[ευ ζην] public bath house & aquaphobia rehabilitation centre by Antony Laurijsen

[ευ ζήν]

[ευ ζήν] public bathhouse & aquaphobia rehabilitation centre

Committee Prof.dr.ir. J. (Juliette) Bekkering Ir. S. (Sjef) van Hoof Author Antony Laurijsen | Αντώνιος Λαουρέισεν a.laurijsen@student.tue.nl info@antony-laurijsen.com www.antony-laurijsen.com Eindhoven University of Technology (TU/e) Department of the Built Environment Den Dolech 2 5612 AZ Eindhoven, The Netherlands tel: +31 (0)40 247 4311 secretariaat.b@bwk.tue.nl

PREFACE

Justification This is a publication within the graduation studio Celebrating the fringe, designing the exception, initiated by the chair of Architectural Design & Engineering.

This graduation report is the result of the work conducted during the final year of my studies in Eindhoven University of Technology. The completion of a design project was the second part of the graduation studio â&#x20AC;&#x153;Celebrating the Fringe: designing the exceptionâ&#x20AC;? 2013/2014. The first part before the design assignment included a research on a topic related to contemporary architectural theory. This graduation studio deals with the fringe zones, forgotten places of the contemporary metropolis and seeks architectural solutions that would improve their condition and reinterpret their role in the contemporary metropolis. Our fringe, the Stvanice island is one of the most ideal test zones, located near the city centre of Prague, Czech Republic. Here the Retreat in Nature versus the Architecture of the City can be opposed and reinterpreted in a design for the island. Furthermore the studio seeks architectural solutions in the combination of two or more contradicting functions, which merge in an interactive way. Finally I owe a word of gratitude towards my supervisors who always shared ideas through the project. Antony Laurijsen | December 2013

introduction

1.1 Project description 1.2 Problem statement

research question 2.1 research question

TABLE OF CONTENTS

2.2 methodology

architectural programme

design

7.1 urban scale concept

3.1 essay architectural programme

7.1.1 city VS nature 7.1.2 form study

7.2 architectural concept

study area

7.2.1 design concept 7.2.2 ‘urban’ character 7.2.3 approach 7.2.4 circulation 7.2.5 functions 7.2.6 hierarcy, spacial use

4.1 stvanice island prague 4.2 archipelago masterplan

7.3 materialisation

4.3 negrerillo train bridge

7.3.1 material choice 7.3.2 detail

7.4 structure and technical space

essays: bathing & healing architecture

05 8.1 8.2 8.3 8.4

5.1 bathing architecture 5.2 healing architecture 5.3 aquaphobia

architectural theory

6.2 the grid as a design tool 6.2 the living street as a design tool 6.4 superposition, and the ‘in-between’ space as

floor plans sections elevations impressions

6.1 Ευ ζην as a ‘continues monument’

design tools

drawings

models

conclusion

10.1 conclusion 10.1.1. reflection 10.1.2. research question

bibliography list of figures

1. INTRODUCTION

1.1 PROJECT DESCRIPTION In essence architecture comes into being in two opposing conditions: the Retreat in Nature or the Architecture of the City. The assignment of this studio focuses on combining these polarities: the retreat into nature in the heart of the city by researching the forgotten places and the fringe zones of the contemporary metropolis. The fringe zones and peripheral sites offer specific qualities and exceptional conditions that have to be explored and celebrated. The fringe offers a certain resistance towards known architectural solutions and demands new ideas and perspectives. Buildings represent inertia, solidity, and slow matter, the thought of a distant future and a timeless quality is of utmost importance, since buildings have to respond to constantly changing uses and meanings due to developments in society. Here the key question of the ambition of the architect comes into play. The ambition of the architect is reflected in the building through the interpretation of the assignment. Precisely formulating an ambition is essential to giving a building its own sturdy identity. The quest for identity is difficult and often leads to ambiguity: there is no clearly defined itinerary to be followed with a clearly known destination. The design process is not a paved trip to a well-known resort but a journey of discovery whose end point, the result, and the trail are not known in advance. Aspects and polarities such as public versus private, the changing role of the public in our society, â&#x20AC;&#x153;permanentâ&#x20AC;? education in our daily lives, the notion of urbanity and the scale, the role of the interior and themes such as sustainability determine the scope of ambition while designing our future buildings. Furthermore, because of changes in methods and processes, the manufacturability of a building, and the relationships with the contractors, the client or the future tenants have become design components that highly influence the final result. Dealing with the dual condition of acting in a historic monumental environment versus the relative emptiness of this island in the heart of the city is the challenge of the studio. The ever changing condition of the location, with high and low water levels has to be examined and taken into account in the proposals.

1.2 PROBLEM STATEMENT In today’s cities, it is time, to reconsider and redesign the forgotten fringe zones, in advance of the contemporary metropolis. We need to overcome the resistance towards known architectural solutions and seek new ideas and perspectives. These ghosted parts of the cities, nowadays often left undefined, can regain their glory and play a key role in the daily life of the city. The chances and the atmosphere the fringe zones offer along with fresh ideas, could add value to the city. The strategy of dealing with such a fringe condition is of major importance. On one hand, adding elements would serve the fringe but on the other hand deducting or removing elements would even serve better the fringe condition. Moreover, we need to form clear strategies in order to un-blur the role that these key zones could fulfil in the contemporary metropolis. Combining two or more architectural typologies is occurring often today. The way the different users interact, and the particular space that houses various functions is of particular interest. The quest of combining the polarities of the retreat in nature and the architecture of the city along with contradicting functions in such an interesting part of the city, is what intrigued me the most in this graduation studio.

[ευ ζήν] The ευ ζην (well-being) of the ancient Greeks refers to the way of life that aims to improve the quality of human life in all areas. People today live and work in order to create such living conditions to optimize the quality of their lives. Bathing as a healing process played a major role in that. A prerequisite for the “well-being” is to achieve physical and mental health “healthy mind in a healthy body”.

2. RESEARCH QUESTION

â&#x20AC;&#x2DC;How can we design a building that hosts two or more contradicting functions in a single design that offers an interactive harmony between the programmatic mixture?â&#x20AC;&#x2122;

2.1 RESEARCH QUESTION

img. 1 - bathing logo

img 2 - Healing logo

The strategy of dealing with such fragile parts of the city, the fringe zones, is of major importance. Would it be better to add Stavice island in the urban tissue of the city? Would it be better to keep it mysteriously independent? Which is the role of Stvanice island in the contemporary metropolis? I would like to research in which way the conditions of Stvanice island would be improved and clarify its identity with the help of my design. Bathing architecture counts ages of history and architectural evolution. The role of the public bathhouse in our daily lives has been changed dramatically in the past decades. With the come of the in-house private bathrooms in the western world, public bathing has lost its glory. But public bathing is not only about physical and hygienic regeneration, but also about a psychologically satisfying experience. The libraries of today have survived the pass of time and new technologies, and still form crucial spots of todayâ&#x20AC;&#x2122;s cities, the bathhouse didnâ&#x20AC;&#x2122;t. The bathhouse does not form anymore a centre of meeting and social interaction. Nowadays the public bathing is combined with spa facilities and it is seen as a luxurious activity. My aim is to reintroduce and reinvent the idea of public bathing with an accent to its social importance in our daily lives. The typology of the healing architecture suffers from repetitive, standardised architectural solutions, which are much more intended for maintainers rather than for patients to revalidate. Even though the typology of healing architecture has made some steps ahead the past decades, it can be still developed further. I aim to design a rehabilitation centre for the patientâ&#x20AC;&#x2122;s experience without neglecting clinical imperatives. I would like to research the programmatic mixture of these contradicting functions under a single roof, what chances may occur, and propose an optimal way to reassure their balanced coexistence. My aim is to design a contemporary bathhouse in combination with an aquaphobia rehabilitation centre in a single design that offers an interactive harmony between the functions.

Even if these two functions create a tension between the love and the hate for water, the wellbeing is central in both bathing and healing architecture. With the ευ ζην – wellbeing of mankind as central theme, a building will be designed that could serve the culture of congestion of the city.

2.2 METHODOLOGY The chosen topic belongs on the field of design research. Firstly an essay about the contemporary theories of the role of the architectural programme will be presented. In order for the main research question to be answered, firstly the set up of two subtopics, which will help us to approach and understand the subject in a deeper level, is needed. These subtopics will deal with the typological and historical evolution of bathing and healing architecture. Further development to these more tangible subtopics will make us able to answer the main question. A brief description will be given of the functions this graduation project will house and the reasons behind them. Moreover, basic architectural tools used in the design process will be described in order to understand the design process and goals. Afterwards the necessary design strategy and alternatives will be tested leading to the most optimal final result.

3. ESSAY : ARCHITECTURAL PROGRAMME

The following essay forms the research part of this graduation project. The books Delirious New York, of Rem Koolhaas, The Invisible In Architecture of Ole Bouman and Roemer van Toorn and Architecture and Disjunction of Bernard Tschumi formed the basic sources of the ingredients used to form an essay about the history and the evolution of the programme in contemporary architecture.

3. aRCHITECTURAL PROGRAMME The history and the role of the programme in architecture

The programme forms the basic communication tool between an architect and a client. The programme describes the client’s requirements that need to be reconciled and accommodated in an architectural project.

img. 3 - Downtown Athletic Club, Manhattan

The major importance of the architectural programme, as a starting point of an architect’s design, its relation to the form of the exterior, but also the involvement of architects on formulating a particular programme, have been discussed for years now. “Form ever follows function” (Sullivan, 1896, p. 5) presents the principle that the shape of a building or object should be primarily based upon its intended function or purpose. This modernist notion first quoted in “The tall office building artistically considered” by Louis Sullivan has been questioned and criticised by contemporary architects and thinkers. It is impossible to avoid discussing about the relation between the two, and reflecting on Sullivan’s notion, but I would rather focus on the theories and strategies about the architectural programme of architects and theorists such as Rem Koolhaas , Roemer van Toorn/Ole Bouman and Bernard Tschumi. The aim of this essay is to investigate, compare, and reflect on the contradictions of the visions of these thinkers about the architectural programme and its contemporary role in the field. Moreover instead of only theorising their approaches I would like to give examples of their realised work or writings and reflect it to these theories. Rem Koolhaas, the founder of OMA (Office of metropolitan architecture) first achieved recognition not as an architect but as an urban theorist when his book Delirious New York: A Retroactive Manifesto for Manhattan was published in 1978. The book suggested that the architectural development of Manhattan was an organic process created through a variety of cultural forces. In this way, New York and other major cities functioned as a metaphor for contemporary experience. New York is presented as the arena of the surreal ‘culture of congestion’ promoted as a prototype of the modern metropolis. ‘A total result of a collaboration of visionaries that strived to make life in the city a ‘deeply irrational experience’.’ (Watson) Declaring himself as the city’s ghost-writer, Koolhaas tells the story of Manhattan, as a ‘mythical island’. He describes it as an extraordinary urban experiment in which the city becomes a factory for man made experiences, a laboratory to test the potential of modern life. He claims that ‘Manhattanism’ is the urbanistic concept that introduces the ‘hyper density’ in the contemporary society.

The grid system in Manhattan predicted the future condition of the city. Its two dimensional restrictions gave way to three dimensional freedom, and the millions of people that it now houses was predicted far before a tiny proportion were even present. Much like the grid, central park was created long before the programmes which fill it had been realised, quoted as ‘a colossal leap of faith, the contrast it describes – between the built and the unbuilt – hardly exists at the time of its creation.’

Delirious New York, Rem Koolhaas, 1978, p. 21

Sullivan’s ‘form ever follows function’ (Sullivan, 1896) was first questioned in Delirious New York, more specifically in Koolhaas’s analysis of high-rise architecture in Manhattan. He stated that Manhattan’s architecture underwent a lobotomy, ‘less and less surface represented more and more internal activity’ (Koolhaas, 1978). By separating the internal and external, the monolith of the skyscraper spared the outside world of everyday life, a shell housing layers of reality. Entering a building in Manhattan, even changing floors, could become an act of moving between worlds. “Cross programming”, mixing different functions and layers characterised the skyscraper. ‘The deliberate disconnection of storeys – ‘the vertical schism’ – accepted the skyscrapers instability in a definitive composition, succumbing to cultural potential.’ (Watson) The ultimate example of abstract layered and unexpected programmes were the definitive instability takes place, is the Downtown Athletic club. The skyscraper was located in the southern tip of Manhattan on the bank of the Hudson river. Designed by Starrett & Van Vleck along with Duncan Hunter the downtown Athletic Club with its successful lobotomy forms an apotheosis of the skyscraper as an instrument of revolutionary metropolitan culture. Built in 1931, the 38-storied skyscraper represents the complete conquest with social activity, the ultimate American lifestyle. The author labels the Downtown Athletic Club as ‘a constructivist social condenser, a machine to generate and intensify desirable forms of human intercourse’ (Koolhaas, 1978, p. 152). All Manhattan’s theories and ambitions became reality in the Downtown Athletic Club. It consisted of 38 superimposed platforms, witch repeated the original area of the site and were connected with each other with 13 elevators.

img. 4 - Downtown Athletic Club, Manhattan

The programme consisted of a hyper condensed spectrum of athletic activities, which were only accessible to man. In the building we find squash and handball courts, poolrooms, locker rooms, box clubs, Turkish baths, artificial sunbathing rooms, masculine beauty centres, rest rooms, swimming pools and many more. The most extreme undertaking floor is the one of the golf court on the 7th floor. A complete transplantation of an “English” landscape of hills 17

Delirious New York, Rem Koolhaas, 1978, p. 155

and valleys, green grass, trees with a narrow river with a small bridge as a highlight. Koolhaas describes this golf court floor as one of the skyscrapers infinite layers, transforming nature into super nature sustaining and refreshing the exhausting metropolitan lifestyle. On the southern side, we find an Oyster Bar with view on the Hudson River. The following surreal image is created: ‘Eating oysters with boxing gloves, naked, on the nth floor-such is the “plot” of the ninth story, or, the 20th century in action’.

img. 5 - “Eating oysters with boxing gloves, naked, on the 9th floor”

From the first till the twelfth floors the Downtown Athletic Club offered completely unpredictable and unconventional programmes, the next five floors where devoted to eating resting and socialising with kitchens lounges and a library. On the 17th story roof garden, after hours of masculine exercise, man could meet woman on a small dance floor. The rest of the Club’s floors consisted only of bedrooms. Raymond Hood, the most theoretical of New York’s architects, pointed the plan as most important because on its floors were performed all the activities of the human occupants. He defined Manhattan’s ‘own version of functionalism distorted by the demands and opportunities of density and congestion’ (Koolhaas, 1978, p. 157). The Down Town Athletic Club represents an unpredictable mixture of functions successfully hidden behind the skyscrapers large abstract patterns of glass and brick.

