“I never decided to become an architect.” | Architect Peter Zumthor | Louisiana Channel

you you you well first of all I have to say this happened to me and has nothing to do with architecture when I came here after New York got to know people and I wanted to live in the own house so we have to pose I had people that didn't know my wife then I got to know about to get in or I bought these for miles across the street and this was sort of like the spirit of 68 still so we were doing this with our own hands in the early 70s anyone or something it's how sometimes it's rude out I didn't plan this to be for many period of time but then I found my wife she's from down here from the editing room and speaking and and children are born and they start to speak the local dialect after awhile I accepted the fact that I would be here and and it felt good and his is better better they never know at first ten years old when I came to Chile from the outside her own somewhere I was a difficult going in the wrong direction this is not going up to the absence of my direction I should because town was a 2000 but I remember a beautiful day when I had some Los Angeles treating and students coming to find a very small place in I can Alpine area here mine and I was driving up in a late summer day alone to meet them a hat game click into this exotic place where they would have to come with me and we would be working for our semester of the sound of the landscape but wise arm and they're out there were this beautiful black shadows already the landscape as we know summer passes and autumn arrives and I was feeling sort of happy and and of the day she died like all of this fun so this I've know this was the moment when I realized I'm here that my soul is now up here since the nose trisko but do you need silence to be creative to think about your passions not in part first of all I have to say this kind of area seeing here this is like our farms architectural farm would be this office is around like maybe like old fashioned master class because we work like a family all together that people from Morton different bit in one in ten nations but we work together like like a master class altogether and that's what I like about this place and then it I don't want anything else but if that naturally dude is here but I came to realize it's actually good that I'm away from the big centers of the world in a very interesting Swiss way because in an hour and 15 minutes I'm at the airport of services International Airport and in an hour and 15 minutes I don't get very far from the Los Angeles Airport in Los Angeles themselves so this is exclusive situation maybe you notice from your country also you're on the country side to be actually in the middle of the world okay that's so this is good that whole it's not an urban environment not all the colleagues are looking over my shoulder and what is it doing in town I don't I cannot need any comments of colleagues so how I will do this or something you know this this is like if you work like an artist you need your own separate space because they might be right and you are wrong and so you don't want you no matter what they want to do your own thing okay and later when it's finished it's kit goes out and then it's open to a reception of any kind and then it's quiet but I think I could also create a car cloud space in the middle of a city in certain parts I work very well in a very noisy a very noisy environment of a railway station or so where do you know this anonymous kind of sound of a city it can be very great and then you're inside you or like you know protective ocean of sounds or something could be very beautiful lots of noises so the different kinds of silences what different of mental silence or peace with your peace or you can wear you can concentrate you have to be able to counsel I have to be able to concentrate I can concentrate here I can concentrate with my people it's nice that they around I can go and travel to them it's also nice that you have to go out of the building instance Osaka but it your next one out and did your third world it's like a campus in the village to feeling for the place guess I always had I fight this nothing special I go out somewhere and I think probably rather easy to feel the space and see it and so and have an idea how I should react there as an architect so I go to South Korea out and I mean in a Catholic theme park I've ever seen anything like that that the priest wants me to do a chapel at the highest point there and oh and then it's interesting to observe I seem to know a lot and then we they started with the fact that we all know a lot we have red box we have seen movies it's a big world they call it globalization or whatever but since I'm young Japanese architecture Chinese okay and so this has been part of Education Chinese classical Chinese architecture is in the work of Mies van der Rohe ed you can look at it find out and he looked this so it's a bit does it's not such a mystery I'm sure they're places when it becomes more nature less cultivated nature more direct our nature waxy or mountain or desert I think we know about this and I hope the developer field I have been appealing to this more difficult to understand the people not difficult to see what are they what do they mean when you say this this I know in Bavaria this I know it Switzerland this I know in Austral this is my error I know exactly where the way when they talk and within me and what they don't say at me so all these things this is Debra difficult in Russia so when I talk