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Exhibition Brochure KUB 07.03 Peter Zumthor Buildings and Projects 1986

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Exhibition Brochure KUB 07.03 Peter Zumthor Buildings and Projects 1986 Exhibition brochure KUB 07.03 Peter Zumthor Buildings and Projects 1986 – 2007 29 | 09 | 20 07 – 20 | 01 | 2008 with a film installation by Nicole Six & Paul Petritsch KUB0703_HeftAus_eng_gzd.indd 1 09.10.2007 13:09:43 Uhr Peter Zumthor Buildings and Projects 19 8 6 – 20 07 The presentation at the KUB covers Peter Zumthor’s buildings and projects from 1986 to 2007 and comprises materials on the design process, working drawings, models, and detailed plans, as well as a film installation by the artists Nicole Six and Paul Petritsch, which features almost all buildings completed during this period. Peter Zumthor and Thomas Durisch, a longtime co-worker at Atelier Zumthor and curator for this part of the exhibition, are responsible for the selection and presentation of the works on the ground floor and third level. It was Peter Zumthor’s express wish that the filmic form of cooperation between the artists become the core concept of the exhibition. Six and Petritsch were proposed because their approach is closely related to fundamental issues of architecture. The works they are known for consist of simple actions and interventions which they document on film or video and stage as installations. Overall layout of the exhibition They realized a film installation for the exhibition “Tu Felix Austria” at the KUB in 2005. Shooting lasted six days, during which time Paul Petritsch stayed on the bare third floor of the Kunsthaus, filmed at eye level and in real time by six stationary video cameras facing in various directions. third floor sketches, plans, models Six and Petritsch applied this stringent artistic concept in the documentation and projection of all of Zumthor’s buildings. Again, six stationary cameras were used and the same distances maintained second floor throughout. Again, there are six projection surfaces. Six and film installation Petritsch do away with the usual camera movements, editing, and montages. Each building seems to present itself matter-of-factly on six projection surfaces for 40 real-time minutes in the changing first floor daylight, surrounded by everyday sounds and imbedded in the film installation landscape. What the viewer sees is tied to his movement within the room. The screenings are staggered, so that every 20 minutes a new f ilm b e gin s on one of the f lo o r s; thu s, the viewe r c a n ex p e r i- g r o u n d f l o o r f o y e r K U B - A r e n a large models ence all the buildings in four real-time hours. Eckhard Schneider 02 03 KUB Exhibition 07.03 Peter Zumthor KUB0703_HeftAus_eng_gzd.indd 2-3 09.10.2007 13:09:43 Uhr ground floor, foyer KUB Arena 2 3 1 5 4 6 Large models 1 Topography of Terror, International Exhibition and Documentation Center , Berlin | 19 9 3 – 2 0 0 4 2 Kolumba, Art Museum of the Cologne Archdiocese | 2007 3 Zinc Mine Museum Almannajuvet, Sauda, Norway | 2 0 0 3 – 4 S w i s s S o u n d B ox , S w i s s P a v i l i o n , E x p o 2 0 0 0 H a n o v e r | 2000 5 Kunsthaus Bregenz | 1997 6 Poetic Landscape, Bad Salzuflen, Germany | 1998 – 1999 concept and selection: Thomas Durisch 04 05 KUB Exhibition 07.03 Peter Zumthor KUB0703_HeftAus_eng_gzd.indd 4-5 09.10.2007 13:09:44 Uhr first floor, second floor Six screens, six projectors, six cameras Film installation by Nicole Six & Paul Petritsch O n the film in s t a llation by Nic ole S ix a nd Paul Petr its c h at the Kun s thau s B re ge nz 1 Protective Housing for Roman Archaeological Excavations, Chur, Graubünden | 1986 One does not actually see very much of the twelve buildings Nicole 2 Zumthor Studio, Haldenstein, Graubünden | 1986 Six and Paul Petritsch filmed for the exhibition at the KUB. Six 3 Sogn Benedetg Chapel, Sumvitg, Graubünden | 1988 stationary cameras directed simultaneously at six points of a 4 H o m e s f o r S e n i o r C i t i z e n s , C h u r, M a s a n s , G r a u b ü n d e n | 1993 building for forty minutes produce a constant stream of images in 5 Truog House, Gugalun, Versam, Graubünden | 1994 which the structure appears from frequently to randomly as part of 6 Spittelhof Estate, Biel-Benken, Baselland | 1996 the su r rounding s o r a s the spatia l s et ting fo r a pa r ticula r living o r 7 Thermal Bath Vals, Graubünden | 1996 recreation situation in the building’s interior. 