Delirious New York, Rem Koolhaas, 1978, p. 157

‘In the Downtown Athletic Club each “plan” is an abstract composition of activities that describes, on each of the synthetic platforms, a different “performance” that is only a fragment of the larger spectacle of the metropolis.’ This abstract layering of floors, where athletes perform, was based on a random sequence. The layering order was not important as much as the elevator as the basic tool of accessibility. The programme of the Club is characterised by a fantastic juxtaposition of activities, with unpredictable functions, a definitive instability of life in Metropolis. The club is offering the true metropolitan bachelorhood status. With delirious New York, Rem Koolhaas succeed to extend the discussions about form and architectural programme. With his examples and stories he makes clear that it is not necessary to assemble a specific form to a specific activity, since juxtaposition of various activities under one skin had unpredictably great results.

img. 6 - Seattle Central Library, OMA 18

I find it interesting to mention Rem Koolhaas’s effort to get involved in the programme of one of OMA’s most famous works. He proposed the inclusion of hospital units for the homeless in the Seattle Public Library project in 2003. Unfortunately he didn’t succeed realising that intention. It is interesting though to look from the architect’s perspective, to investigate how far architects are nowadays able to

influence the programme of their commisions. Roemer van Toorn and Ole Bouman both influential figures in the world of Architecture, published “The Invisible In Architecture” in 1994. At first sight, their book looks like a complicated labyrinth. A complex matrix was created to describe architecture from different perspectives. Firstly, they identified eight ‘vectors’, current dimensions of interest and debate in both architecture and culture: duree, context, border, topos, programme, space, identity and representation. Secondly, the contemporary pluralistic spectrum was divided into three ‘strategies’, three prevailing ideologically motivated approaches: archaism, facadism and fascinism. Together these variables formed twenty-four positions, while each one of these was associated with a specific architect or bureau. They shortly describe the programme as the Raison d’être of the place. In French this means, “reason for being” which in English is translated as the reason or purpose that justifies a thing’s existence. The authors state that we could even argue that the programme and space are ‘Post-modern’ notions, in the literal sense of the word. ‘After all, for the Moderns with their love of flexible structures, the programme was often nothing more than a retrospective addition to the architecture. In their emphasis on architecture as a ‘platform’ or a ‘facility’ they left the programme for others to think about it.’

The invisible in architecture, Roemer van Toorn, 1994, p.262

‘The Invisible in Architecture could be conceived as programme’

The invisible in architecture, Roemer van Toorn, 1994, p.262

According to the writers, a programme is contained in every act, mental or physical. We often say that we know somebody, and what he stands for, through his actions. These actions contain a programmatic hierarchy. The programme can be seen as the vehicle of an ideology. With special and perhaps political interests involved, the invisible programme contains secret agendas and psychological preoccupations. The programme reveals itself through its social and cultural order. It is the programme we are forced to continue accepting as normal. Because of this invisibility the action turns to stylised representation, and all issues get roughly fixed. As a result ‘the programme contained in the action becomes visible principally at the level of cliché’ (Roemer van Toorn, 1994, p. 262). Hence the programme can no longer be included in the public discussion, it becomes something that has already happened or been decided. This results mechanically naively fixated programmes with utopian goals. As a result, we are less inclined than ever to tackle the all to evident problems by taking a programmatic approach. The goal is not to actualise utopia but to stem the dialect side effects of it because these side effects have taken over the central role. 19

In our times when form has the primal role and the content comes secondary being unpresented we do not provide the circumstances for understanding the programme. Instead, we do not have a clear view about the reasons and motives behind a form. The invisible in architecture, Roemer van Toorn, 1994, p.262

‘The importance of the programme vector is that when we are aware of it, it places us in the commodity structure -the daily life practice that invisibly reproduces the functional position of the dominant ideology - in theory politics and art.’ Almost everybody considers the programme as a plan for the future in negative terms. According to O. Bouman and R. van Toorn after the fall of the Berlin wall people seemed to have lost their faith in the political programme. It is not any more a reliable formula to hold onto. The old programme was based on principals like confidence and belief, which do not exist anymore. Nowadays, some of the only threatening social concerns that remained were the greenhouse effect, the unlimited deforestation, wars and epidemics. These concerns are only being protected by donations, awareness campaigns and petitions, and do not form the critical confrontation that politics has to deal with. These important social concerns have actually become apolitical.

The invisible in architecture, Roemer van Toorn, 1994, p.262

‘The programme of Late Capitalism is accepted as being an “impartial” mechanism. It goes together with a fundamentally new mentality, and moreover with a new conception of the programme. Instead of a notion of the will, it becomes a deterministic fact.’ Here once more we can discuss about the disassociation of form and function. Talking about the programme, the most clear example is the one of the fate suffered by the public domain. That domain is actually a problem of form preceding the public action, to such extend that the problem of form even overrides the public problem. This results a situation were people are no longer concerned with politics, but with the face of politics. In our days individuality and loss of community characterise the society’s behaviour. Without having a way to collect and express our public interests, we are thrown helplessly on our own devices. This development of society shows the way programme is treated. It is actually becoming a more and more individually treated by a single person. Actually the programme nowadays is being materialised as a physical object. This materialisation leads to the major importance of the image. The image is everything; all interest lies on the image. This results limiting the framework of our own discipline. As a result, arguing and confronting about super disciplinery criteria becomes impossible.

‘A direct consequence of the widespread distrust to any positively planned political programme is the flagging programmatic ambition for architecture’

The invisible in architecture, Roemer van Toorn, 1994, p.263

It becomes rare for an architect that wants to tell his own story to use the programme to do so. Architects use nowadays more expressive methods, to form their statement. The outcome is that the economic capital of the function gets disassociated with the intellectual capital of the design. Now that programmatic solutions have lost their solidity architecture tends to strand in self-legitimising craftsmanship. Architecture has unwillingly become a craft of formal design and packaging, which seldom influences movement and action. These kinds of buildings are being characterized by their pragmatic approach of only answering functional requirements. In these cases, the programme is being purely translated to square meters and is practically the raison d’être. But even in buildings which are not just fulfilling the programmatic requirements in numbers we notice that their ideological programme remains camouflaged behind the representational programme, behind architecture’s own “flashing” package. This carelessness of architecture for the programme has its roots back in modernism days. Back then, architects were dissatisfied with the aestheticism of antiquated neo-styles, they desired to be a part of the modern project, which regarded neutrality and simplicity. Unfortunately by doing so, they forgot their critical faculties on the craft and used the programme no more than a tool. The programme became a most of the time unwanted duty, and it was narrowed down to the immediate utility of the project.

img. 7 - Programme vector, the invisible in architecture

During the sixties, when architects suddenly woke up, it was already too late. This task, as many others, were moved to the hands of other professions such as: managers, engineers, bureaucrats and environmental designers. Their skill as designers was their only weapon to stabilise the situation. After taking their craft back they realised that it became the one of the packaging expert. Within the craft both programmes, the one of the requirements and the ideological one presented themselves in the form of unique and autonomous acts. The programme is invited as a frame to support voluntarily the structure of the design. With this importance of the role of the programme the involvement of architects in it has become even more difficult. Such involvement mostly means involving excessive costs or, as a suggestion of the project remaining limited to folly, a programme-free fun thing to upgrade the public space with various social impacts.

The invisible in architecture, Roemer van Toorn, 1994, p.265

Afterwards, the authors introduced three strategies linked to three architects and their reaction on the programme. The following attitudes about the architectural programme are distinguished.

The invisible in architecture, Roemer van Toorn, 1994, p.265

‘Archaism is effectively an anthropological interpretation of the programme, as the totality of mankind’s unchanging practical needs. In this approach, the programme refers to large universal premises of our existence, to somatic identity and to needs for security and identification’’ This startegy considering the programme offers a common ground to everyone; therefore it presents itself as a neutral and subtle game of spaces and volumes. This type of strategie does not offer a programme change but it concentrates on the permanent. Lucien Lafour & Rikker Wijk see the programme in its most basic possible terms. They create an open space for the “poor” a space that gives the feeling of belonging to a community consisted of all basic requirements. ‘Facadism. For the facadist the programme is not so much a problem as a fact that has to be represented in (consumable) signs.’

The invisible in architecture, Roemer van Toorn, 1994, p.265

In this case, the design distinguishes variations in the form without reflecting its content. This method intrigues the discussion of the relation between form and function. At the same time, it accentuates the recognizable and the figurative. Aesthetics have a great role in a design that disguises the function. Hans Hollein’s favorite building the museum, turns all his projects into museums. In this strategy the work goes much deeper than the building’s skin. Hollein prefers to detach the public significance of his programmes in the favour of confrontation and offers togetherness with happiness in his buildings. ‘Fascinism aims to enrich the given programme with post-historical (i.e. post-programmatic) insights, and create an atmosphere that evokes not a sense of recognition but the ecstasy of alienation’ (Roemer van Toorn, 1994, p. 265) In fascinism one does not simply enjoy and follow the offered programme, but seeks new ways to improve and enrich it. Although this intellectualistic approach is tempting, it produces unmanageable spaces. This abstract conception of form does not refer to the essence but the atmosphere of the programme. Bernard Tschumi does everything possible to avoid static images, by manipulating the programme to its own limits, in order to even escape it’s the aesthetic skin. The fascinism approach of Bernard Tschumi in the programme worth’s in my view a more in depth research.

Bernard Tschumi is an active architect, and thinker, who since the 70s insists that there is no architecture without events, without actions or activity. With his early work he proved that a building constantly communicates and influences the activities that occur in it. These events rearrange and creatively extend the built structures that contain them. Simply stated, architecture is not only defined by its “skin”, its package, but is the result of an interaction of space, movement and event. ‘If writers manipulate the structure of stories, words, and grammar, couldn’t architects manipulate the programme? If architects could use such devices as repetition, distortion, or juxtaposition in the formal elaboration of walls, couldn’t they do the same thing in terms of activities that occurred within those walls?’

