Sensuous Bathing | The Ritual Of Reconnecting by Daniel Dirscherl

Sensuous Bathing The Ritual Of Reconnecting by Daniel Dirscherl

ABSTRACT

Rediscovering the sensuousness of the bathing experience can help us reacquaint ourselves with the textures, rhythms and tastes of the world we live in, alleviating the inimical effects of contemporary life. A visceral perception of water through the bathing ritual has the potential to bring oneâ&#x20AC;&#x2122;s fundamental sense of self into focus and affect a peak experience.

TABLE OF CONTENTS

ABSTRACT....................................................................................................................................I TABLE OF CONTENTS..............................................................................................................III LIST OF FIGURES........................................................................................................................V LIST OF TABLES......................................................................................................................... IX THESIS........................................................................................................................................01 FIELD OF INQUIRY....................................................................................................................03 CONTEXT...................................................................................................................................07 GLOBAL BATHING CULTURES.........................................................................................07 TYPOLOGY OF THE BATHHOUSE IN THE LOCAL CONTEXT.....................................13 LOCAL BATHHOUSES ?....................................................................................................17 RITUAL........................................................................................................................................29 WATER & TEMPERATURE.........................................................................................................33 THE MYSTERY OF LIGHT.........................................................................................................37 MATERIALITY.............................................................................................................................43 SOUND.......................................................................................................................................47 PRECEDENTS............................................................................................................................55 SCANDINAVE LES BAINS | MONTRÉAL, CANADA.......................................................55 THE THERME VALS | VALS, SWITZERLAND.....................................................................63 HORAI ONSEN BATH HOUSE | IZUSAN, JAPAN............................................................71 CORPUS | RESONANT ARCHITECTURE..........................................................................79 THE SEA ORGAN | ZADAR, CROATIA.............................................................................81 SITE + ANALYSIS.......................................................................................................................87 PROPOSED SITE OPTIONS...............................................................................................87 PROJECT SITE....................................................................................................................91 METHODOLOGY....................................................................................................................107 PROGRAM...............................................................................................................................109 PROJECTED SCHEDULE........................................................................................................113 BIBLIOGRAPHY.......................................................................................................................117 ILLUSTRATION & TABLE CREDITS........................................................................................127

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LIST OF FIGURES

Cover Image................................................................................................................................... i Figure 1- Bathing tubs at the ancient Greek bath at Cyrene | Cyrenaica, Libia....................06 Figure 2- Cross section of the Thermae of Diocletian............................................................10 Figure 3- Çemberlitaş Hamami | Istambul, Turkey...................................................................10 Figure 4- Finnish sauna at Kiuasniemi | Padasjoki, Finland.....................................................11 Figure 5- Hoshi onsen | Minakami-machi, Japan.....................................................................11 Figure 6- Traditionally inspired bathing facilities | Lower Mainland.......................................16 Figure 7- Hasting Steam & Sauna | Vancouver........................................................................17 Figure 8- Hastings Steam & Sauna Interior | Vancouver.........................................................18 Figure 9- Hastings Steam & Sauna Heated Stones | Vancouver............................................18 Figure 10- Hastings Steam & Sauna Interior | Vancouver.......................................................19 Figure 11- Hastings Steam & Sauna Interior Seating | Vancouver.........................................19 Figure 12- JJ Family Spa women’s powder room | Coquitlam...............................................20 Figure 13- JJ Family Spa | Coquitlam.......................................................................................21 Figure 14- JJ Family Spa steam room | Coquitlam..................................................................22 Figure 15- JJ Family Spa charcoal room | Coquitlam..............................................................22 Figure 16- JJ Family Spa salt room | Coquitlam......................................................................23 Figure 17- JJ Family Spa earth room | Coquitlam...................................................................23 Figure 18- Miraj Hammam Spa | Vancouver.............................................................................24 Figure 19- Miraj Hammam Spa Gommage exfoliation | Vancouver.......................................25 Figure 20- Miraj Hammam Spa interior | Vancouver...............................................................26 Figure 21- Miraj Hammam Spa Sultana lounge | Vancouver..................................................27 Figure 22- Take comfort in rituals.............................................................................................31 Figure 23- Sauna with plunge pool in Vuokatti region of Finland..........................................32 Figure 24- A thousand points of light: Istanbul Hammam......................................................36 Figure 25- James Turrell- Ganzfeld (Apani)..............................................................................39 Figure 26- James Turrell- Skyscape (Culiacan Botanical Garden)..........................................39 Figure 27- James Turrell- Projection pieces (Raethro Red).....................................................40 Figure 28- James Turrell- Projection pieces (Afrum Pale Blue)...............................................40 Figure 29- James Turrell- Projection pieces (Alta Green).......................................................40 Figure 30- James Turrell- Projection pieces (Stufe White)......................................................40 Figure 31- James Turrell- Aten Reign at the Guggenheim New York....................................41