to them these friends and warm-hearted people but there's always a secret agenda I don't understand if I'd be Russian I don't understand that's more that's that's not what you're asking but that's what I'm saying this is more difficult to understand real a place the literature thinking add music this is sort of down nourishing ground of my life I'm people say you are actually interested in everything so I'm there I'm never bored I'm I could meet somebody from when you field I don't know I would I like to ask what are you doing and what's the derivative work and words and I like to know everything so I buy just books I'd like to know about economy I like there's nothing I'm not interested in and it's not only art it changes something sometimes the focus for years is in literature then it comes to all the music like Baroque music or something it's a Bach maybe always stays Mozart Mozart I once did not like so much and now shoe belt is becoming bigger and then I got into contemporary music music 20 years ago I got away from be pop chess and well it was a little bit fed up its eternal repetition of the same to chase down well did okay I heard this from the 50s from Miles Davis tourists is there really a jazz songs were sort of like as Frank Zappa supper Satan sort of a little bit dead or at least smelly starts you smell family Alton so they're shifting interests and I'm a selfish the musicians out there I see new things and his partner salsa musician so I see new things they're doing I'm interested to do so I could see in contemporary musica how they work outside of tunes and homeless sort of its structures of it micro tonalities which become almost like color or like powder or like physical structure he occurred physical structures and I don't even make I don't make analogies to architect it so to all of this I could use directly it's more as I said it's sort of a fertile ground it's a nourishing ground that's me I like all of this I like people writing attention essays I thought you understand why do are they saying what they say and so on I like to do lately somebody asked me would you like to have a talk at Peter slots attack the philosopher on the theme of hotels he would like to talk to you about a house he's interested in notice so that's the kind of office here this I would like to do because I'm sure I can learn something of it but listening to him this could be an interesting dialogue or dialogue learning experience so I'm asking him he masking me and so that's just of our like that's a world present around when I do so it's a nourishing ground of course I think if you work in the creative profession what I obviously do you some work but maybe more as a rendering services in building I were more like an author as an architect or like an artist if you will to artists artists of editing or something there what you do has to do with everything you are the painter paints with everything he has and this is everything he learned everything he his own cultures knows everything he we are part of history we are part of a biological big kind of a life going on dying new people coming and so not surrounded by things which I've been don't be hundreds of people and thousands of people are many of them are most of them are probably dead unknown and still it's all there early but the idea I like very much in that where we come from also when we are react by our intuition our intuition this fantastic kind of thing that we have intuitions we can make images we can produce in the images like intervene we do this but you can also do this in daydreams that you it dreams it's easy to see that you can see real spaces a real perfect real space you've never seen before so your brain obviously can do things like that so that's what I'm working with I'm trying to probably to provoke my brain to my heart or whatever disease to work to create images and this always happens again so I'm a bit amid me time maybe I've always been I'm a very confident I go somewhere there's a new landscape there's a new task there and so on and there is no image and and I'm very confident that I know what all of them is will be there and all of them the image comes on now as a sort of lab the approach of I now I know exactly I have to work in this landscape with these people for this and knowing this I know all the traps you I think there is the art of drawing and art the art of furniture making idea there is the art of car racing and there is the art of construction out of building at the art of creating space I mean listen there's also the art of literature or the art of pony that's how I mean it there is something somebody can be done in an artful way of artful sounds with two small heads in a professional eyes also recovering the whole thing it tends to do with the dignity of making and the high quality of making and the devotion of human being of a person to something he makes and then this becomes it's made it higher standards and it's sort of like a noble thing make it's made by a person are made by person directing 50 machines this is not about media with craftsmanship it's about your personal devotion to something this is said to the making of things today thinking about things and all these things so there are many many arts not only the are there nd the art of installations the other thinking about painting and drawing and so on but so I mean the story is there is also the art of building I think the German Baumeister is so beautiful word so but he will call me about master to not be happy and we all are born we all kind of