(Tschumi, Architecture And Disjuction, 1996, p. 146)

According to Tschumi, architecture has always been as much about the event that takes place in a space as about the space itself. There is a balance between the space and the purpose of it. Nowadays we have various examples of buildings reused with new given functions. For example railway stations become museums, industrial buildings become housing complexes and churches become nightclubs. Tschumi challenges and epitomises the modernisms “holy“ interchangeability of form and function. ‘Function does not follow form, form does not follow function however, they certainly interact’ (Tschumi, Event-Cities, 1996). He introduces the “shock”, that in order to be effective in our mediated culture, in our culture of images it has to combine the idea of function or action with that of image. Tschumi believes that if this shock, this ecstasy, can no longer be produced by the succession and juxtaposition of facades and lobbies, maybe it can be produced by the juxtaposition of events

img. 8 - Bernard Tschumi. A+U 216 September 1988: 54 23

that take place behind these facades in these spaces. He wrote about inventing new tools, instead of reusing the modernist ideals, try mixing up events and activities. As described by critics Andreas Huyssens to Jean Baudrillard ‘the respective contamination of all categories, the constant substitutions, the confusion of genres’ (Tschumi, Architecture And Disjuction, 1996, p. 254) this could be the source, the tool for a possible rejuvenation of architecture. If architecture is concept and experience, space and use, structure and superficial image; then architecture should not force the separation of these categories. Instead the solution would be to merge them into exceptional combinations of programmes and spaces. Tschumi, introduces notions like “Crossprogramming,” “transprogramming,” “disprogramming” without the need do describe them here. Tschumi distinguishes the “Programme” from an “event”. A programme is a defined set of expected conditions, a list of requirements, often based on social behaviour and habit. In contrast, he explains, events occur, as indefinite set of unexpected outcomes. ‘These events consist of hidden potentialities and contradictions in a programme that can be related to spatial configurations’ (Tschumi, Architecture And Disjuction, 1996, p. 254). This then, may create conditions for unexpected events to occur. For example, instead of planning and assembling common certain activities that result fixed, predictable events, one could mix uncommon, contradicting activities that could result unpredictable events. He often calls this particular spatial configuration the “in-between”. According to Tschumi, these “in-between” spaces with mixed programmes can be found in the high-rise buildings of Tokyo. There we find department stores, health clubs, museums and cinemas al scattered under a green roof. He points these as the phenomenal programmes of the future. These mixtures of programmes could be the result of change of combinations or because of economically attractive lower land price costs. In any way, these combinations go much further than the poetic confrontations about form following function and vice versa. Michel Foucault expanded the use of the term “event” way beyond a single action or activity, and writes about ‘events of thought’ (Tschumi, Architecture And Disjuction, 1996). Instead of describing an event with an origin and an end, such as proposition of “from ever follows function” (Sullivan, 1896, p. 5) does, he describes the event as a turning point. Tschumi proposes that the future of architecture and programme has to be based in the construction of such events. Tschumi found the chance to apply his controversial theories in the commission of 1983 to design Parc de la Vilette in Paris. Located on the former slaughter houses, next to Boulevard Periferique the urban park developed a complex programme of cultural and entertainment facilities. The park consisted of various buildings, gardens, bridges, 24

and fields that would serve as sites for concerts, exhibitions, sporting events, and more. He described the urban park as an open-air movie theater that can accommodate 3,000 Parisians. Here Tschumi got the opportunity to prove that a complex architectonic organisation is possible without using traditional architectural tools such as composition, hierarchy, order and balance. With a deconstructivist approach the programme was deconstructed into three prior elements : movement, meeting points and events. Basic geomeric tools for this composition were lines, points and surfaces superimposed on top of each other, but always kept autonomous and separate. The design was based on dynamic motion and movement combined with resting points. This dynamic movement gets even more interesting on the accentuated â&#x20AC;&#x153;programme-freeâ&#x20AC;? follies; the resting points that strongly remind us of Russian constructivism. These are exactly the un-programmed

img. 9 - Bernard Tschumi. A+U 216 September 1988: 54

surprising “event spaces”, the follies where various activities occur depending on time and congestion. In general, Tschumi stages the ground plan and the main volume of a design at conceptual level and barely attends to the actual programmatic function. He even finalises the circulation plans of spaces before knowing the exact function. Rem Koolhaas as the first criticiser of the relation between the programme and shape, gives an indirect personal opinion in the same way he does in every chapter of Delirious New York. With his extended and eloquent description of The Downtown Athletic Club, he plants the idea of a perfectly working example of a successful lobotomy as an apotheosis of the skyscraper. He describes the skyscraper, with its lobotomy, its schism and its unpredictably superimposed programmes, as the ultimate instrument of ‘the culture of congestion’. Koolhaas proves that the programme does not have to manipulate the form, and vice versa. The form could be totally separated from the programme, there is no need but only a possibility for a direct connection or interaction between the two. This approach intrigued my interest to investigate the theme of the programme further. On the other hand Ole Bouman and Roemer van Toorn give a more philosophical and historical dimension on the field of the discussion about the programme in architecture. As non-architects both, they formulated their own point of view on the history of the programme from the modernism times until now, relating it to social and political aspects. They sort of theorised the architectural programme. Their approach about the influence of politics, the fall of the Berlin wall and their social impacts to the notion of the programme attracted my interest. With this theoretic approach they conclude how the political programme became apolitical, and how people distrusted and lost their faith on it. By reflecting on these facts they explain how we got to that point of marking the programme mandatory and not as utilitarian; as an unwanted part that architects neglected. Afterwards they clearly distinguish three architectural strategies, linked to the programme. Archaism, Facadism and Fascinism were described shortly. I consider this generalisation of three strategies linked to three architects as very dangerous. I would rather label three projects each one with its own strategy than the complete oeuvre of an architect. I believe that the complete work can never be a part of one single strategy. I find it very interesting though to introduce three categories and match them with specific projects. Finally Bernard Tschumi, is the one clearly describing his strategy and vision about the architectural programme. Not many architects nowadays talk about it, but Tschumi bases many theories on his view in the architectural programme which are based on the events that occur in a building, a set of unexpected outcomes. Tschumi’s interest for the programme exceeds the architectural power of the image in contrast with the most of the contemporary architects for whom the 26

importance of skin and the exterior package was more important. My research ended in Tschumi’s theories which along with my experience, the theoretical approach of Bouman and van Toorn, and the vivid descriptions of Koolhaas sort of formed my own personal view on the theme. In my view, architects and thinkers of our times have to deal more actively with the issue of the architectural programme. During my first year of my studies in architecture I remember the architectural programme given as something “holy”, an undoubtable and unchangeable bible that the design should follow strictly. I believe that our design education requires a more in depth focus on the role and the capabilities of the architectural programme. Instead of limiting our creativity and transforming the programme into a mandatory set of expected conditions, we have to rethink its importance. As Bouman and van Toorn note, we have to clearly separate the one of the requirements and the ideological one. Merging these two, leads to unwanted results that do not last long. I do not believe that it is possible to design programme-free spaces which the users can fill with different programmes, even if Tschumi’s programme-free follies proved themselves in time, I believe this approach would not last in the private sector. Moreover, I definitely support architects that look forward, in order to design buildings which can be easily adapted and changed for future users and needs. We have to admit that today we are not designing only for the first user, but also for the second and the third one. Especially nowadays, when the economical situation is contanly changing one has to be able to be flexible in every choice, in order to predict at least some of the future requirements of possible scenarios. The programme is not anymore fixed or infinite, it has an expiration date. Contemporary architects have to look critically to the programmatic role of architecture in our cities. The architectural programme, in a broader scale, organises our cities and daily lives. The organisation of this programme has to be related not only on functional and practical needs but also to the quality, the experience of spaces and the relations between them. We have to aim for excellent qualities of spaces and not only puzzle with quantities of square meters. We must regain our faith to the programme, face it and manipulate it, in order to improve it.

4. STUDY AREA

The following chapter cosists of two parts. The first deals with the existing situation of our study area, the stvanice island, in Prague. The second part deals with the interventions of the archipelago masterplan in stvanice island. At last, a basic contextual element, the Negrelliho train bridge will be briefly described.

img 10 - stvanice island in context

4.1 STUDY AREA The study area of this graduation project is the Stvanice island in the riverbed of the Vltava river which meanders through the centre of the city of Prague, Czech Republic. The river has shaped the city in its actual form. The river forms the most volatile element in the city: itâ&#x20AC;&#x2122;s meandering course the occasional flooding the rise en fall of the body of water forms a annually reoccurring event in the cities life. The islands tend to be flooded either year. Due to this the contemporary city is not oriented on the embankments of the Vltava river. High quays protect the inner city from flooding. The islands in the river are poorly connected to the adjacent city fabric. Due to regular inundations of parts of the island, big parts where not suited for buildings, and therefore it is a still preserved oasis of peace in the hectic of the 21th-century city life of Prague. The Stvanice island houses an utmost peripheral programme, with some sport facilities, tennis lawns and recreational programme, an outcast programme where the risk lies in wait of being swallowed by the encroaching urbanisation.

img. 11 - Stvanice island tennis stadium, Prague, Czech Republic during the flooding period

In the past the island housed a fortification and was later used as a green space for hunting and leisure. In the 20th century different sport facilities were created like the tennis stadium and the tennis lawns of a renowned tennis club. To conclude with: The historic inner city of Prague is a Unesco Monument and the city is the fifth most popular destination for tourists in Europe. The riverbed of the Vltava river forms a source of opportunities.

img. 12 - Stvanice island embankments, Prague Czech Republic during the flooding period

img. 13 - Stvanice island, Prague Czech Republic

img. 14 - Historical Ice hockey stadium, Stvanice island, Prague Czech Republic

img 15 - flooding zones 34

img 16 - sections, stvanice island 35

4.2 ARCHIPELAGO MASTERPLAN Due to its tense relationship with the flooded waters of Vltava, its poor programme and urban accessibility the Stvanice island forms an ultimate fringe location of the city of Prague. However, it forms a source of opportunities, which need to be redeveloped for the advantage of the city. After our visit in Prague, it was clear that the island needed to be developed as a whole instead of only designing one single building. With a group of four students we formed the archipelago masterplan. Being inspired by this rich interaction between the island and the water and the power of the Vltava river, which shaped the city, we intended to actively use it in the new masterplan of Stvanice island. Obviously the island needed major interventions that would improve the existing qualities so that it could be again a part of the daily life in the contemporary metropolis. We designed an island based on a metaphor of the â&#x20AC;&#x2DC;water journeyâ&#x20AC;&#x2122; in which the water enters the island from the west side with a high speed as if it comes from the mountains, then lowers its level and speed in a central lake atmosphere and finally spreads in a delta and ends in the Vltava river on the east side. Basic guidelines for the design of the Archipelago masterplan were the persisting of the existing qualities of Stvanice island. All the monumental trees should be kept intact, and both the monumental bridges. The important design decisions concerning the shapes of the islands were made based on the history of the island and the preexisting buildings that it housed. The islands were shaped based on the contours of the monumental trees, the shape of the central lake is based on the footprint of the former tennis stadium, and the rectangular shape of the ice skating lake on the west side is based on the footprint of the former ice-skating hall. All these elements were connected metaphorically as mentioned above.

img 17 - built-unbuilt map stvanice island and archpelago masterplan

Maximising the impact of the water on the island, the moving waters are used as an active design element, constantly changing the shapes of the island. Stvanice was divided in two characters, one of the ‘city’, and one of the ‘nature’. The ‘city’ part located towards the city centre of Prague, was characterised by edgy rough artificial materiality and shape, in a higher level protected form the floods, representing the ‘architecture of the city’. On the other hand, the ‘nature’ part situated on the east side towards the green zones which start at Vltava’s embankments has a much more wild, natural forest-like atmosphere where the water rules and dominates.

img. 18 - reference of OMA’s design for the Pont Jean-Jacques Bosc, Bordeaux

img. 19 - function map, Archipelago masterplan, Stvanice island, Prague Czech Republic 38

Furthermore, we decided to extend the underground infrastructure, which is already under development for the city of Prague, with axes connecting the south with northern part of the city, which paces under Stvanice island. This concept would decrease the traffic of the car bridge that crosses Stvanice and make it accessible for pedestrians. In this way we create an attractive promenade connecting the centre with Karlin district, combining low speed traffic, trams, pedestrians and bicycles, the access of Stvanice is improved within a single transportation zone. OMA ’s recent design of the Pont Jean-Jacques Bosc bridge illustrates perfectly the idea of the Stvanice bridge transformation. The theme of contemplation, was introduced for the fringe of Stvanice in order to give it a homogenic use. Therefore, the functions chosen should be related with the theme of contemplation offering a retreat in the heart of the city. Our masterplan would house maximum three functions out of: a bathhouse, a aquaphobia rehabilitation centre, a monastery, an environmental research centre and a sports centre. These three projects will tend to establish continuity with the spirit of each small island of this archipelago.

img 20 - transport map stvanice island and archpelago masterplan

img. 22. - water level map, Archipelago masterplan, Stvanice island, Prague Czech Republic img. 21 - monumental tree map, Archipelago masterplan, Stvanice island, Prague Czech Republic 40

img. 23 - infrastructure, Archipelago masterplan, Stvanice island, Prague Czech Republic

img. 24 - city map Prague with Archipelago masterplan, Stvanice island, Prague Czech Republic

img. 25 - zoomed in city map Prague with Archipelago masterplan, Stvanice island, Prague Czech Republic

img. 26 - cross sections, Archipelago masterplan, Stvanice island, Prague Czech Republic

img. 27 - The Negrelliho viaduct after conctruction

4.3 NEGRELLIHO RAILWAY BRIDGE The strongest contextual layer of the design is the Negrelliho railway bridge. The Negrelliho Viaduct (also called Karlín viaduct , formerly general viaduct State Railway Company ) connects Masaryk railway station in Prague (originally “station of the State Railways”) across the island with Karlin district . It is historically the first Prague railway bridge over the Vltava River, currently the second oldest bridge of Prague that crosses the river. It is the thirteenth bridge of Vltava and also the longest one, and overall the third longest bridge in the Czech Republic. Alois Negrelli, Knight of Moldelbe was a prominent designer of stone bridges, particularly rail bridges. Karlin viaduct was built as part of the Dresden branch of Project North State Railways Olomouc - Prague - Dresden, whose construction has decided Directorate of State Railways in 1842. The bridge was built in the spring of 1846, completed in 1849 and put into operation in June 1850 and is used until today.

img. 28 - Alois Negrelli, designer of the Negrelliho-Karlin railway bridge

img. 29 - Time Transfixed (La Duree poignardee, 1938), oil on canvas painting by Belgian surrealist Rene Magritte 47

5. ESSAYS: BATHING ARCHITECTURE HEALING ARCHITECTURE

The following chapter cosists of two essays, about the historical and typological development of bathing and healing architecture. With the support of floor plans, sections and photo’s the evolution of these typologies will be reflected to todays circumstances. In each example, some key elementes used in the design of ‘ευ ζην’ will be pointed with a dotted line.

