Bruder klaus chapel zumthor

“In order to design buildings with a sensuous connection to life, one must think in a way that goes far beyond form and construction.” This quote from Peter Zumthor rings true in his design of Bruder Klaus Field Chapel, where a mystical and thought-proving interior is masked by a very rigid rectangular exterior.

More on Bruder Klaus Field Chapel and Peter Zumthor after the break.

Bruder Klaus Field Chapel all began as a sketch, eventually evolving to become a very elegant yet basic landmark in Germany’s natural landscape. The design was constructed by local farmers who wanted to honor their patron saint, Bruder Klaus of the 15th century.

Arguably the most interesting aspects of the church are found in the methods of construction, beginning with a wigwam made of 112 tree trunks. Upon completion of the frame, layers of concrete were poured and rammed atop the existing surface, each around 50cm thick. When the concrete of all 24 layers had set, the wooden frame was set on fire, leaving behind a hollowed blackened cavity and charred walls.

The unique roofing surface of the interior is balanced by a floor of frozen molten lead. Gaze is pulled up by way of obvious directionality, to the point where the roof is open to the sky and night stars. This controls the weather of the chapel, as rain and sunlight both penetrate the opening and create an ambience or experience very specific to the time of day and year.

On a sunny day, this oculus resembles the flare of a star that can be attributed to a reference of Brother Klaus’s vision in the womb. The very somber and reflective feelings that become inevitable in one’s encounter with the chapel make it one of the most striking pieces of religious architecture to date. With no plumbing, bathrooms, running water, electricity, and with it’s charred concrete and lead floors, the seemingly uninvit

The Bruder Klaus Field Chapel, designed by Peter Zumthor and constructed in 2008 in Mechernich, Germany, stands as a powerful testament to the potential of architecture to evoke deep, sensory experiences.

Zumthor’s approach, which emphasizes the connection between life and design beyond mere form and function, is evident in the chapel’s striking juxtaposition of a simple, monolithic exterior and a profoundly evocative interior.

Initially conceived as a simple sketch, the chapel was brought to life by local farmers seeking to honor Bruder Klaus, a 15th-century Swiss patron saint. The construction process itself is as intriguing as the final structure, beginning with a wigwam of 112 tree trunks, which was then encased in layers of concrete. Once the concrete had set, the wooden frame was burned away, leaving behind a hauntingly beautiful charred interior. This method of construction not only speaks to Zumthor’s ingenuity but also to a deep engagement with materiality and the passage of time.

Inside, the chapel is a study in contrasts and spiritual symbolism. The floor, made of frozen molten lead, anchors the space with a sense of gravitas, while the charred walls guide the eye upward to a singular point of focus—the open oculus in the roof. This opening connects the enclosed space with the ever-changing sky, allowing sunlight, rain, and stars to enter the chapel, creating an atmosphere that shifts with the time of day and season. This interplay between the raw elements of nature and the sacred space transforms the chapel into a living, breathing entity that engages all the senses.

The Bruder Klaus Field Chapel is more than just a religious monument; it is a profound exploration of silence, presence, and materiality. Its minimalist design and elemental materials evoke a deep, meditative response, making it one of the most remarkable pieces of contemporary religious architecture. By stripping the space of modern conveni

Concept In order to design buildings with a sensuous connection to life , one must think in a way that goes far beyond form and construction. This concept rings true in the design of Peter Zumthor to the Bruder Klaus Field Chapel, where a mystical and intimate interior that invites reflection, is masked by a very rigid rectangular outer .

On a sunny day, the oculus resembles the eruption of a star, a fact that can be attributed and refer to a vision of Brother Klaus in utero. Very somber and reflective feelings that become inevitable in one's encounter with the chapel make it one of the most remarkable pieces of religious architecture to date. No plumbing, bathrooms, running water or electricity and with its charred concrete and cast metal floors, the seemingly uninviting chapel remains an anticipated destination for many people.

Design The Bruder Klaus Field Chapel began as a sketch that eventually evolved into a stylish point of reference while essential in the natural landscape of Germany. The design was done by local farmers who wanted to honor their patron saint, Bruder Klaus of the fifteenth century. " ... To me, buildings can have a beautiful silence that I associate with attributes such as composure, self- evidence, durability, presence and integrity, and with warmth and sensuality, a building that is being itself, being a building, that does not represent anything, it's just ... "(Peter Zumthor )

text source: http://en.wikiarquitectura.com

Although the Bruder-Klaus-Feldkapelle is a work of architecture, it should be featured here because of its sculptural qualities. Built privately and with lots of volunteer help, the Chapel is dedicated to the patron saint of the Catholic Rural Youth Movement and Swiss saint of peace Nikolaus von Flüe (Bruder Klaus). Because of its small size, it is suited rather to private introspection and meditation than to large church services.
For the construction, 112 spruce trunks were taken from the surrounding forests and assembled into a tent-shape construction. Between this structure and the outer formwork, tamped concrete was laid in layers by volunteer helpers and skilled craftspersons over a period of 24 days, according to a regional craft tradition. The walls erected over a pentagonal ground plan remained open at the top to allow light and weather into the chapel. In autumn 2006, a fire that was kept burning for more than three weeks dried the tree trunks which could then be removed. The floor consists of a tin-lead alloy which was heated and distributed on site. 350 mouth-blown glass plugs close the fret holes that had been necessary to connect the inner and outer wooden formwork when the concrete was laid. The chapel has no altar, but there is a cast-brass sign of a wheel on one wall, modelled on the meditation sign Bruder Klaus had in his hermitage. On the floor is a stela with a bronze half figure of the saint with a relic, designed by Swiss sculptor Hans Josephsohn.
The small building looks block-like and minimalist. Despite its modern appearance, though, it draws on traditional craftsmanship, which is characteristic of the architect Peter Zumthor’s work.
The chapel is open from 10 am to 5 pm in summer and from 10 am to 4 pm in winter, closed on Mondays.

https://www.feldkapelle.de

Peter Zumthor