starts seeing the light of the world some of us play football some of us read books why did you Peterson to decide for architecture what was it fascinate you so much that you decided this is my way this is my heart this is another process art of the session I never decided to become an architect I became an architect by different by my biography and you can take this is all by chance this is the contingency of life and all these things but of course we also know things you attract your feel attracted to certain things and this I don't you have talents people have talents so how should I explain this the first 10 years of my life were sort of like running away from my father because he wanted me in his shop and be as the oldest son and take away this furniture making this Shabana rice shop and Tom so I had to sort of leave him so you can see escaping my father after he helped made the degree in the profession meant ok I could become a furniture designer easy because then I can use one hour before then I went to art school to become a furniture designer but before I even was there I already feel maybe I should become a duster design ok so I looked at this adorn with this girl that year maybe I should become industrious and forget to New York I go to Pratt Institute there was Raymond Loewy follower there mr. Perret or something running the most programs ok I show him my furniture and then he said yeah you could come to the master program to me but you know my students they have never made anything you already have made their adult school like really want upon chairs and of the things they you will not feel good there do you seem to know more than my students also then I went to interior they said this I found this extremely was sort of superficial and yeah do i I would like to do the building and not some kind of exteriors of a bad painting so then I dare to go I went you to go to the architecture department and I met Sibyl moholy-nagy she was there and then I wrote two papers for her and then I got interested in architecture so I thought my father would like to stay two or three years more I want to make it III in architecture I know it down and he had paid this one year until my father says they my father says no I had to come home your money okay so I had I could not make an architecture degree I saw I had to stop this claim home didn't like this too much and hated my father for this brackets my daughter taught me how a year I'm going that one evening she says you know he didn't do this against you he didn't give you the money because he didn't want to do with you that's why she never met him because he died early so she just a feeling for him since he didn't he didn't cut the money to study over there because if you ever started two or three years more over there you would have never come back she's probably right oh yeah so then coming back then this was like it around here this is 68 69 I happy the peace marches 67 with my friend in New York against the Vietnam War on the 5th Avenue and then I came here everything was politicized and the new german-speaking area here the Germany we all there was the ideology of us was art design completely a trend of judges expand so for ten years so I don't know - for ideological reasons no design and so I went to work for the take my plugin for this agency for monuments and design and that's why I'm here right because I found this by chance this job considered nobody wanted yeah you had the art historian to draw houses make the project and so on this thing is over there this he became the in-charge of powers and so on long story so this is then I made for 10 years amid this which I didn't look for it it just happened and then I was here I looked at 4,000 farmhouses I stopped by dignitary sofa a sort of submerge myself in this whole pound house for showing seedlings for shown all these things beautiful time I saw art history I learned a little bit about art history boom like ah from down looking up right because all this historic of things up here the upstairs of here a 5200 years later coming from the Decapolis of the Baroque styles and so extremely interesting you also to find out what can I understand the band the genesis of our farming village so certain things I could find out find out that other things they just happen II don't know we will never know why this is like looks like this here over there like this then a good side effect what's been doing these inventories I learned how to write because I remembered has met my teacher in high school told me Payton you should become a writer that was sort of laughing I think because I was just copying any kind of using in any kind of phrases as Alan told me he thought this was given ten ten fifteen years later I had to describe things I saw and I went through hell for two years right I could does it although it did not wrote something about planning once and then my boss looked at this that you know it's good but it's also technical but then this is a short relief the rest of my life right be reading books the Dame is this sounds like a technical report or to suffer for not being able to look at this village studied and then say seven sentences this village is made like these entities that characteristics and typography and architecture this works like this this is what I learned there again I learned to write again so I know bad in writing I can write very simply I learned like Wittgenstein cities in other contexts and learn certain things you can say with words and other things you cannot say okay then