BATH

HEAL

5.1 BATHING ARCHITECTURE

The history and evolution of the typology of public bathhouse design The bathhouse typology is going to be approached from the cultural perspective, with the floor plan forming the basic tool in which the characteristics of each typology will be described. This essay will be finilised with an example of a fine contemporary bathhouse.

img. 30 - Bathng logo

Bathing is a centuries-old tradition in many cultures. Every culture has its own characteristics, rituals and beliefs related to bathing. Already before the era, humanity was seeking the water because of its positive effects. The main reasons behind visiting springs and baths were hygiene, entertainment and recreation. This fascination has in many ways developed and resulted different types of baths and building forms. Greek bath culture Bathing, was firstly recorded in ancient Greece. Its notable that bathing in ancient Greece went far beyond the functional necessities of washing. It was a way of socialising and escaping from daily life. Bathing lead to personal regeneration, a physically and psychologically satisfying experience.

img. 31 - Bathing in ancient Greece

One of the earliest examples of a public bathhouse which was connected to religion is the sanctuary of Apollo in Pireaus. Dating back to the early Hellenistic period, the bathouse was curved partly into the virgin rock and situated over a sacred spring. The building consisted of a sequence of spaces primarily intended for religious and ritualistic use. Two â&#x20AC;&#x2DC;tholoiâ&#x20AC;&#x2122;, circular rooms with peripheral niches, of almost equal size are connected by a rectangular hall; the larger holds nearly thirty hip baths. This round booth, constituted the characteristic architectural element of ancient Greek baths, enclosing the greatest possible space within the smallest perimeter, giving a sense of unity and organisation to the plan. Water from a well was carried into the rooms through conduits cut into the rock. The water was heated in cauldrons over an open fireplace, and then carried to the rooms for the use of the bathers. Pits or depressed areas in the middle of the tholoi might have been used to receive red-hot stones to heat these rooms and create steam.

img. 32 - Floor plan and sections showing the light and temperature gradations, sanctuaru of Apollo, Pireaus

The most important architectural tools that I would like to use in my design are the sequence in routing, threshold points, the order of usage and gradation of temperature (from cold, tepid, to hot rooms) and lighting (from dark to light). The rituals of undressing, getting used to the temperature and light gradation play a major role in experiencing bathing as a form of contemplation. These themes can be found in many bathhouses.

order of usage

light gradation

temperature gradation 51

Roman bath culture The Romans were inspired by the Greeks, but developed the concept of public bathing much further. The invention of concrete as the basic construction element improved the building methods and the design capabilities that influenced the typology of bathhouses. A Roman bathhouse consisted of at least a dressing room, a room with middle temperature baths and a room with hot tubs. Usually, these areas were next to each other, in a strict order of use. The roof domes were usually made of arched roofs. Besides several baths the bathhouse consisted of deep baths, sweat rooms, sunrooms, hotel, restaurant, sports facilities, promenades and a religious space for praying. The Romans believed in the beneficial effects of heat. Standing in front of a heater was helpful for colds and would relieve rheumatic pain. Because of the waterâ&#x20AC;&#x2122;s beneficial effects, hygienic purposes and comfort, all farms built during three hundred BC were equipped with a dressing room (apodyterium) and one bathroom with hot water (caldarium).

img. 33 - Oil painting of a roman bathhouse

The symmetry and monumentality of space is the basic element I would like to keep from the roman bathhouse. These elements have been increasingly used in the design of Roman bathhouses. A beautiful example is the Thermae of Caracalla, built between 200 and 220 BC. The main room (frigidarium , tepidarium and caldaruim) is placed on a central shaft fitted with cross vaults. The caldarium had a dome-arched roof. The countless domes that the Romans have built in their bathhouses, eventually led to the most imposing dome of the time: the Pantheon in Rome. All bathing rooms were connected and for the purposes of privacy visibility they were arranged strategically around colonnades. Although the main areas used by both men and women, there was enough space for social contact between people of the same sex separately. Reception and changing rooms, outdoor areas and reading rooms were separated. By designing the man and woman areas symmetrically the equality between the two genders was supported. Around the complex there was a designed garden, with in both sides a gymnasium, library and study areas. In contrast with other cultures the Romans used the richly planted court more for meditation than for sports and games. It is notable that the Romans combined bathing with other activities such as studying, socialising, work, sports and wellness.

img. 34 - Painting of Thermae of Caracalla

img. 35 - Impression of Thermae of Caracalla

In Roman baths we notice a different usage of light from the first century AC. Around three hundred BC the public bathhouse was designed in an introvert way. The complex had little or no windows to avoid the view to inside. Light entered mostly through small openings, which made bathing an ambient experience in a dark space. Things had changed in the first century. The use of windows in bathhouse architecture was common. However, the bathhouse was still relatively introverted. Over the centuries, windows got bigger and bigger which were placed under the vaults. Accession of light got much more important in Roman bathing architecture.

symmetry

img. 36 - Painting of Thermae of Caracalla

legend 1. frigidarium (bath room with cold water) 2. large hall 3. tepidarium (bath room with hot water) 4. caldarium (bath room with hot water) 5. lounge 6. reading room 7. palaestra (outdoor space for sports and games) 8. vestibule (great hall) 9. courtyard 10. apodyterium (dressing) 11. laconium (bath)

12. 13. 14. 15. 16. 17. 18. 19. 20. 21.

main entrance shops gymnasium Nymphaea (monumental fountain) study area stairs to Portico (covered area) library promenade water tank Following aqueduct

Islam bathing culture The Islamic bathhouse is also called Turkish bath or hamam (hammam in Arabic). The word hammam indicates that water is heated. The ablution of the body during your visit in a public bathhouse is a cultural tradition. Along with the spiritual cleaning can one get free of physical dirt. In these eastern bathhouses men and women bathe separately. The bath is visited to relax and enjoy the intimate atmosphere and breathtaking architecture. As also in the roman bathhouses, social contact between the users of the bathhouse was of major importance. img. 37 - Cemberlitas Hamam, Istanbul

The typology of the Hamam is characterised by its dramatic low lighting and the user experience design. The powerful circular shape with natural light entering from dome are elements I would like to use in my design. One of the most famous Hamams is the Ă&#x2021;emberlitaĹ&#x; Hamam, in Istanbul. The changing rooms were situated in a dome with marble seating along the walls. One became used to the temperature in a transition area before entering the hot space. The hot space which remains the most important, was equipped with several side rooms (halvets), private cabins with various functions, for example, steam room, toilet , rest room or plunge . The main difference between the Ottoman bathhouse and earlier baths mentioned (Greeks , Romans) is the presence of a marble plateau in the middle of the hot space . The heated stone (Gobek TASI) was intended to rest or as a massage place.

A striking feature of the exterior of Islamic bathhouses built during the Ottoman period, is the use of simple cubic forms, covered with domes . The first volume (dressingroom) has the biggest size and is provided with a dome and a window on top. The remaining volumes contain smaller domes with light openings. The facades, which are devoid of windows and are finished with plaster, are of a relatively closed nature . The application of a simple and compact volume and the presence of closed walls aimed to reduce the heat loss. Because of this closeness there was a mystical and intimate atmosphere created in the interior of the bathhouse. Most Ottoman baths have four main areas : the dressing room (soyunmalik or Camekan) , the warm room (sogukluk) , the hot space (siรงaklik) and the boiler room (Kulhan). The former bathhouses had on their edges benches where people could rest during bathing. Nowadays hamams have private dressing rooms, in wooden wall units on three floors with a fountain in the middle for cooling purposes. Through a ceiling window (cupolas) the dressing room was provided with optimal daylighting condition.

img. 38 - Cemberlitas Hamam, Istanbul 58

typology

legend

1. entrance men 2. entrance of women 3. dressing room, rest room 4. private changing rooms 5. fountain 6. shop 7. warm room 8. toilet, massage, relaxation room 9. hot bath room 10. marble stone 11. private steam room

12. rest and washing areas 13. basin 14. boiler room

img. 39 - floor plan, Cemberlitas Hamam, Istanbul

Finnish bath culture Finland, is the land of thousands of lakes, where the sauna can no longer be indispensable from the Finnish culture. Finland has a continental climate with precipitation in all months. In the southwest summers are quite warm, but in the rest of the country, summers are cool. The cleaning of the body by means of sweating and steam plays an important role in the daily lives of many Finns. The sauna has evolved over time from a hut by the river to a compact cabin which can be applied anywhere. The sauna besides its physical purposes is also a major meeting place in the Finnish society. The sauna has evolved from a stone well construction to a wooden hut half sank into the ground and eventually ended as the known electrically heated saunas of today. The traditional Finnish sauna was homemade by the people of timber and ranged in size according to the needs of the people. A sauna hut consisted of three areas: dressing room, laundry room and boiler room. These areas were connected to each other in this order with the laundry room also serving as a cooling shed, giving access to the outside. The public saunas from later periods had separate sections for men and women. The areas were connected to each other in the same way as the old forms of the sauna. Rooms with baths were added for cooling and relaxation. Furthermore, a public sauna consisted of several sauna rooms of different sizes to meet the number of visitors. One of the most known architectural elements of the sauna that I would like to use, is the warm wooden materialisation, which serves in both architectural and technical manners and gives a warm feeling.

img. 40 - Sauna hut, located in natural surroundings

materiality

legend 1. 2. 3. 4. 5.

entrance dressing terrace laundry / cooling shed boiler room

img. 41 - sauna floor plan

Les Bains des Docks

img. 42 - interior children’s pool, Les Bains Des Docks, Jean Nouvel

Jean Nouvel, about his design of Les Bains Des Docks in Le Havre

Les Bains Des Docks Aquatic Centre in Le Havre, France, a contemporary bathhouse of designer Jean Nouvel, is a stunning centre of relaxation inspired by classic Roman baths. Les Bains Des Docks is an indoor/outdoor facility with pools, saunas, waterfalls and steam rooms that connect with humanity’s fascination with water. The design is clean, calming and geometric, featuring inset rectangular boxes that provide character inside and out. The architecture is largely color neutral, where the water and the bodies within it provide much of the organic character. The exception is a bright and vivid playroom for children on the side of the indoor section of the facility. “It is a paradox, a building on a harbour scale, inspiring simplicity and robustness, but which betrays its complexity as soon as one penetrates its volumes,” says Nouvel. “One enters a universe of whiteness and depths.” The Aquatic Center is composed of three principal entities: An external and heated sports pool of fifty meter long by twenty one meter wide, a play pool interior/external and a center of balneotherapy. The access is made through a single reception hall serving the cloakrooms of the play and sports pools and the cloakrooms of the balneotherapy center. On the same floor, other suspended beaches and two suspended pools are accessible from the play pool. An internal connection connects all these pools for the visitors provided with a proper Pass. The center of cardio-training and its cloakrooms, the administration with a separate access, and the free access cafeteria, are arranged on the same floor and directly connected to the hall. The access to the technical premises located under the beaches is made though an open sky yard at the back of the building. A delivery l’espace is integrated in the building.

img. 43 - Exterior and interior relaxation pool, Les Bains Des Docks, Jean Nouvel 62

The elements of this design that I am interested are, at first the tremendous lighting, inspired by the roman baths which declare that bathing is not only about mystical and ambient experience, but also about generous light and scale of space. Secondly the shaping of the pools that control human movement being adjusted according to the access points.

legend

1. entrance 2. lobby 3. reception 4. stairs / elevator 5. turnstiles 6. waiting zone 7. changing rooms 8. toilets 9. showers 10. 50 m pool 11. lounges 12. storage / staff room 13. bar 14. technical room 15. children 16. indoor leisure 17. leisure pool 18. solarium 19. whirlpool 20. kids Corner

img. 44 - interior childrenâ&#x20AC;&#x2122;s pool, with on the back the relaxation pool of Les Bains Des Docks, Jean Nouvel img. 45 - on the right, the floor plan of Les Bains Des Docks, Jean Nouvel along with the water analysis 64

21. 22. 23. 24. 25. 26. 27. 28. 29.

slide passage out stairs to the solarium foot balneotherapy bath saunas massage chairs plunge

pool shaping

5.2 HEALING ARCHITECTURE The typology of the rehabilitation centre/hospital will be approached from a historical perspective. The evolution of this typology will be described with the help of floor plans and photo’s. This essay will be finilised with an example of a fine contemporary rehabilitation centre.

img 46 - Healing logo

In ancient civilization mankind trusted the worlds healing power to flow through body and mind. Today, the industrialisation of healthcare has isolated patients from larger context and offers them standardised spacial solutions. Today’s healthcare architecture must reintegrate the public realm into the healing process. Architects and co-designers need to rediscover and re-cast the typology of hospitals and healthcare settings and reinterpret their relation between city and nature. Starting in ancient Greece, the temples of Askelpios in Epidaurus and Kos in Greece (around 500BC), where the sick came to be diagnosed and healed, placed faith in the power of sacred settings and ritual. Ancient Roman hospitals on the other hand were developed for military purposes with plans based on barracks. These two traditions – the military and the religious – are consistent threads in the development of hospitals right up to the 20th century.