Figure 32- Bath at Bagby Hotsprings | Mt. Hood National Park | Oregon............................42 Figure 33- Tooled travertine......................................................................................................44 Figure 34- Polished travertine...................................................................................................44 Figure 35- Wood wall.................................................................................................................45 Figure 36- Antelope Canyon | Arizona.....................................................................................50 Figure 37- Antelope Canyon | Arizona.....................................................................................50 Figure 38- Reed Flute Cave | China..........................................................................................52 Figure 39- Tham Lod Cave | Thailand.......................................................................................52 Figure 40- Domus Civita | Italy.................................................................................................53 Figure 41- Domus Civita | Italy.................................................................................................53 Figure 42- Scandinave le Bains: hot pool.................................................................................54 Figure 43- Scandinave le Bains: cold plunge pool..................................................................54 Figure 44- Scandinave le Bains: plan........................................................................................56 Figure 45- Scandinave le Bains: relaxation area......................................................................57 Figure 46- Scandinave le Bains: juice bar & relaxation area...................................................57 Figure 47- Scandinave le Bains: steam bath............................................................................57 Figure 48- Scandinave le Bains: steam bath............................................................................58 Figure 49- Scandinave le Bains: sauna.....................................................................................59 Figure 50- Scandinave le Bains: undulating ceiling over hot pool.........................................60 Figure 51- Scandinave le Bains: relaxation area......................................................................61 Figure 52- Therme Vals: interior................................................................................................62 Figure 53- Therme Vals: bathing level plan..............................................................................64 Figure 54- Therme Vals: building services and therapeutic level plan..................................64 Figure 55- Therme Vals: outdoor pool.....................................................................................65 Figure 56- Therme Vals: interior (split frame image)...............................................................65 Figure 57- Therme Vals: indoor pool........................................................................................66 Figure 58- Therme Vals: fango therapeutic mud treatment rooms.......................................66 Figure 59- Therme Vals: fire (hot) bath.....................................................................................67 Figure 60- Therme Vals: entry into sound bath........................................................................67 Figure 61- Therme Vals: interior................................................................................................68 Figure 62- Therme Vals: stairs from changing rooms to bathing pools.................................69 Figure 63- Horai Onsen bath house extension .......................................................................70 Figure 64- Horai Onsen bath house plan.................................................................................72 Figure 65- Horai Onsen bath house cross section..................................................................72 Figure 66- Horai Onsen bath house longitudinal section.......................................................72 Figure 67- Horai Onsen bath house.........................................................................................73 Figure 68- Horai Onsen bath house perspective....................................................................73 Figure 69- Horai Onsen bath house daytime interior perspective........................................74