what you cannot take Tom try to say it started so there's good so see there is then I decide in 68 10 years was over and also and design was possible so I said I can then I made a decision I said I have seen enough farmhouses and all this stuff I'm not interested in this anymore I want to become an architect they went to look at the competition entry with a friend who was an architect yet entered there and I looked at the 20 entrance look the seasons and I can do this better and I can do this better then I started to make up and do participating competitions and soon I want something else oh it's not so this is a long answer to how did you decide to become an architect I didn't it happen you can you remember when you decide to come not ticked sit I can do this better do you remember having a kind of a philosophy in uranium - no not at all then I had I started to build up then Diesel's for the first time but also theoretically I started to deal with architectural thing to get into this before that I was sort of like more like a naive kind of designer when I look back when I look back maybe it's not a little bit dangerous to say this but I can see in my background I can see the part of my father farmers and craftsmen very good craftsmen excellent but no artistically at all nothing my father would love whatever you love to make beautiful furniture my other mother eliciting an Oscar it is so complicated see but you know it has agitated it a Viet he suffered because they look terrible his religion look them and he knew it is awful probably no feeling for this no feeling and I contained it some tour we had to dig in to name right family I don't see anything like this whereas in my mother's part there I can see it one of the on chromosome landscape painter quite well-known in Switzerland on and this is something it's so interesting certain things come to my mind from my youth that everybody knows these things so I'm sort of 17 and I see my mother tending to her friend looking at me when I walk somewhere there she must have told this to me afterwards or somebody was after because she is looking at me and I'm walking on a little Street there and she says to my friend you know when he wears this American Park of repeat rectus and then when he walks her he looks like an artist and she was so happy when I was 16 a petite sort of smiling this was something and then maybe her friend told this to me then I don't know probably not she but you could say he stayed in my heart it was sort of like something completely different them this more pragmatic kind of thing of my father's family so her way of seeing or then my my friend from youth he said yeah come on you always have the best clothes on you had to be a church you had the business or this one your mother she tricked that by father they didn't have a lot of money he didn't even realize so she wanted her home to be dressed I'll okay so there's certain things i don'ti maybe there was something but I this is me 50 years later or even the 60s later looking at these moments it's just I think you see that I'm absolutely not aware of anything or toaster stores like they said it was beautiful right back down I went into the art school in the for course the distracted powerhouse focus for cluster same structure I remember them you had this pie batter the focus was great this was just me ta skills a whole year drawing what you see but learning how to mix every mix colors and so at looking exactly so this is great I didn't like it too much at the time I thought now when the when you become you become an artist later this is not about artists but skills but it was of course excellent but I remember the time when a painter who sort of gave a lecture we have made exercises on something called far beyond forum that gave these exercises so we had to turn in project and thought out he comes one day he comes his alarm can t anyone he comes to the class starts in front of these 35 or 40 people and says now here I have looked at your works and then I have here at one thing I haven't seen in a long time this kind of color and this kind of a many started to prese work also how fantastic this was and it was by mmm-hmm so so this is my mother or then or so but I'm never afraid never really aware of this forty years late many years later I was a small little architect a draftsman indistinct countable office then later I meet an architect unlike the real architect and in the context of the Swiss Federation of Architects blah blah blah so I'm already know so she says yeah I know you from a long time we I know you from a meeting at the technically game core we think if you have preview for there and you have drawings out from there on the wall of heart for the renovation of a farmer's you know NASA great architect but I didn't know I mean this is 20 years later see all she said I could see from these drawings as an object right away so this is nice to hear later maybe it's very good that I didn't get a lot of these compliments right away so but it's nice you know what I'm talking about this sort of like a naive can't wait also it's lightweight it it's at the stock I don't has never felt any heavy weight on my shoulders you should be there so shipped when you said at the time I can do it better why did you reason that way did you think that the other architects were just boring did they use the wrong materials what was it that you thought I can do better just by knowledge of time I I was so I think estado grand design I was so good I was good an article which I sort and I had the