img 47 - Temple of Asklepios, Epidaurus, Greece

The world hospital is rooted Latin in the word Hospitum which meant guest house for poor which later was associated as a place were sick could heal. One of the first hospital examples is the Hôtel Dieu hospital in Paris, in which architects and physicians cooperated to design spaces with high ventilation standards to improve health and recovery. The ‘pavilion’ hospital typology that became standardt until today derived from the UK in the mid 19th century. Narrow rooms arranged next to each other linked by a corridor. Variations on this typology focused on adjusting the cross sectional proportions and separation of the blocks. Medical architecture has escaped the critique of functionalism that began in the 1950s and which by the end of the 1960s had focused around the International Style. Instead of hospitals being prime subjects for the experiments of the avant-garde architects, the opposite happened, with a few exceptions such as the work of Powell and Moya whose radical domestic scale designs for ward blocks at Wexham Park (1955–66), for example, were designed for the patient’s experience without neglecting clinical imperatives. In general, hospital architects adopted an conservative approach focusing on the efficient accommodation of processes at the cost of

img 48 - Hospital patients, enjoying the sun

img 49 - Hotel Dieu, Paris

making living places or meaningful form. The functionalist approach reproduced various distinct typologies strictly following the basis of the pavilion typology, or finger plan invented in France in the 18th century. The rehabilitation rooms had formed the largest element of a hospital’s plan and volume, but now there was a need to include four principal and equally important elements of a hospital, namely the outpatient & diagnostic departments, the operating theatres, the nursing units the servicing and circulation. These typologies – for example the street, the monoblock, the podium with tower or block(s), the campus, the atrium – can be seen in modern hospitals all round the world in various pure and hybrid interpretations. Around the 1960s the ‘patient centred medicine’ turned the attention of hospital architects in the US and UK to the idea of ‘patient centred design’. During the 1980s in the UK an exploration really began of what in more important for a better sensory experience for people, such as the quality of space, light, acoustics and finishes and how we can reduce stress through making buildings pleasant to approach and easier to navigate, in contrast with the repetitive, endless hospital corridors. The resultant concern to create healing environments suggests a kind of a return to Epidaurus if less numinous. But Epidaurus was all about connecting with the wider world and letting its healing power flow through the body and mind even as the individual focused inward. What the modern hospital typology lacks is that connection, save for a preference for a good view if possible. The

benefit of a view has been validated by research such as famous paper of 1984 by Roger Ulrich which showed that patients with a bedside window looking out to a natural setting recovered more quickly. Before the big come of motorised transport, hospitals tended to be sited where populations were concentrated. From mid 20th century there has been a preference to locate hospitals on green field sites where possible, away from town centres, giving freedom for layout design. Where urban sites were used or re-used, modern hospitals were designed as hermetic entities. A reciprocal spatial engagement with the civic realm has simply not been on the agenda. And yet hospitals are in themselves as large as many settlements and even small towns. Their design, in terms of legibility of layout, the hierarchy of the parts and the capacity for growth and change, owes much to the city as a paradigm, most evidently in the ubiquity of the ‘hospital street’ – the ‘main artery’. This living street, the city formed in a hospital is what intrigued me the most. Hospitals contain shops, schools, libraries and places of worship and have their own security apparatus. They have a greater number of well people than ill people. Furthermore, as wellconsidered extensions to the urban realm they have great potential as agents of regeneration, helping to increase economic activity in the neighbourhood. That is not to underestimate the design challenge in the integration of the hospital and the city. Like any building with a private realm, and so intensely private at that, there will be limits to such integration. The enormous size of the hospital and the requirements of privacy create a problem of the long blank edge to the street, and the every tightening security aspects make it even more difficult. There is a rich typology in architectural history showing a layered engagement of the hospital and the city. The first building of the Italian Renaissance, as taught in schools of architecture, Filippo Brunelleschi’s Ospedale degli Innocenti in Florence (1419) forms one side of a city square the other sides of which were added in imitation of Brunelleschi’s loggia. While not strictly a hospital, more a refuge or asylum for orphans, the building is generically similar containing most of the elements of a hospital.

img 50 - Filippo Brunelleschi’s Ospedale degli Innocenti, Florence, 1419

English hospitals of the 18th and 19th centuries, like St Bartholomew’s Hospital, Guy’s Hospital and Leeds General Infirmary, have powerful civic presences and display an elegant and functional continuity with the urban public realm. They do so not only through a self-confident architectural language, but also through the creation of urban space usable by citizens not necessarily on hospital business. 69

In fact, the public space of the city benefits from the hospital, and the patients, visitors and staff have a much richer set of options on hand. St Bartholomew’s Hospital, the oldest in London, was founded in the 12th century and its central courtyard (1732–69) by James Gibb is perhaps the finest example of the engagement of rehabilitation and recovery within the life of the city. Almost until the end of the 20th century, patients would be wheeled out in their beds to take the air and sun in the square, a through urban route, watching the world go by.

img 51 - Leeds General Infirmary by George Gilbert Scott, 1863-69

The Hôtel-Dieu in Paris was founded even earlier and has been through many incarnations in the prominent civic position it has occupied for many centuries next to Notre-Dame on the Île de la Cité. The current building is a classic of the 19th-century city hospital with a pavilion typology organised around a long court which opens from the cathedral square. The pavilion ends appear rhythmically on the side streets, prominent and noble in form. Before designing Leeds General Infirmary (1863-69) the architect George Gilbert Scott with the Chief Physician Dr Charles Chadwick toured the best hospitals of Europe. He used the pavilion plan invented by Florence Nightingale and earlier used at St Thomas’s London but adapted it to create street edges much as of other public buildings. The Modern Movement in architecture made some notable contributions to hospital typology, for example Alvar Aalto’s Tuberculosis Sanatorium at Paimio or Johannes Duiker’s Zonestraal sanatorium. Aalto’s contribution to the pavilion typology, with the open corridors towards the elevations providing them with generous view and light is an element I would like to use in the design of ευ ζην. But Le Corbusier’s unrealised Venice Hospital (1963) stands out as the one truly visionary modern conception of a hospital responding to the city and its possibilities. In his design the building is segmented and woven into the Venetian urban fabric of canals and roads in a subtle and sophisticated way. The nursing units had no windows on the facades, only on the roof, because Corbusier thought that recovery required a level of introspection that warranted a view only of the sky. Corbusier designed the hospital as a continuation of the urban fabric, a series of linked squares, with routes connecting to the city and a vertical layering of functions.

img 52 - Le Corbusier’s unrealised Venice Hospital, Elevation, 1963, Italy 70

corridor view, single row of nursing units

img 53 - Alvar Aaltoâ&#x20AC;&#x2122;s TB Sanatorium in Paimio, 1932, Finalnd

img 54 - Le Corbusierâ&#x20AC;&#x2122;s unrealised Venice Hospital, Plan, 1963, Italy 71

A remarkable example of healing architecture of today is the Rehabilitation Centre Groot Klimmendaal of Koen van Velsen in Arnhem, the Netherlands. A building located in a forest site which despite the dominance of the trees, has suffocated the landscape. Reminiscent of Norman Wilkinsonâ&#x20AC;&#x2122;s Dazzle Camouflage, the interplay between solid and void, geometries of structure and skin, and the forestâ&#x20AC;&#x2122;s constantly shifting light levels, lessens the visual impact of what is a large-scale intervention. The use of various archetypical tools such as patios for optimal daylight, cantilevered terraces, and the use of vibrant colours in the interior gave a new breath to healing architecture. The design in the archipelago masterplan, with its green atmosphere, would need a similar strategic placement, in order to seek balance and not to eliminate the surrounding landscape. img 55 - Rehabilitation centre Groot Klimmendaal interior, Koen van Velsen, Anrhem, the Netherlands

colourful interior, stimulating a pleasant atmosphere for healing

longitudinal volume courtyards for optimal natural lighting

img 56 - Rehabilitation centre Groot Klimmendaal plan, Koen van Velsen, Anrhem, the Netherlands 72

img 57 - Rehabilitation centre Groot Klimmendaal, Koen van Velsen, Anrhem, the Netherlands

5.3 AQUAPHOBIA The term aquaphobia will be described briefly in the following paragraph. The symptoms, causes and treatment of aquaphobia will be pointed. Aquaphobia is a persistent and abnormal fear of water. Aquaphobia is a specific phobia that involves a level of fear that is beyond the patientâ&#x20AC;&#x2122;s control or that may interfere with daily life. People suffer of aquaphobia in many ways and may experience it even though they realise the water in an ocean, a river, or even a bathtub poses no imminent threat. They may avoid such activities as boating and swimming, or they may avoid swimming in the deep ocean despite having mastered basic swimming skills. This anxiety commonly extends to getting wet or splashed with water when it is unexpected, or being pushed or thrown into a body of water. Apparently one in five adults canâ&#x20AC;&#x2122;t swim, and are suffering from a light form of aquaphobia. Psychologists indicate that aquaphobia manifests itself in people through a combination of experiential and genetic factors. A group of swimming coaches in Singapore have been studying its children to understand aquaphobia. They found a fear of submersing the head to be common among aquaphobic children, including those who have little fear of proximity to water. More precisely, they found that submersion of the nose and the ears are the most feared. Symptoms of Aquaphobia in children The condition is prevalent in young children in whom it typically appears before the age of five years and it manifests itself as an intense fear of bathing. This may later extend to any circumstance in which the child is expected to enter water (for example, paddling in streams or at the seaside). It is not unusual for a newborn baby to cry when bathed for the first time. However, more often than not, babies soon not only become accustomed to the bath but obviously enjoy the whole experience. The phobic baby continues to cry each time he is placed in the water.

img 58 - Aquaphobic person

Symptoms of Aquaphobia in adults Figures for the incidence of water phobia in adults are not available but adults do not commonly come forward for treatment. This is the case for very many phobias and it can be safely suggested that there may be a higher number of sufferers than is indicated by available data. However, the picture that emerges in adults appears to be somewhat different from that for children. Although fear of bathing is not unknown in adults, the main focus of fear appears to be on drowning and on being submerged. This is frequently connected with irrational cognitions surrounding water, such as fear of being suddenly engulfed by the sea, while sitting on the beach, or fear that a fish tank full of water will shatter and drown the person. Treatment of Aquaphobia As mentioned above, very few water phobic adults seek help for their condition, hence treatment has almost entirely been aimed at children. The most effective treatment for children appears to be a combination of modelling and graduated, in vivo exposure to water. One study compared three different treatments with a control group. A number of highly fearful children of both sexes, aged between three and eight years, were arbitrarily placed in one of four groups. It is possible to devise a similar treatment plan for young children with bathing phobia, based on modelling and graduated exposure, which is effective. Studies also indicate that a reduction of fear in one aspect of water phobia, such as bathing, significantly reduces anxiety in other situations, for example, going to the beach. It is hoped that more research into, and understanding of, the mechanisms underlying water phobia will enable further refinements in treatment programmes to be made, particularly with regard to adult sufferers.

img 59 - Aquaphobia by Patrick Call

6. THEORETICAL FRAMEWORK

The following chapter describes four theoretical approaches used in the design of Ευ Ζην. These theories and their use in the design will be described. Furthermore a link with the essay about the architectural programme and the choice of functions is set.

bridge

continues monument

+ bathhouse

the grid

the living street

rehabilitation centre

superposition in between space

6.1 EFZIN AS A CONTINIOUS MONUMENT

img 60 - Aquaphobic by Patrick Call

Superstudio, The Continuous Monument: An Architectural Model for Total Urbanization, 1969.

The contextual approach of a building design in such a fragile location, such as the Stvanice island, surrounded by nature and water, must be extremely clear. Ecologically seen it is not reasonable to plan buildings in the Archipelago masterplan. The buildings on this masterplan should form the key points that activate the islands use, and add the island into the public realm of the city but nevertheless keep its uncontrolled feeling of nature ruling its destiny. The architecture of the city confronts nature in the most direct way. In my view a proper building design should confront its context and land on the site in one single powerful gesture without boundaries and limits. “For those who, like ourselves, are convinced that architecture is one of the few ways to realise cosmic order on earth, to put things to order and above all to affirm humanity’s capacity for acting according to reason, it is a “moderate utopia” to imagine a near future in which all architecture will be created with a single act, from a single design capable of clarifying once and for all the motives which have induced man to build dolmens, menhirs, pyramids, and lastly (ultima ratio) a white line in the desert.” Superstudio’s most famous exhibition, is perhaps their proposal for the Continuous Monument. This project utilised the now famous black on white grid and extends throughout the existing landscape, redefining what it means to occupy space. The continuous movement is a form of architecture all equally emerging from a single continuous environment; the world rendered uniform by technology, culture and all the other inevitable forms of imperialism.

img 61 - Superstudio, The Continuous Monument: An Architectural Model for Total Urbanization, 1969.

This piece used the group’s now famous ‘black grid on white background’ concept, which could be applied to any project, at any scale. This concept of a “continuous monument” suggested that architecture was not something to be tied to location, but rather something that superseded all previously known conditions. It became an object that hovered above the existing, framing pockets of the past into spaces within the continuous structure of the future. This particular approach of architecture facing nature in a continues way clarifying itself once and for all could serve as a tool for the architectural design of Stvanice island in Prague. A continues structure that spreads on the island in a provocative way, endlessly extended throughout the landscape. Regardless its context, ευ ζην dominates and redefines its surroundings within a single gesture.

img 62 - Superstudio, The Continuous Monument: An Architectural Model for Total Urbanization, 1969.

img 63 - Superstudio, The Continuous Monument: An Architectural Model for Total Urbanization, 1969.