Figure 70- Horai Onsen bath house evening interior perspective.........................................74 Figure 71- Horai Onsen bath house context...........................................................................75 Figure 72- Horai Onsen bath house washing area detail.......................................................76 Figure 73- Horai Onsen bath house entry interior..................................................................77 Figure 74- Landmark Lusatian Tower, Senftenberg | Denmark (Installation: 2012)...............78 Figure 75- Maison Du Peuple, Clichy | France (Installation: 2012).........................................78 Figure 76- Pyramid at ENSAPBX, Bordeaux | France (Installation: 2009)..............................79 Figure 77- The Sea Organ perspective....................................................................................80 Figure 78- The Sea Organ plan & section diagram.................................................................81 Figure 79- The Sea Organ intake holes....................................................................................82 Figure 80- The Sea Organ resonance tube outlet holes.........................................................82 Figure 81- The Sea Organ | Zadar, Croatia...............................................................................83 Figure 82- Proposed project locations 1:25,000......................................................................86 Figure 83- Proposed site #1......................................................................................................87 Figure 84- Proposed site #2......................................................................................................87 Figure 85- Proposed site #3......................................................................................................88 Figure 86- Proposed site #4......................................................................................................88 Figure 87- Proposed site #5......................................................................................................88 Figure 88- Satellite image of site in context............................................................................90 Figure 89- Proposed site context plan with amenities 1:10,000............................................92 Figure 90- Administrative local areas 1:25,000........................................................................94 Figure 91- Zoning districts and business improvement associations 1:10,000.....................96 Figure 92- Site context with contours 1:2,000..........................................................................97 Figure 93- Site plan 1:250..........................................................................................................98 Figure 94- South perspective..................................................................................................100 Figure 95- East perspective.....................................................................................................100 Figure 96- West perspective...................................................................................................101 Figure 97- North view with adjacent commercial parking area............................................101

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LIST OF TABLES

Table 1- Spa definitions according to the ISPA ��12 Table 2- Statistics Canada business occupation classifications ��12 Table 3- City of Vancouver spa business classifications ��15 Table 4- Bathing sequence comparison: Thermae, Hammam & Sauna ��35 Table 5- Population & age demographics in the West End and surrounding areas: 2011 �95 Table 6- Singles and childless couples in the West End and surrounding areas: 2011 ��95 Table 7- Projected schedule for completion of GPII ��113

THESIS

Organized public bathing has figured prominently as a human activity since early antiquity, and likely longer. Since the earliest recorded civilizations, water has been a key expressive element of the human symbolic, spiritual and physical relationship to the natural world. Some of the oldest known public baths in the Indus Valley city of Mohenjo-Daro, in contemporary Pakistan, date back as far as the third millennium BCE.1 From ancient Greece through to medieval Euro-asian and contemporary Eastern cultures, many ethnic groups have considered public bathing a hygienic, spiritual, as well as social activity. Some, such as the Islamic Hammam or the Jewish Mikvah, are centered around specific religious rites of corporeal and spiritual cleansing. Irrespective of the sacred, mystical or secular nature of the various cultural bathing customs, the act of bathing has traditionally always been heavily concerned with ritual, where water has played a central role as the “archetypal source of our dreams” 2. While many sacral rituals associated with water still remain widely in use, bathing has lost much of its ritual significance in the daily practices of contemporary Western culture. The pressures of contemporary society have induced a temporal compression, necessitating the wholesale adoption of a sensuously reductionist lifestyle. We have effectively uncoupled the role of bathing from the traditional socio-cultural practice, ostensibly rendering it a purely functional, generic and expedient task. Rediscovering the sensuousness of the bathing experience can help us reacquaint ourselves with the textures, rhythms and tastes of the world we live in, alleviating the inimical effects of contemporary life. A visceral perception of water through the bathing ritual has the potential to bring one’s fundamental sense of self into focus and affect a peak experience. The practice of falling into step with one’s biological rhythms, re-awakening the mystical connection between the mind and the body 3, is effectuated not through the sterilizing effect of the 5-minute morning shower but rather through the intimacy of the bathing ritual. Jansen 1989: 182. France 2003: xxxiv 3 Koren 1996: 34 1 2