confidence sort of farm but I was a little bit shy about architecture because this I couldn't study a relay I just started to look into it so then justice I tell you something else when I was like 16 when I walked through the city of paws and then I saw all these buildings they were all so strange and different deities and I looked at all these buildings and said that so strange how could you ever come to an idea to make a building like this that the Masters were probably pretty obnoxious pretty ugly rights are looked me as a boy I look at this and they say that is te th where they study architecture there they learn this how to do dition this a la tech there must be a logic I do not understand but they learn this and they know so this was sort of like a chi speak thing and I'm just this a cabinetmaker apprentice also did this what they know this then 20 years ago whatever I'm 35 from something then I look at this competition entries having done a lot of things having worked there and they're having and see and I just saw mediocre and bad project that's what I saw I mean right away nothing else something I would probably the stomach dismiss options must be please the completely but I had also helped and when I made my business also interesting when I made my first competition entry that they kicked me out in the first round and this was in a historic setting and D in the innovation the Italian speaking part a of this area historic setting your schoolhouse I think it was nothing big there was a 12 40 people participating and it was all historical to to put this down so so ah they put me out in the first round and then I went to look and then some bad stop but this was full of sort of like trying to do you react on historic forms since I wanted this and then I saw a colleague who made the forehead made the first price which was an elegant long building and they didn't have any kind of nothing to directly do with the proportions of this old stuff and this was also a shock for me then so as never happy to be sweet I think the next one next one now I go the price and and the Audion next one after it's I Wow but this was sort of like going back to the old education of article whence I come on now I mean this is you do something new years old I just sort of I thought theoretically I had overcome this kind of thing that something to copy I said no here never copy or not or what for but I would then say the new forms they should come out of the old forms and they should be a transformation process of the old forms with your from punching right this has to come inside of me I have that this comes from completely and this was one competition I saw this how bad I was I was sashimi architecture has its own traditional architecture and I like to work with this material which is also more formally material as I just explaining before which sort of didn't work really doesn't work at all it's a sentiment a feeling for things right so I do this building here and then I make a garden and discover connects to the god of my neighbor and then I connect this garden to all the trees of the aisle here there so if you start there you see this is the dukkhata okay this is the borrowed nature principle of Japanese architecture but it's also an acceleration of love to my to this place here and being friendly to water so in most of the places there is something I can creat - no I cannot knowledge nicely but I'll say the larger context of building in the world I'm part of a big thing this is I would like to be part of a bigger of a big thing which comes from post so this bits rich and if you it's difficult to create the building which has which is beautiful or gives you real sensation of beauty or of calmness or of whatever but it helps that art me also it helps it's successful when you look at it and you would say somehow everything newer but something reminds me of something I've seen before I cannot tell you exactly what it is but there's something so that's a sign of a good building some architects they only focus on their own building and I seem to hear that you say even though the building is important it cannot do without its surrounding surrounding is always part of the building it's the mental surrounding it's the biographical surrounding it's it's the place where it stands the plays romantic stance is always a historic place and history is the traces of history are stored in typography in a village in a landscape in a city in the landscape just everybody knows this so that's the material I work with and I would like to connect to and then my building starts to resonate becomes valuable more valuable than it would be standing just alone deep artistically I'm taking out the best I'm a prima ballerina if it sounds so if you notice it's if an architect can work with City Planning this very obvious if you can work with all already existing things which have a history it's much easier to be successful with new things you add right so I was just reading this before the new cloth armor same largely lives from the fact that it's actually old distillery or something so and I like this I I know this did to connect in a good way yeah it forms this holistic atmosphere which is not the nicotine steagle atmosphere and sometimes that's why we make big models and on the big models we put everything there on the sometimes the landscape and the throttling is so beautiful that all of a sudden you see you actually need to add back nothing volume they are the right place and everything is beautiful because it's already beautiful or something