6.2 THE GRID AS A DESIGN TOOL My interest lies on applying a strict grid system on a building design of an architectural scale based on urban planning principles. A building that forms a city by itself. A city within a city. Based on one of the most strong principles of urban planning I would shortly describe its use. img 64 - the grid logo

The grid, and its excessive use in two brilliant examples of Manhattan and Barcelona is a well-known urban strategy widely applied in the cities of today. As Hertzberger states, the ‘gridiron’ can be considered as the ultimate minimal principle of urban planning. Especially for cities that didn’t grow gradually but with a fixed plan, the grid formed a ‘blueprint’ for what was to be done next. It is historically proven that the grid system despite its a strict rules guarantees variations on scale and accessibility. The starting point is almost always rectangular or squared plots surrounded by streets. The blocks are filled variously depending on the nature and the requirements of the period that they are established. Cerda’s plans for the city of Barcelona had a principle consisting of stripes that could alternate in direction per block. As a result, this plan created virtually inexhaustible possibilities for variation, to an incredibly rich urban tissue. Cerda aimed to improve the quality of the existing urban plan with blocks with unlimited freedom. Not only varying in the abstract volumes but also in the elaboration of the blocks by different architects each with its own identity and language. These rules guaranteed that there would be enough variation in coherent plan. There couldn’t be a better way to express a wild collection of architectural forms, than the grid of Manhattan. Described as the most exciting example of the grid, Manhattan’s wide streets on its longitudinal axis and the narrower lateral street on its short axis make its visitors constantly aware of its shape. It is of unique interest the way the grid is applied on the frayed edges, which include the

img 65 - Urban plan Barcelona, Cerda 82

most interesting solutions. The intersection between the grid and its exceptions results the most interesting results such as the Broadway, an old country road which has been left unchanged, disrupting the grid and creating unique intersections. In these places, such as at the Flat Iron building on Madison Square, the nature of the grid manifests itself most convincingly. ‘The grid system in Manhattan predicted the future condition of the city. Its two dimensional restrictions gave way to three dimensional freedom, and the millions of people that it now houses was predicted far before a tiny proportion were even present. Much like the grid, central park was created long before the programmes which fill it had been realised, quoted as ‘a colossal leap of faith, the contrast it describes – between the built and the unbuilt – hardly exists at the time of its creation.’

img 66 - Delirious New York, Rem Koolhaas, 1978, p. 21 llessons for students in chitecture Herman Hertzberger, 1991, p. 21

The biggest misconception about the gridiron is that it is considered a monotone and repressive system. This danger indeed exists, but there are plenty of examples that show the possibilities and changes that this system provides for unique results that reduce the negative aspects of it. It’s about finding the balance between regulations and freedom of choice; this combination leads on the most examples to the finest result. ‘The grid is like a hand operating on extremely simple principles - it admittedly sets down the overall rules, but is all the more flexible when it come to the detailing of each site.’

Delirious New York, Rem Koolhaas, 1978, p. 21

The grid forms an objective base that allows various separate decisions down to acceptable proportions. The grid with its simplicity has proven itself as the most successful system, which can be compared to a chessboard that offers a wide range of almost endless possibilities.

img 67 - Mnhattan, New York,

I believe that the gridiron as a major design tool cannot only offer practical and technical qualities to a plan, but also spatial qualities in terms of analogy, rhythm, repetition and deviation. Designing a building based on principles of urban design with the scale factor being relative was of particular interest to me. To succeed in such a complex exercise – fitting every single programme requirement into a strict grid, one needs to seek for the common denominator. Especially in this particular graduation project were complexity is required, a common denominator between the bathhouse and the aquaphobia rehabilitation centre was found, in which the nursing unit and the pool could fit, a denominator that would rule the plan. The grid forms the objective base of the design, and it can have all possible kinds of use, the only rule is to obey the grid. A bathhouse, a rehabilitation centre, a cinema, a hotel or whatever can fit within the grid, which ensures coexistence within acceptable proportions. 83

img 68 - Part of the manhattan grid on Stvanice island

6.3 THE LIVING STREET AS DESIGN TOOL

img 69 - the living street logo

The longitudinal design of Ευ Ζην, based on an urban grid, consisists of streets, squares and paths. The concept of the living street suggested by Herman Hertzberger deals with the activity of these kinds of streets in buildings. My aim is to reinvent and reinterpret the repetitive hospital corridors, and design them as living streets. Basic tools for these kind of interventions are : generous proportions that define the street in a building, furniture which can be used in various ways, height differences offering more or less privacy and planning of small squares, corners were people can meet. The concept of the living street deals with the reinterpretation of the concept of the ‘reconquered street’ and gives the street its original value. Except of their functioning purpose as transportation zones, the street could again be conceived as a place where social contact between local residents takes place, a communal living room. Hertzberger suggests the following aspects that played a remarkable role in devaluation of the street such as the increase of motorised traffic, the inconsiderate organisation of the access areas to the dwellings, the effacement of the street as communal space owing to block sitting and the decreased densities of housing. Moreover while the number of inhabitants per dwelling has greatly decreased the economical wealth of people also decreases their need each other as neighbours.

img 70 - the living street

Source:Hertzberger, H., 1991, Lessons for students in architecture, 010 Publisher, Rotterdam, p.122.

Even if we can’t change those social factors we should try by creating conditions for a more viable street area in architectonic and spatial means wherever possible. The street functions often as an extension of the dwelling if the weather and the motorised traffic make it possible. The living streets do not serve exclusively as traffic routes and get additional values. The pedestrian are attracting the interest of the planner, however the motorised traffic takes the public space over due too its size and quantity. ‘The concept of the living-street is based on the idea that its inhabitants have something in common, that they expect something of each other even if only because they are aware that they need each other.’ ‘We must take every opportunity of avoiding too rigid separation between dwellings, and of stimulating what is left of the feeling of belonging together’ This feeling of belonging together is often underestimated. Belonging together is associated with everyday interaction, such as children playing on the street, baby-sitting for each other, being interested for each others health, in short all those small care the we disparage. The existence of a living street is strongly related with the layout of

a neighbourhood, the repetition of the dwellings and whether their atmosphere that can blend with its surroundings. Two beautiful examples of the work of Hertzberger where the living street concept was applied are the Spangen Housing in Rotterdam and the Weesperstraat student accommodation in Amsterdam. The generous access galleries in the Rotterdam Spangen housing scheme are functioning as living streets, where children can play and adults can hang out. In Spangen we notice an intense social contact between neighbours which proves how important the absence of traffic is. The same concept of the living street was also applies at the fourth floor of the Weesperstraat student accommodation. The aim was to design a gallery-living-street free from traffic with views of the old city of Amsterdam. The inhabitants of the rehabilitation centre will be dealing with these phenomenaâ&#x20AC;&#x2122;s. With patients living in nursing units next to each other, in short term dwellings of a healing village, the architect has to offer the space were there will be a feeling of belonging together. The inhabitants of the rehabilitation centre will have something in common, their fear for water, with which they will be dealing during their stay. Except of sleeping in the room, a patient (and especially the kids) should be able to walk, talk, relax, play and meet with each other. With a continues system of living streets that encourage meeting and various activities along with the correct materiality and generous spatial proportions the rehabilitation centre will get this non-hospital-like, pleasant atmosphere and form a healing city that coexists harmonically with the bathing city. I believe that the architect should have in mind that the design should be capable of meeting. Even if we cannot design and predict the use we can at least aim to give the â&#x20AC;&#x2DC;street corridorâ&#x20AC;&#x2122; these additional values and prepare the ground for unexpected events to occur.

img 71 - the living street , Weesperstraat student accomodation, Amsterdam the Netherlands 87

6.4 SUPERIMPOSITION, PROGRAMME STRATEGIES, IN BETWEEN SPACE AS DESIGN TOOLS

img 72 - superimposition, ευ ζην

Bernard Tscumi, Architecture and Disjunction, 1994

A basic design tool I would like to use is the superimposition introduced in parc la vilette by Bernard Tschumi. Tschumi’s parc la villette in Paris, shortly mentioned above in the essay about architectural programme, is one of the finest examples were superimposition was applied. With a deconstructivist approach the programme was deconstructed into three prior elements: movement, meeting points and events. Basic geomeric tools for this composition were lines, points and surfaces superimposed on top of each other, but always kept autonomous and separate. According to Tschumi, it should be noted that the point grid of la vilette could just as well have take the form of a random distribution of points throughout the site. He states that the reason a grid was chosen, was strategic and not conceptual. The point grid, which consists the unprogrammed follies, constitutes only one of the project’s components; the ‘system of lines’ and the ‘system of surfaces’ are as fundamental as the ‘system of points’ ‘Each of the layers represents a different autonomous system, whose superimposition another makes impossible any ‘composition maintaining differences and refusing ascendency of any privileged system or organising element’ Even if the architect determines each one of these layers, when one system is superimposed to another the subject (the architect) is erased. Tschumi often stages the ground plan and the main volume of a design at conceptual level and barely attends to the actual programmatic function. He even finalises the circulation plans of spaces before knowing the exact function. This aspect can be found in the design of ευ ζην. The programme of ευ ζην was reinterpreted and redefined during the design process in which various extra functions were added. The final brief consisted of a public bathhouse, an aquaphobia rehabilitation centre, a cinema, a hotel and an oyster bar. This blend of contradicting functions was planned stragically in order to increase the variation and tension in the plan. The superimposed layers of the design were the public bathhouse, the aquaphobia rehabilitation centre, the negrelliho bridge and a strict grid to connect them. The strategy of superimposing individual layers and functions on top of each other produces interesting junctions between the programmatic differences and similarities. I

would like to evoke a sense of freedom in the design process within a superimposed organisation of the four layers of the design and propose variations on these superimposed results. From the beginning of this project, it was clear for me that I would seek the programmatic interaction between the functions of the programme. La vilette proved that there is no longer any relationship between architecture and programme, architecture and meaning. Architecture must produce a distance between itself and the program it fulfils. This distanciation between architecture and programme can de produced even through calculated shifts on the programme, or through the use of an abstract parameter that acts as a distancing agent, like the grid of follies in la vilette. As also mentioned in the essay, my aim is to interpret, rewrite, and deconstruct the architectural programme.

img 73 - Superimposition parc la viltte Paris, France 89

There are further ways to explore the impossible relation between architecture and programme. Crossprogramming: Using a given spatial configuration for a program not intended for it, that is, using a church building for bowling. Similar to typological dislplacement: a town hall inside the spatial configuration of a prison or a museum inside a car park structure. Reference: crossdressing Transprogramming: Combining two programmes, regardless of their incompatibilities, together with their respective spatial configurations. Reference: planetarium + roller coaster Disprogramming: Combining two programs, whereby a spatial configuration of programme A contaminates programme B and B’s possible configuration. The new programme B may be extracted from the inherent contradictions contained in programme A, and B’s required spatial configuration may be applied to A. The strategy of disprogramming is applied in the design of ευ ζην. If programme A consists the bathhouse and programme B the aquaphobia rehabilitation centre, the spatial configuration of A contaminates B’s possible configuration. By extracting programme A from B and applying B’s its spatial configuration to A’s leftover space, we get a unified building consisted of two mixed programmes. So by simplifying it, the volumes of the baths enter the rehabilitation centre, in this way the spatial configuration of the rehabilitation centre changes. In some spots the bathhouse rules, by occupying all space and the rehabilitation centre is pushed down and vice versa. Bernard Tschumi bases his architectural theory on events that occur in buildings due to programmatic mixtures. These events occur in the ‘in between’ spaces. These “in-between” spaces with mixed programmes can be found in the high-rise buildings of Tokyo were department stores, health clubs, museums and cinemas al scattered under a green roof. The living streets of Ευ Ζην should function as unprogrammed in between spaces where events can occur. The choice of a bathhouse, an aquaphobia rehabilitation centre, a cinema, and an oyster bar stimulates these events to occur in these in between spaces.

img 74 - Impression, parc la viltte Paris, France

7. DESIGN

+ BATH

+ BRIDGE

= [ευ ζήν]

HEAL

7.1 CONTEXT 7.1.1 ARCHITECTURE VS NATURE As the project description stated ‘In essence Architecture comes into being in two opposing conditions: the Retreat in Nature or the Architecture of the City’. This graduation project focuses on combining these polarities: the retreat into nature in the heart of the city by researching the forgotten places and the fringe zones of the contemporary metropolis. The archipelago masterplan redefined the fringe condition by connecting these two polarities straightforward. Divided into two themes, the masterplan consists of a clear separation between the architecture of the city and the retreat into nature. The border dividing these two worlds is the Negrelliho railway bridge. The design process started by defining an optimal volume and orientation while testing various sites. In these forest like surroundings, with the water as a leading power on the island, one could easily say that the architect was given a carte blanche. Everything was possible. The site chosen for the main volume of the building was located on the junction between the ‘city’ and ‘nature’ character of the archipelago masterplan connected with the Negrelliho train bridge. The building spreads on the longitudinal axis, cantilevered on both worlds, and has a minimum footprint in order to have a smaller impact on its surrounding park landscape. Referring to Superstudio’s extraordinary conceptual planning, the building lands dominantly on Stvanice island, a major intervention, extended throughout the landscape, redefines its surrounding in a single gesture. With this gesture the building faces the ‘city’ on the east side and the ‘nature’ on the west side. A crucial point of this gesture is the cross section with the Negrelliho viaduct. This is the strongest contextual layer of the design since the Stvanice island has been redeveloped. The building seeks a connection and starts a dialogue with the Negrelliho viaduct which enters the building’s interior, in a random moment, trying to find its place, dominating the character of the interior of the new built structure. The place in which the monumental arches of the Negrelliho railway bridge land has been chosen as the central relaxation pool spot.

img 76 - birdseye view archipelago masterlan

img 75 - conceptual sketch, archipelago masterplan

img 78 - building crossing the landscape, archipelago masterplan

img 79 - facing nature, conceptual sketch, archipelago masterplan

img 80 - facing the city, conceptual sketch, archipelago masterplan

7.1.3 FORM After the guidelines of the context requirements were set, as described above the quest for the optimal form had started. Working with 3d and physical models various shapes were tested in order to find the most optimal one. On one hand, the programme consisted helped to define the final shape but on the other hand as Tschumi proves with his work, this idea could support another function as well. The goal is to design a building not only for its present but also for its future use, adaptable in time.