FIELD OF INQUIRY

“Every touching experience of architecture is multi-sensory; qualities of matter, space, and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle.“ ~Juhani Pallasmaa Contemporary Western culture has come to be considered by many as an era of disconnection of the individual from the natural world. For many living in this “Age of Anxiety”4, the atomization of the individual within the social landscape has led to high levels of stress accompanied by a sense of detachment from the traditionally perceived role humans held in the the natural environment.5 As Robert France argues, reanimating our senses is the first step in reconnecting with the physical world and ourselves.6 The senses are not simply the sum of the data collected by a series of isolated sensory processors. Rather, they are a complex, overlapping network of interrelated sensory acquisition receptors7, continually engaged in a feedback loop with the brain’s cognitive processing center. Empowering our senses will “awaken our bodies to truly experience the aliveness of this world.”8 We perceive and understand our world through the aural, visual, gustatory-olfactory, vestibular and haptic perceptual systems of our entire body. The phenomenological, typological or formal characteristics of space dictate the way we perceive that space, having a direct effect on our psychological response and the modalities of resultant constructed reality. The central inquiry of this investigation focuses around the interplay between our senses and the phenomenological effects of materiality, light, sound and temperature as the drivers informing the ritual process of bathing and possible agents of peak experience. The notion of peak experience, first developed by the American psychologist 6 7 8 4 5

Hobfoll 1998: 3 France 2003: 36 Ibid: 38. Barrie 2010: 14 France 2003: 39

Abraham Maslow9, is a temporary condition involving “rare, exciting, oceanic, deeply moving, exhilarating, elevating experiences that generate an advanced form of perceiving reality, and are even mystic and magical in their effect…”10 It embodies a “sense of profound significance”11, causing it to “stand out, in the subject’s mind, in more or less permanent contrast to the experiences that surround it in time and space.”12 In surveys conducted by Privette, a number of respondents described their peak experiences as “transcendence of boundaries with qualities of spirituality. Many people simply said that their experiences were ineffable or beyond words.”13 One of the questions posed through this investigation is the methodology of elicitation of peak experience. While an intimate experience of water in a bathhouse does not assure the evocation of a peak experience, the assumed research framework is that it is a contributory cause. As Laski identified in her studies of ecstasy, peak experience is typically triggered by “art, nature, sexual love, religion, exercise and movement, creative work, ‘beauty,’ childbirth, scientific knowledge, recollection and introspection, and poetic knowledge.”14 Furthermore, Koren points out that bathing may bring on “revelations: flashes, glints, significant connections, and transcendent understandings. The sensory and atmospheric constituents of the bath can stimulate these kinds of epiphanies.”15 The bathhouse has the potential to unfold the commonplace events of the day into an extraordinary peak experience by carefully curating the phenomenological environment offered up by the architecture. Some triggers of peak experiences, such as art, nature, spirituality, exercise, movement, aesthetic enjoyment, and most notably introspection, are experiences available to a bather. Our subjective exploration of spirituality has a naturalistic basis.16 The bathhouse presents an opportunity for the sacred to be found “in the ordinary, ... to be found in one’s daily life”.17

Maslow 1970a: 33 Corsini & Auerbach 1996: 21 11 Leach as cited in Privette 1983: 1362 12 Ibid: 1362 13 Privette 2001: 11 14 Laski 1961: 492 15 Koren 1996: 38 16 Maslow 1970a: 15 17 Maslow 1970b: 85 9