so you don't have to first this is there and then I come more carefully I do my thing but Oh Magda how do you discover you seem to be a master of discovering the spirit of the place so that you actually have the feeling at the end but on you but many people that know your buildings this is the right building for this right space how do you how do you end up there how do you discover the spirit no maybe this is a talent or something like that but it certainly has to do with my vote philosopher calls for the methodological approach I don't go with preconceived ideas ideologies the to do some things I'm completely open that this is certainly part of it I've often to do anything I was this good Dutch architecture asked me 20 years after a lecture in the discussions he said yeah Peter are you are you a modern architect are you a modern architect what do you mean I live now so I gotta do what she made she made there's a sort of there should be a philosophy which in coverage wants to go forward and I'm innovative and all these things nice but I'm not interested in this I'm not interested to make innovation for innovations like this I had at art school we were trained in this kind of you could reinvent the wheel they didn't work but you gotta cook right because of us I could try right so but this is was when I was young when you get older when I got older just 20 years ago no no I I what I would do the right thing I would like to connect the right way to history and landscape and all these things so I'm open and I don't care if somebody says you know but this looks old but nobody doesn't I mean it's people go to determine first they say it reminds me to maybe old ritual baths but to every or reminds me to something I have never seen or something connects back to the entire you know and I what you say after that I take as a compliment but maybe the openness is important so the only quality apart from knowledge education I have my personal education which i think is through my interest is pretty broad apart from knowledge personal owners personal education it's this openness of the approach which is like a discipline when illogical look first then say something just looking that then think about it and then sighs don't like not the other era that sort of the way we work here too people have to learn we look first we feel first then we trust our feelings and then we start to analyze our fear it's not your where there's normally do well see we all come and we all stayed as US and different come from school to the primed home and that's important for us to have a home can be a small apartment but still you have a place where your life is protected or you can look yourself after your life for the life of your family at all so this has to be provided and this should be should be like a good piece of clothing or something should be well done and so it keeps you quiet if you have if you have a place to go back if you have our home it's easier you're not homeless it's easier to go out but that's also important I think in order to go out this is what I feel it's nice to have a home it makes it easier to guard if I wouldn't have a home it would be probably difficult it's for me easy to go out and learn and it's necessary that I always go out again you know this so all the architects two planners of buildings who do this to not to earn money but to deliver a good work for the purpose that's the social relevance of architecture right we do the best it's not okay let's do this building develop buildings and I have to speak up develop repairability disabilities and they have to hold up for two F two or three years and then we sell them and then they can do whatever they want that this of course largely exists and you can see the different kind of things so we we are fighting for that this will I think of the schools of architecture also fight for this even though I may be I think so assembly I sit down - you are such a great job and that but still the idea is that the architect is doing I could work for the people using buildings that don't want to be more pathetic about this of the tutor serving you a mankind and all these things it's we don't have to go on that kind of level we can she said decent work a decent school that decent house I could apartment well thought at all so that's the social relevance of architecture it's not so much thing I think to have philosophical ideas about the urbanism and so on and so on I think I think urban isn't happens from my observation when I look at this this happens things happen there with money yes and in the big cities you know this something Plaza has a lot of money something happens it may be in Milan nature not happened my brother makes a museum maybe Chile mulana happened somewhere else on a social but not there right maybe if you if you say great now we have a gold-plated kind of old building for the Prado Museum they say I think it's also a little bit cynical there I there I'm an old 68 person so delicate I can I probably computers I couldn't do this because I have a feeling I'm contributing in a place I think proudly is a great firm not sure these people they are great and I would love to get to know them and so on and so all but working for the riches you talk about architecture in history architecture and memory in Berlin you had a project where you form the building that kind of would be the frame of one of the dark side of human history what are you thoughts about a house as a frame it's a symbol as a manifest of time of history of memory when I look back I can