ENTRANCE REHAB. CENTRE

REHABILITATION

SPACES

REHABILITATION

SPACES

REHABILITATION

SPACES

img 81 - testing design model

100

RESTROOMS S W I M M I N G SHOWERS P O O L

POOL BAR

AREA

S TA F F

CHILDRENS P O O L

OUTDOOR

img 83 - 3-dimensional form variations

HAMMAM

SAUNA

LEISURE POOL

REHABILITATION S T A I R S CENTRE POOL ELEVATORS

RESTROOMS

LEISURE S H O W E R S P O O LLOUNGE

WHIRLPOOL

RECEPTION CHANGING ROOMS

STAIRS ELEVATORS

COLD BATH

SPA SPA SOLARIUM INDOOR RECEPTION CHANGING ROOMS FEET BATH

img 82 - programmatic diagrams during design development

101

7.2 ARCHITECTURAL CONCEPT 7.2.1 DESIGN CONCEPT The programme formulated step by step during the design process basically required a building of 13500m2 which consisted of the main functions of a public bathhouse and a aquaphobia rehabilitation centre. The additional functions were, a cinema, an oyster bar and a hotel. The public bathhouse required the 2/3 of the total volume while the rehabilitation centre the 1/3 of it. Because of the additions in the programme and their requirements the building volume was too massive. The idea was to intorduce a visual deviation of the massive volume into an open extrovert part and a closed introvert part and match these volumes with the two main functions. Furthermore, the building volume was divided horizontally into an introvert closed part lifted up from the ground level, with a transparent layer in the bottom in order to create a more dramatic effect. Instead of taking the safe path by placing the rehabilitation centre in the introvert part isolated, and the bathhouse on the extrovert part on the plinth the decision was turned vice versa. So finally the bathhouse was located on top and the rehabilitation centre in the bottom, which created unique moments and added spatial qualities in the design. Moreover after placing the bathhouse on top and the rehabilitation centre in the bottom, the shapes of the baths created by stretching the upper volume also interrupted the lower one. In a way the morphology of the surrounded landscape was mirrored on the ceiling of the rehabilitation centre, or the main floor of the bathhouse. In this way the required tension between the two contradicting functions is created with a simple gesture, like fingers united together in a mutual grip.

img 84 - conceptual metaphor of blending two functions like fingers united together ina mutual grip.

102

Step 3 of the diagram requires further description. Here the strategy of disprogramming is applied in the design. Extraction forms the basic tool in this method. If programme A consists the bathhouse and programme B the aquaphobia rehabilitation centre, the spatial configuration of A contaminates Bâ&#x20AC;&#x2122;s possible configuration. By extracting programme A from B and applying Bâ&#x20AC;&#x2122;s its spatial configuration to Aâ&#x20AC;&#x2122;s leftover space, we get a unified building consisted of two mixed programmes. So by simplifying it, the volumes of the baths enter the rehabilitation centre, in this way the spatial configuration of the rehabilitation centre changes. In some spots the bathhouse rules, by occupying all space and the rehabilitation centre is pushed down and vice versa.

2/3 Bath vs 1/3 Heal

02 introvert vs extrovert

03 blending both functions

04 result img 85 - conceptual diagrams, Ευ Ζην, Stvanice island, Prague, Czech Republic 103

- AB-A

= B’

B’

104

BATH

HEAL 03

EXTRACTION

HEAL

ΕΥ ΖΗΝ

img 86 - conceptual diagrams extraction, Ευ Ζην, Stvanice island, Prague, Czech Republic

105

The endless possible forms that support this architectural concept are, at this stage of the design, equal. Based on aesthetic preferences and basic spatial guidelines, for example the fixed position of the two foundation points in which the building lands dominantly, the concept could be developed further in any of these examples. I certainly believe that a strong architectural concept can be applied in various forms. A strong idea offers alternative ways to be realised. This concept is aware of the fact that one of the control points of the polyline that defines the upper bathhouse can be affected during the design process. Off course the spatial qualities created by a single polyline were adjusted. During the design process the main functions of the bathhouse and the rehabilitation centre affected this shape. On one hand, using the archetypical bathhouse elements to design a sequence of spaces, redefining its typology and on the other hand making choices about their effects on the typology of the lower volume, the rehabilitation centre, made the design process really dynamic. Every decision for the one function affected the other one too. The final design outline was created by making changes according to improvement of spatial, circulation and programmatic configurations.

img 86 - programme diagram

batthhouse

106

The most interesting part of this design is the contour of the polyline, were the two functions meet each other. The upper world, the landscape of water is connected visually to the downer world of the rehabilitation centre each time the level changes. So at all these height differences, on the points were the contour line obliqueâ&#x20AC;&#x2122;s, the users of both functions exchange views. In this way, sometimes on accidental and others on planed moments the tensed relationship between the two functions, gets harmonised by offering views and underwater views of people bathing, walking, eating, playing etc.

aquaphobia rehabilitation centre

technical space

cinema

hotel

oyster bar

img 87 - diagrammatic variation of the concept, Ευ Ζην, Stvanice island, Prague, Czech Republic 107

img 88 - exchange of views diagram, Ευ Ζην, Stvanice island, Prague, Czech Republic

108

109

In the following diagram we see, as noticed before the basic four superimposed elements of the design. Each of these layers will be briefly described. Negrelliho Bridge The train bridge forms the basic contextual element, which enters the building and dominates the central bath pool. The event of the lap of the train is visually visible from the ceiling windows, and can be also seen on the trilling waters of the central pool. The Bathhouse This heavy, introvert volume, which will house the bathhouse, is positioned on top of the design. This volume is made out of heavy, stony material, with windows strategically placed and light entering from ceiling windows. This volume is placed on top, in order to create an exaggerated dramatic feeling of a floating monolithic volume. This volume has a cantilevered extension on the wet side to accentualise the entrance, and offer a dry exterior terrace facing the city to the building. This volume consists of the a public bathhouse, and an oyster bar. The Grid The grid forms the neutral base as a connecting factor between, the bathhouse and the aquaphobia rehabilitation centre. The Aquaphobia rehabilitation centre In contrast to the upper monolithic volume, the rehabilitation centre is located in the bottom. This part has a really light feel, with completely transparent facades, allowing multiple views to the surrounding achipelago. This volume consists of nursing units, a cinema, a hotel and eating facilities.

img 89 - superimosition diagram, Ευ Ζην, Stvanice island, Prague, Czech Republic

110

bridge

bathhouse

grid

rehabilitation centre

111

standard hospital corridor layout

img 90 - superimosition diagram, Ευ Ζην, Stvanice island, Prague, Czech Republic

img 91 - japanese engawa principle 112

inverting the corridors

opening up with courtyards

Engawa principle Aiming to avoid the repetitive standard dark hospital corridors, by inverting them and using the japanese engawa principle the corridors are placed on the facades. With inner courtyards the rooms get their own private view. By placing the nursing units facing the patios, the oprimal privacy conditions are set for the rooms in the ground level. This design method results generous corridors of living streets, which are naturally lighten, provided with luxurious views towards the landscape.

img 92 - japanese engawa principle, conservatorium of Amsterdam, Architecte CIE 113

img 93 - conceptual collage, of the central bath under the negrelliho railway bridge

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formal informal

img 94 - conceptual collage, engawa principle

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img 94 - programme plan diagrams

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7.3 MATERIALISATION The materialisation of this graduation serves the architectural concept. The material palette consists of: vertical timber casted concrete, glass and himachal white quartzite interior tiles. The monolithic bathhouse volume is made of rough exposed concrete. The cast is made form timber slats, which are recognisable with their vertical articulation and timber texture on the concrete. The rough texture makes the cantilevered effect over the glass plinth even stronger while it is perfectly suitable with the surrouding landscape. Moreover concrete functions as a structural element too. The interior of the bathhouse is made of himachal white quartzite tiles, which give a luxurious feeling to the interior. A light colour was chosen in order to reflect light, and a lightly rough texture was chosen in order to prevent annoying sound reflections. The plinth, or rehabilitation centre, has been made of transparent glass, and has a very clean and light feel. Both floors of the rehabilitation centre are designed as thin and as light as possible. In this way the public space of the interior of the rehabilitation centre offer diverse views to the surrounding landscape from various angles. The public spaces, the living streets are materialised as an extension of the surrounding landscape. Their interior facade is made of wood planks, and the floor out of clean polished concrete.

img 95 - exposed timber casted concrete, glass

img 96 - wooden planks

img 97 - himachal white quartzite interior tiles 118

img 101 - cross section, ευ ζην

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bathhouse facade 1. reinforced concrete 2. insulation 3. reinforced concrete 4. himachal white quartzite interior tiles floor 1. reinforced concrete 2. insulation 3. reinforced concrete 4. floor heating system 5. himachal white quartzite interior tiles ceiling 1. rough texture concrete panels, timber caster for optimal sound reflection

rehabilitation centre facade 1. triple glass floor 1. rpolished marmoleum 2. installation space 2. reinforced concrete casted in steel frames 121

7.4 STRUCTURE AND TECHNICAL SPACE Ευ ζην is characterised by clear honesty in its architectural and structural solutions. The architectural concept offers the guidlines for the materialisation and the structural design concept. The structural design concept is based on two huge concrete slabs of both longitudinal facades, which support the buildings structure. These two slabs are connected by fourteen truss structures of 2.20m height. The spare room that these structural elements create is used as installation space, which is necessary for ventilation and water filtration and storage. The floors of the rehabilitation centre are hanged from these cantilevered slabs on steel wires. The concrete slabs are poured on site along with the bathhouse floors. The two cores prevent rotation of the rehabilitation centre floors. The structure of the Negrelligo bridge is independent from the one of the building. The roof is designed as a landscape of water, which has aesthetical purposes for the travellers of the train but functions also as a water collector, which can be used in the bathhouse. Of course the rest of the water necessities will be filled by pumped water from the Vltava river.

img 98 - structural design concept diagram

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T E C H N I C A L

S PA C E

T E C H N I C A L

S PA C E

img 99 - technical space and water circulation diagram

img 100 - structural stabilisation diagram

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8. DRAWINGS

img 101 - site plan 1:500, ευ ζην

img 102 - floor plan 1:500, ground floor ευ ζην

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img 103 - floor plan 1:500, first floor ευ ζην

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img 104 - floor plan 1:500, second floor, ευ ζην

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img 105 - roof plan 1:500, ευ ζην

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img 106 - longitudinal section AA’ 1:500, ευ ζην

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img 107 - longitudinal section BB’ 1:500, ευ ζην

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img 108 - isometric cross section CC’, ευ ζην

img 109 - north elevation 1:500, ευ ζην

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img 110 - south elevation 1:500, ευ ζην

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img 111 - west elevation 1:500, ευ ζην

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img 112 - east elevation 1:500, ευ ζην

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img 113 - exterior impression, ευ ζην

img 114 - the living street interior impression, ευ ζην

img 115 - patio connection interior impression, ευ ζην

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9. MODELS

1:500 concrete model in context 1:500 concept model 1:200 section model

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10. CONCLUSION

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10.1 CONCLUSION 10.1.1 REFLECTION The reflection given here covers the period of the academic study during the last year and the process followed until the final result. After the design of the masterplan was done I started seeking the most optimal mass volume. I studied small models that would help me define the final shape and orientation of my project. Having in mind that I was designing a bathhouse parallel to the design process, I analysed various bathhouses of different cultures in order to understand which are the basic design elements. Furthermore the role of public bathing in society and rituals that take place in a bathhouse really intrigued me. During the design process many ideas of various shapes and concepts were developed. Having difficulties to choose the most optimal concept the solution came up by adding the second function that the graduation studio already required. Again, numerous ideas came up in order to define the extra user of my design, which would interact with the existing bather. At that point the decision of creating architecture of contrast and calculated tension was made. The theories, which I analysed in my essay about the architectural programme suddenly, became a usefull tool for my design. By choosing the second function of an aquaphobia rehabilitation centre the desired tension between the users was created. I have created numerous abstractions and schemes in order to redevelop the typology of the bathouse and the hospital. The design was formed based on meeting points of the two functions. During the design process I realised that the character and requirements of the programme played an important role in the final shape of the building, but is wasnâ&#x20AC;&#x2122;t so much about the function but about the tension between the two functions. From that point I moved on elaborating my design step by step until the final result. My graduation process has overall been a complex journey, which has not always been easy. While there were moments that I desired a concrete problem situation, I am very pleased that my journey was guided by my own fascination and urges to understand. It has given me knowledge and insights, which will help me, establish my future direction and goals as an architect. Overall it helped me learn how to approach a problem with a holistic view and try to give answers to several questions that arose throughout the design process.