Figure 1- Bathing tubs at the ancient Greek bath at Cyrene | Cyrenaica, Libia

CONTEXT

global bathing cultures

”The bath and its purpose have held different meanings for different ages. The manner in which a civilization integrates bathing within its life, as well as the type of bathing it prefers, yields searching insight into the inner nature of the period....The role that bathing plays within a culture reveals the culture’s attitude toward human relaxation. It is a measure of how far individual well-being is regarded as an indispensable part of community life.” ~Sigfried Gideon Bathing has been a holistic activity fulfilling spiritual, social and functional needs of cultures around the globe for millennia. As A.L. Croutier noted, “while most societies developed different ways of creating physical contact with water, incorporating the philosophy and temperament of their people and their environment, they always seemed to have the same elements in common- spiritual, hygienic, therapeutic, and social.“18 Through the period marking the height of the ancient Near East cultures, bathing was used extensively as a therapeutic device, as well as a religious rite. Similarly, for many cultures of the Indian subcontinent, bathing in rivers and natural springs was believed to confer physical as well as spiritual wellness.19 During Classical Antiquity between the 8th century BCE to approximately the 5th century CE, public baths, or thermae, became central features of important urban centers in the Mediterranean basin. Initially starting as private complexes for wealthy Athenians, bathhouses grew into public hubs for bathing, hygiene, health, recreation, sport, social interaction, commerce and learning.20,21,22 Along with being important facets of urban life in Classical Rome, public baths had advanced Greek technological concepts, evolving them into significant architectural and engineering achievements. By the beginning of the 3rd century CE, the Roman Empire featured hundreds of public Croutier 1992: 77 Routh [et al.] 1996: 551 20 Ibid: 552. 21 Lucore & Trümper 2013: 28 22 Yegül 2010: 2 18 19

bathhouses. The most lavishly appointed, technologically sophisticated and visually awe inspiring of these were the thermae of Caracalla and thermae of Diocletian, each occupying nearly 300 acres.23 Around the same time, public baths were also emerging in Japan. Archaeological evidence and written historical accounts by Chinese scholars describe Japanese culture as one placing great importance on purity and personal cleanliness.24 In addition, bathing and ritual lustrations were a key component of the Japanese non-secular ceremonies.25 Frequent, regular bathing, in private as well as public baths, remains an important aspect of contemporary Japanese social landscape and cultural identity.26 Bathing is generally not viewed as a religious or spiritual act, but rather a way of paying homage to the â&#x20AC;&#x153;values and the piety of the[ir] forbearsâ&#x20AC;?27. Washing and purification also play a key role among the Abrahamic religions. The Christian baptism, Jewish Mikva and the Islamic Wudu28 all employ water as symbolic agents of corporeal and spiritual cleansing. Ironically, despite the widespread use of water in Christian sacraments, the rise of Christianity in Europe following the fall of the Roman Empire in the 5th century CE, signaled the decline in the use of public baths.29 This trend was principally based on the objections of the Church to the moral character of bathhouses due to their primary focus on hedonist pursuits.30 In the period between 17th and 19th century, public baths experienced a renaissance in Europe, spurred by renewed interest in therapeutic uses of water and the growing need for a source of hygiene through the industrial revolution.31,32 Another form of the bathing that has pervaded throughout many cultures is the steam bath. While there are slight variations throughout different traditions, the general principle of the steam or vapor bath is the same throughout. Steam generated by pouring water on heated stone induces sweating, opening the skin pores and cleansing the body. This is followed by a cycle of cooling, either by a cold water wash or air drying. Ibid: 110 Grilli & Levy 1985: 44 25 Ibid. 26 Ibid: 44 27 Ibid: 47 28 John 2014: n.p. 29 Routh [et al.] 1996: 552 30 Vigarello & Birrell 1988: 28 31 Ibid. 32 Routh [et al.] 1996: 553. 23 24

The Finnish sauna, likely a derivative of the Russian banya, is a part of the Finnish national identity.33 It has been popularized throughout Nordic and Baltic regions, and its influence spread throughout much of Europe. The health benefits of sauna are well documented34 but another important aspect of the experience is the social dimension.35 Much like their Roman predecessors, steam baths have been central to the social and cultural fabric of their locales. Turkish Hamams, which originally evolved from the Roman bathhouses, offered a place for Islamic worshipers to cleanse before daily prayers, and served as social, political and cultural focal points. As Nina Cichocki notes, â&#x20AC;&#x153;in the social context of Ottoman city life, hamams served as a public forum where news were exchanged and sometimes discontent ventedâ&#x20AC;Śâ&#x20AC;?36 Irrespective of the sacred, secular, therapeutic or recreational nature of the various cultural bathing customs37, the act of public bathing has traditionally always been heavily concerned with ritual. While many sacral rituals associated with water still remain widely in use, bathing has lost much of its ritual significance in the daily practices of contemporary Western culture. This is in great part due to the modernization of the Western world, leading to increased accessibility to domestic water sources, as well as changes in Western attitudes towards body image. Furthermore, the shifting complexity of the western socioeconomic model has produced a decrease in the amount of time people are able to devote to bathing. As a result, the richness and discovery of the daily bath has mostly been lost in favor of efficiency and expediency of the shower.

