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Daily life in Rembrandt's Holland (Daily life series)

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Zumthor Studio, Haldenstein, 1986. Photo: Hélène Binet.

- Serpentine Gallery Pavilion, Kensington Gardens, London (Great Britain), 2011
- Kunstmuseum Kolumba, Cologne (Germany), 2007
- Chapel of St. Nicholas de Flüe in Hof Scheidtweiler, Mechernich, 2007
- Plan for a church in Milano Santa Giulia (Italy), 2005
- Topographie des Terrors international documentation centre, Berlin (Germany), 2002
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- Kunsthaus, Bregenz (Austria), 1997
- Spa complex, Vals (Switzerland), 1996
- Spittelhof residential district, Basel (Switzerland), 1995
- Seniors’ residence, Masans (Switzerland), 1993
- Restoration of the Gugalum home, Safiental (Switzerland), 1993
- Chapel of Saint Benedict, Somvix (Switzerland), 1989
- Shelter for Roman archaeological excavations, Chur (Switzerland), 1986
- Zumthor studio, Haldenstein (Switzerland), 1986
- Rath twin house, Haldenstein (Switzerland), 1983
- School, Churwalden (Switzerland), 1983

In 1966, Zumthor studied industrial design and architecture as an exchange student at in New York. In 1968, he became conservationist architect for the Department for the Preservation of Monuments of the of . This work on historic restoration projects gave him a further understanding of construction and the qualities of different rustic building materials. As his practice developed, Zumthor was able to incorporate his knowledge of materials into construction and detailing. His buildings explore the tactile and sensory qualities of spaces and materials while retaining a feel.

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Drawing ARCHITECTURE | Peter Zumthor Studio via mc_vivek

In 1966, Zumthor studied industrial design and architecture as an exchange student at Pratt Institute in New York. In 1968, he became conservationist architect for the Department for the Preservation of Monuments of the canton of Graubünden. This work on historic restoration projects gave him a further understanding of construction and the qualities of different rustic building materials. As his practice developed, Zumthor was able to incorporate his knowledge of materials into Modernist construction and detailing. His buildings explore the tactile and sensory qualities of spaces and materials while retaining a minimalist feel.