, a new book Ten Years Serpentine Gallery Pavilions was published by Taschen Verlag to coincide with the opening of the eleventh annual pavilion, designed by Peter Zumthor. Helen Mallinson reviews Zumthor's pavilion here, in the context of the decade-old pavilion programme.

The article observes the germ of architectural design, the old “authorship,” and confronts the contemporary process in which the hyper-publicized accumulation of resources is used for the incessant reproduction of the built environment. The text shows that the current plurality of the preexisting is radically involved in the production of new “contents” through its interference in the architect’s machine. The author of the article analyzes from this perspective two recent architectural projects of respected authorship, to identify an apparent renunciation of the project and authorship in favor of what he calls “browsing” and identifies with the impulsive “scroll down” of navigation on the Internet. El artículo observa el germen del proyecto de arquitectura, la vieja “autoría”, y lo confronta con el proceso contemporáneo en el que la acumulación hiperpublicitada de recursos es utilizada para la incesante reproducción del entorno construido. El texto demuestra que la actual pluralidad de lo preexistente se implica radicalmente en la producción de nuevos “contenidos” mediante su intromisión en la máquina del arquitecto. El autor del artículo analiza desde esa óptica dos proyectos recientes de arquitectura, de respetada autoría, para identificar una aparente renuncia al proyecto y a la autoría en beneficio de lo que denomina browsing e identifica con el impulsivo scroll down de la navegación en la red.

En 1995; varios años antes de la inauguración de la Expo Universal en el año 2.000 en Hannover bajo el tema “Hombre, naturaleza y tecnología; origen de un nuevo mundo”; las autoridades helvéticas toman la decisión de convocar un concurso de ideas para seleccionar el mejor proyecto para representar a su país en dicha cita. Entre más de cien proyectos presentados para un pabellón efímero; el ganador de la segunda y definitiva fase fue la propuesta presentada por Peter Zumthor bajo el lema Batterie. Alejado del concepto de contenedor con contenido; numerosas veces replicado en este tipo de muestras, la propuesta germinará desde la experiencia al recorrer sus espacios entre una serie de apilamientos de listones de madera. Un “pentagrama” temporal donde diferentes notas y tonos brotan de la secuencia. Esta melodía arquitectónica tiene algunos acordes reconocibles en otro pabellón, el original de Aldo van Eyck inaugurado en 1965 en Sonsbeek. Espacios entre muros, entre paredes; resonancias y ecos fugaces entre ambas propuestas expositivas.

The article is based on the refinement of Peter Zumthor's works, through analyzing and researching the works, to know the relation of time and tradition, form and technology, function and space, explore the connotation as well as the unique view for contemporary architecture.

Nicht nur die Schweizer Pritzker-Preisträger Peter Zumthor und Herzog & de Meuron, auch andere Architekten prägen die zeitgenössische Architekturszene. Das Buch dokumentiert 25 Gebäude in der Schweiz, entworfen von 16 einflussreichen Schweizer Architekten. Die Bandbreite der Projekte reicht vom dichten urbanen Raum bis ins alpine Umfeld; sie verbinden Ingenieurs- und Handwerkskunst mit traditionellen Materialien und moderner Bautechnik. Großformatige Fotos machen Proportionen, Materialien und Details der Bauten erlebbar. Mit dem Blick von innen wie auch von außen analysieren vier Autoren die Vielfalt der Schweizer Baukultur sowie die Grundlagen ihrer hohen architektonischen Qualität. In einem ausführlichen Interview gibtPeter Zumthor Einblick in seine Auffassung der Baukunst. Contemporary architecture in Switzerland is influenced by Peter Zumthor and Herzog & de Meuron, recipients of the Swiss Pritzker Prize, as well as a number of other prominent architects. The book presents 25 buildings in Switzerland designed by 16 influential Swiss architects: The range covers high-density urban developments through to rural sites in the alpine environment, with examples of traditional craftsmanship and materials, and modern construction technology and engineering. Large-format photographs illustrate the buildings’ proportions, materials, and details. Four authors analyze the Swiss building culture and its high architectural quality from an insider’s and an outsider’s point of view. In a detailed interview, Peter Zumthor explains his approach to architectural design.

On a secluded hillside site in south Devon, Peter Zumthor's first permanent UK project is taking shape. The huge concrete forms will eventually become the Secular Retreat, the latest holiday home in Alain de Botton's Living Architecture offering. Mark cites the challenges in making the project.