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10.1.1 RESEARCH QUESTION As mentioned in the reflection part, the limitations faced through the design process helped me form a concrete design that replies to the issue of combination of polarities in functional terms, which I introduced in the research study and tried to answer with my research question. Defining the way those contradicting functions would interact in a single design which, dominated the landscape of Stvanice island resulted a not fully site-specific building. The final result is a building for the wellness industry but at the same time it proposes a new typology in which various users and functions can coexist. The goal to design a challenging and constantly provocative environment between the love and the hate for water was achieved. By superimposing four layers, the public bathhouse, the aquaphobia rehabilitation centre, the negrelliho bridge and the grid as a connector, the building offers unique moments and meeting points. The programmatic mixture got stronger with the additions of a cinema, a hotel and an oyster bar, refering to Koolhaas’s downtown athletic club. This new typology proposes a new type of a wellness centre where the occupant experiences space from various angles. With the use of strategically placed patio’s and ceiling windows which both create interesting sightlines; the result is a dynamic experience with constantly exchanging views. Both the typologies were reinvented, with the use of height differences and constantly changing perspectives. The dramatic effect of landscape of water situated on top of an aquaphobia rehabilitation centre enforced the concept even more and gave new breath to both typologies. Moreover, I managed to solve the puzzle of the requirements of both functions from an architectural and technical point of view. The design inspired by the flooding waters of Vltava, responds to the flood situation by placing the bathhouse on top, safe from the flood lines. The final result is an elaborated design, a city within a city, situated in a recreational fringe position, which serves the feeling of ευ ζην (wellbeing) of the citizens of Prague.

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BIBLIOGRAPHY Bernard Tschumi. Architecture and disjunction. Cambridge London: The MIT Press, 1994 Bernard Tschumi. Event Cities. Cambridge London: the MIT Press, 1996 Roemer van Toorn, Ole Bouman. The Invisible In Architecture. John Wiley & Sons : 1994 Rem Koolhaas. Delirious New York: a retroactive manifesto of manhattan. The Monacelli Press: 1978 Herman Hertzberger: Lessons for Students in Architecture. Nai010 publishers; 1991

magazines Louis Sullivan. The tall office building artistically considered. Lippincottâ&#x20AC;&#x2122;s Magazine. 1896

WEB Rem Koolhaas, Britanicca Encyclopaedia. http://www.britannica.com/ EBchecked/topic/321987/Rem-Koolhaas Emma Watson, Delirious New York: a retroactive manifesto of manhattan review. http://architectureandurbanism.blogspot.nl/2010/05/rem-koolhaasdelirious-new-york.html Typology quarterly: Hospitals, http://www.architectural-review.com/essays/ typology/typology-quarterly-hospitals/8629443.article

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LIST OF FIGURES The figures that are not referenced in the list below are of my own making. [img 3] Downtown Athletic Club. [online] Available at: <http://www. skyscrapercity.com/showthread.php?t=216537> [Accessed: 26-06-13] [img 4] Downtown Athletic Club. [online] Available at: <http://t4unizar. wordpress.com/2013/04/15/downtown-athletic-club-manhattan-sergiosebastian/> [Accessed: 26-06-13] [img 5] â&#x20AC;&#x153;Eating oysters with boxing gloves, naked, on the 9th floorâ&#x20AC;?. [online] Available at: <http://agitprop.vitruvius.com.br/revistas/read/ arquitextos/12.134/3971> [Accessed: 26-06-13] [img 6] Seattle Central Library, OMA. [online] Available at: <http:// architectureinmedia.wordpress.com/tag/section/> [Accessed: 26-06-13] [img 7] Programme vector, the invisible in architecture. [online] Available at: <http://www.roemervantoorn.nl/Resources/Program%20Invisible.pdf> [Accessed: 26-06-13] [img 8] Bernard Tschumi. A+U 216 September 1988: 54. [online] Available at: <http://www.rndrd.com/i/381> [Accessed: 26-06-13] [img 9] Bernard Tschumi. A+U 216 September 1988: 56. [online] Available at: <http://www.rndrd.com/i/381> [Accessed: 26-06-13] [img 11] Stvanice island tennis stadium, http://www.praha.eu/jnp/en/ residents/city2/stvaniceEn/index.html [Accessed: 22-08-13] [img 12] Stvanice island embankments during the flooding period, http:// www.praha.eu/jnp/en/residents/city2/stvaniceEn/index.html [Accessed: 22-08-13] [img 13] Stvanice island Pragua, Czech Republic, https://maps.google.com/map s?q=stvanice+island+czech+republic&ie=UTF-8&ei=jvDgUt_rH-KU0AX_ o4HQBA&ved=0CAkQ_AUoAQ [Accessed: 12-04-13] [img 14] Historical Ice hockey stadium Pragua, Czech Republic, http://www.pragueguide.co.uk/articles/stvanice-stadium.html [Accessed: 12-04-13] [img 14] design for the Pont Jean-Jeacques Bosc Bordeaux, OMA, http://www. designboom.com/architecture/oma-wins-bid-to-design-pont-jean-jacquesbosc-in-bourdeaux-12-19-2013/ [Accessed: 06-09-13] [img 27] the Negrelligo viaduct after construction, http://praha.idnes.cz/ negrelliho-viadukt-se-bude-dva-roky-opravovat-foy-/praha-zpravy. aspx?c=A140107_2019154_praha-zpravy_bur [Accessed: 12-10-13] 193

[img 28] Alois Negrelli, designer of the Negrelliho-Karlin railway bridge, http:// cs.wikipedia.org/wiki/Negrelliho_viadukt [Accessed: 19-11-13] [img 29] Time Transfixed (La Duree poignardee, 1938), oil on canvas painting by Belgian surrealist rene Magritte, http://en.wikipedia.org/wiki/Time_ Transfixed [Accessed: 19-11-13] [img 33] Oil painting of a roman bathhouse (La Duree poignardee, 1938), http://www. thinqon.com/topic/luxury_in_the_bath [Accessed: 10-12-13] [img 34] Oil painting of the Thermae of Caracalla, http://en.wikipedia.org/wiki/Baths_ of_Caracalla [Accessed: 10-12-13] [img 35] Oil painting of the Thermae of Caracalla, http://en.wikipedia.org/wiki/Baths_ of_Caracalla [Accessed: 10-12-13] [img 37] Cemberlitas Hamam Istanbul, http://www.cemberlitashamami.com/ [Accessed: 17-12-13] [img 38] Cemberlitas Hamam Istanbul, http://www.cemberlitashamami.com/ [Accessed: 17-12-13] [img 40] Sauna hut located in natural surroundings, http://www.konnola.fi/index.php. en?sivu=savusauna [Accessed:20-12-13] [img 42] Interior childrenâ&#x20AC;&#x2122;s pool of Les Bains des Docks, Jean Nouvel, http://www. konnola.fi/index.php.en?sivu=savusauna [Accessed:22-12-13] [img 43] Exterior and interior relaxation pool, Les Bains des Docks, Jean Nouvel, http:// www.thecoolist.com/les-bains-des-docks-aquatic-center/ [Accessed:22-12-13] [img 44] Interior childrenâ&#x20AC;&#x2122;s pool with on the back the relaxation pool of Les Bains des Docks, Jean Nouvel, http://www.thecoolist.com/les-bains-des-docks-aquaticcenter/ [Accessed:22-12-13] [img 47] Temple of Asklepios, http://www.architectural-review.com/essays/typology/ typology-quarterly-hospitals/8629443.article [Accessed:23-12-13] [img 48] Hospital patients enjoying the sun, http://www.architectural-review.com/ essays/typology/typology-quarterly-hospitals/8629443.article [Accessed:23-12-13] [img 49] Hotel Dieu, Paris, http://www.architectural-review.com/essays/typology/ typology-quarterly-hospitals/8629443.article 194

[Accessed:23-12-13] [img 50] Filippo Brunelleschi’s Ospedale degli innocenti, Florence, 1419, http:// www.architectural-review.com/essays/typology/typology-quarterlyhospitals/8629443.article [Accessed:23-12-13] [img 51] Leeds General Infirmary by George Gilbert Scott, 1863-69, http:// www.architectural-review.com/essays/typology/typology-quarterlyhospitals/8629443.article [Accessed:23-12-13] [img 52] Le Corbusier’s unrealised Venice Hospital plan 1963, Italy, http:// www.architectural-review.com/essays/typology/typology-quarterlyhospitals/8629443.article [Accessed:23-12-13] [img 53] Alvar Aalto’s TB Sanatorium in Paimio, 1932, Finland, http://www. architectural-review.com/essays/typology/typology-quarterlyhospitals/8629443.article [Accessed:23-12-13] [img 54] Le Corbusier’s unrealised Venice Hospital plan 1963, Italy, http:// www.architectural-review.com/essays/typology/typology-quarterlyhospitals/8629443.article [Accessed:23-12-13] [img 55] Rehabilitation centre Groot Klimmendaal interior, Koen van Velsen , Arnhem, the Netherlands, archive of Architectenbureau Koen van Velsen, Hilversum, the Netherlands [Accessed:02-01-14] [img 56] Rehabilitation centre Groot Klimmendaal floor plan, Koen van Velsen , Arnhem, the Netherlands, archive of Architectenbureau Koen van Velsen, Hilversum, the Netherlands [Accessed:02-01-14] [img 57] Rehabilitation centre Groot Klimmendaal floor plan, Koen van Velsen , Arnhem, the Netherlands, archive of Architectenbureau Koen van Velsen, Hilversum, the Netherlands [Accessed:02-01-14] [img 58] Aquaphobic person, http://www.flickr.com/photos/elfpunk999/2996302875/ [Accessed:03-01-14] [img 59] Aquaphobia by Patrick Call, http://patrickcallart.deviantart.com/ [Accessed:03-01-14] [img 61] Superstudio, The Continues Monument: An Architectural Model for Total Urbanisation, 1969, http://arch122superstudio.blogspot.nl/2012/06/ continuous-monument-architectural-model_15.html [Accessed:03-01-14] [img 61] Superstudio, The Continues Monument: An Architectural Model for Total Urbanisation, 1969, http://arch122superstudio.blogspot.nl/2012/06/ 195

continuous-monument-architectural-model_15.html [Accessed:03-01-14] [img 62] Superstudio, The Continues Monument: An Architectural Model for Total Urbanisation, 1969, http://arch122superstudio.blogspot.nl/2012/06/ continuous-monument-architectural-model_15.html [Accessed:03-01-14] [img 63] Superstudio, The Continues Monument: An Architectural Model for Total Urbanisation, 1969, http://arch122superstudio.blogspot.nl/2012/06/ continuous-monument-architectural-model_15.html [Accessed:03-01-14] [img 65] Urban plan Barcelona, Cerda, Herman Hertzberger: Lessons for Students in Architecture. Nai010 publishers; 1991 [Accessed:06-01-14] [img 66] The grid, Rem Koolhaas. Delirious New York: a retroactive manifesto of manhattan. The Monacelli Press: 1978 [Accessed:06-01-14] [img 67] Historical map Manhattan, New York. http://www.lib.utexas.edu/maps/ new_york.html [Accessed:07-01-14] [img 70] The living street, Herman Hertzberger: Lessons for Students in Architecture. Nai010 publishers; 1991 [Accessed:07-01-14] [img 71] The living street, Weesperstraat student accomodation, Amsterdam, the Netherlands, Herman Hertzberger: Lessons for Students in Architecture. Nai010 publishers; 1991 [Accessed:07-01-14] [img 73] Superimposition, Parc La Vilette, Paris, Bernard Tschumi, http://www.tschumi. com/projects/3/ [Accessed:08-01-14] [img 74] Impression, Parc La Vilette, Paris, Bernard Tschumi, http://www.tschumi.com/ projects/3/ [Accessed:08-01-14] [img 84] Conceptual metaphor of blending two functions like fingers united together in a mutual grip, http://www.dreamstime.com/stock-image-ten-fingersimage2040061 [Accessed:08-01-14] [img 91] Japanese engawa principle, http://www.taringa.net/posts/ imagenes/5823703/Como-es-una-casa-japonesa.html [Accessed:12-01-14] [img 92] Japanese engawa principle Conservatorium of Amsterdam, Architecten Cie, http://www.cie.nl/projects/71 [Accessed:12-01-14] [img 95] 196

Exposed timber casted concrete, http://texturefreaks.com/2011/11/12/ [Accessed:15-01-14] [img 96] Wooden planks, http://texturefreaks.com/2011/11/12/ [Accessed:15-01-14] [img 97] Himachal white quartzite interior tiles, http://texturefreaks.com/2011/11/12/ [Accessed:15-01-14]

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[ευ ζήν] public bathhouse & aquaphobia rehabilitation centre Antony Laurijsen | Αντώνιος Λαουρέισεν