see it as maybe half of my buildings deal with this topic one of my first buildings I did here was dealing with the Roman ruins and then this Brody building dealer has dealt with this with the left artifacts on the ground thereafter Gestapo had quorum then in Cologne I'm dealing again the dishes are several layers of all churches I don't know chapel by calling Coptic per month alone and now in Los Angeles I'm dealing with tar pits and the history of this place there and for this machine so this is an ongoing kind of characteristic of my work I don't know where this comes from the DA I like that I like that it happens and I like to deal with things and I have developed approaches to deal with old things and one of them has to do with my tenure of de-conflicting dependent where I saw that you can take things and you don't under you can go on building on them and add on put something on top on the side and create a new hole instead of working in contrasts which was the style of the sixties and seventies and eighties such are old you heavy like than Tonto I never found this necessary to do for me so this was this is one thing and the other thing you sir are in art the art when art in the 60s and 70s became radical like the American abstract guys and landlord and going to back to basics or when I go surf I started to work with the pure material body reading materials and so on so there's an education which believes that there is history in memory in the things so you can tell yeah okay that they're in felt there's no memory but you know what I mean I mean we looked at felt in a certain setting together with this and that means don't you tell us a story us yeah if you take it away the store it's gone so there is something so of course the truth lies in the eyes of the beholder but you have to probably make something which can provoke this so then I learned I found out this was the brick my Berlin lesson I should have known before Peter I learned the study normally story ins understand history on paper so that's what we learn in the university history happens when I have a source a document directors documenting from this document on I make many from paper to paper - paper - paper - paper - paper saw the real thing is lost or roads I don't know you can do details and it comes out every specific world this academic history for sure it has little to do with the history happened which happened on the ground which is material where there's a physical presence and that's the history yosef price work with write this at not the historians and that's where I come from so I look at this place in Berlin and say on the ground level dear historians no comments from you ground level that's the ground and it speaks for itself so they used want to tell this group is nothing left there is a yes that's it see that's what the ground says you have tried Germans have tried to take everything away but a few small things this M and then I wanted to show one left excavated things were done over where people were tortured in the basement of the Gestapo headquarters and there are these guys who called the Commission's in Germany in 50s or 60s - even deep down in the earth take away every trace the cheat a little bit so there is something right so they discover this later so I say this becomes a major Pavilion in the entrance of my thing and you can look down and see this on the historian says this is our latest little thing why don't want so so they hated me because I was insisting on this is part of history also the fact that it only a little bit is left or it not also but that that's maybe the biggest kind of thing you can learn there that only a little thing is left to rest everything has been done away right with this stays a bit outside this doesn't enter this doesn't into my life here I can go and work with my young colleagues over there as pretty price architect I'm working like 30 years ago trying to find out how to know that this is good this is not yet good service so it doesn't it does I don't feel this Oh Tom what stays outside sort of like a tick they gave me a couple of weeks ago I was in Asuncion for some reason and then there at the end of my talk they came up gave me out the very doctor but with all these things and so on the crowd method and and then you this is there and then we smile and we say thank you and then I take this away and the gold medal hangs there in the kitchen somewhere and the stuffed so it's more like that it's I say okay it's go I'm grateful it helps me in my work it's easier to explain to clients the way I work they are more inclined to believe me when I say I would like to work like this or like this and a fee the flattered and so on but it does it intimate every day when I go my grandchildren they always already talk to me like that so I got yesterday but this point is 10 then this is my first houston director he knows they're like I his father waxes myself but he would beyond is these two comes more guys just children there's a paper but this is not on nice here I hope they would make fun of me so this out I love this as did my children treat me like the always talk like that they would say our honest doesn't look exactly like a Pritzker Prize kind of thing with each other it says our time it's nice you you

Channel: Louisiana Channel

Views: 514,032

Rating: 4.9650064 out of 5

Keywords: Louisiana Channel, Louisiana Museum, art, Peter Zumthor (Architect), Architect (Profession), Architecture (Industry)

Id: lufVOqRWpLQ

Length: 61min 47sec (3707 seconds)

Published: Mon Nov 30 2015