8 Kunsthaus Bregenz | 1997 The magic of the images will come from the interaction of 9 Luzi House, Jenaz, Graubünden | 2002 these six film sequences as they are simultaneously projected 10 Zumthor House, Haldenstein, Graubünden | 2005 exactly as they were filmed onto six large screens. The screens are 11 Brother Klaus Field Chapel, Wachendorf, Eifel | 2007 freestanding and face in different directions throughout the room. 12 Kolumba, Art Museum of the Cologne Archdiocese | 2007 T h e d o c u m e n t a r y p r o d u c e d by The projectors in the exhibition space have been set up exactly as Nicole Six and Paul Petritsch the cameras had been while shooting the building. The directions presents the twelve built projects by Peter Zumthor in from which the films were shot also conform to the alignment of the the following order: f ilm p roje c to r s; the f ilm s we re a ll s hot at eye leve l a nd with no r m a l (Screening time: 40 minutes) lenses. The playback situation at the Kunsthaus therefore corre- KUB opening hours Tu e s d ay – S u n d ay 10 a.m. to 6 p.m. T h u r s d ay 10 a.m. to 9 p.m. sponds 1:1 with the shooting situation on location. Since one sees all six films simultaneously and experiences them together from 1000 1040 1120 1200 1240 1320 1400 1440 1520 1600 1640 1720 1800 1840 1920 2000 2040 different angles in a way that would not be possible in real life, the 2 4 6 8 10 12 2 4 6 8 10 12 2 4 6 8 10 visual and acoustic impressions start to overlap and consolidate. 2nd floor The installation conveys a feeling of the presence of the buildings 1000 1020 1100 1140 1220 1300 1340 1420 1500 1540 1620 1700 1740 1820 1900 1940 2020 in their surroundings and in everyday life, a feeling of the life taking 1 3 5 7 9 11 1 3 5 7 9 11 1 3 5 7 9 plac e in a nd a round the m. A nd that is a lot. Peter Zumthor 1st floor 06 07 KUB Exhibition 07.03 Peter Zumthor KUB0703_HeftAus_eng_gzd.indd 6-7 09.10.2007 13:09:44 Uhr fi r s t fl or fi r s t fl or Film installation Film installation 1 4 4 1 5 5 3 3 6 6 2 2 0 5 0 5 1 Protective Housing for Roman Archaeological Excavations | 1986 Chur, Graubünden Filmed with six cameras on June 29, 2007, from 12:58 to 1:38 p.m. Projection onto six screens | 1st floor | start: 3 10:0 0 a .m., 1:40 a nd 5:40 p.m. Sogn Benedetg Chapel | 1988 Sumvitg, Graubünden In the 4th century AD, Chur was the Roman capital of three adjacent Roman buildings (only a Filmed with six cameras on April 23, 2007, of the province of Curia – hence the name “Chur”. small part of one of these was excavated). The from 11:38 a.m. to 12:18 p.m. The Romans inhabited the area now called the site’s display cases along the street skirt the Projection onto six screens | 1st floor | start: “Welschdörfli” (French-speaking Swiss village), protruding foundations of the former house 10:20 a.m., 2:20 and 6:20 p.m. Chur’s small amusement strip just off the historic entrances. A wall painting was found lying on town centre, where, it is said, people still spoke the floor of the larger building. Restored and In 1984 an avalanche destroyed the baroque faced with larch wood shingles, was inaugurated “Churerwelsch” though the people in town returned to its original position, it gives an chapel in front of the village of Sogn Benedetg. in 19 8 8. T he village au tho r itie s s e nt u s the were already speaking German. Archaeological impression of the probable height of the single- A recently built parking lot had acted like a ramp building permit with the comment “senza per- exc avation s in this a re a have unc ove re d a c om - storey houses. pushing the snow from the avalanche up against schuasiun” (without conviction). Yet the abbot plete Roman quarter. The charred remains of a wooden floor at the chapel. The new site on the original path to and monks of the Disentis Monastery and the then The protective structures – wind-perme- the back of the la rge r building a re f rom Rom a n the Alp above the small village is protected from village priest Bearth wanted to build something able wooden enclosures – follow the outer walls times.
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