Valtakari 2013 Crinnion 2011: 216-219 35 Nordskog [et al.] 2010: 5 36 Cichocki 2005: 99 37 The survey of the global bathing cultures discussed in this section is by no means comprehensive, and is intended simply to give the reader a brief overview of the breadth and chronological range of the various bathing customs around the world. 33 34

Figure 2- Cross section of the Thermae of Diocletian

Figure 3- Ă&#x2021;emberlitaĹ&#x; Hamami | Istambul, Turkey

Figure 4- Finnish sauna at Kiuasniemi | Padasjoki, Finland

Figure 5- Hoshi onsen | Minakami-machi, Japan

• Day spa: ...................................................................................................................... A day spa offers a variety of spa services, including facial and body treatments on a day-use only basis. Overnight accommodations are not provided. • Resort/hotel Spa: A resort/hotel spa offers spa, fitness and wellness services, as well as spa cuisine menu choices and overnight accommodations within a resort or hotel. • Destination spa: A destination spa is not part of another resort or hotel. The destination spa’s primary purpose is guiding individual spa-goers to healthy lifestyles. Historically an extended stay, this transformation can be accomplished by a comprehensive program that includes spa services, physical fitness activities, wellness education, healthful cuisine and special interest programming. • Medical spa: A spa in which full-time, on-site licensed healthcare professionals provide comprehensive medical and wellness care in an environment that integrates spa services, as well as traditional, complementary and/or alternative therapies and treatments. The facility operates within the scope of practice of its staff, which can include both aesthetic/cosmetic and prevention/wellness procedures and services. • Club spa: A facility whose primary purpose is fitness and that offers a variety of professional administered spa services on a day-use basis. A hotel, gym or fitness club that has a sauna, steam or whirlpool bath is not a spa unless it explicitly offers spa products and services as an added benefit. • Mineral springs spa: A spa offering an on-site source of natural mineral, thermal or seawater used in hydrotherapy treatments. • Cruise ship spa: A spa aboard a cruise ship providing professionally administered spa services, fitness and wellness components and spa cuisine menu choices. • Cosmetic spa: A spa that primarily offers aesthetic/cosmetic and prevention/wellness procedures and services such as facials, peels, waxing and other noninvasive procedures that are within the scope of practice of its staff but do not require onsite medical supervision. Table 1- Spa definitions according to the ISPA

NORTH AMERICAN INDUSTRY CLASSIFICATION SYSTEM (NAICS) 2007 EXAMPLE ACTIVITIES - CLASSIFICATION CODE 812190

• Bath houses • Colour consultants • Day spa • Diet centres (non-medical) • Ear piercing service • Estheticians, services

• Hair removal (i.e., by electrolysis) • Hair replacement service • Hair weaving service • Massage parlours • Saunas • Scalp treatment service

• Tanning salon • Tattoo parlours • Turkish baths • Weight-reduction centres (non-medical)

Table 2- Statistics Canada business occupation classifications

CONTEXT

typology of the bathhouse in the local context

In order to position this investigation in the local context, it is important to delineate the different types of existing establishments focused around water based health, recreation and body rejuvenation. Over the past several centuries, the inferred meaning of the term ‘bathhouse’ in the Western cultural context, has shifted dramatically. The contemporary meaning of the term refers to a location housing a private club offering a place for consensual sexual activity between men. While sexual encounters between men at public bathhouses have been recorded as early as the 15th century, exclusively gay bathhouses began opening in North America in1950s.38 In the Western cultural lexicon, the bathhouse, as a venue for physical relaxation, spiritual wellness and therapy, has been supplanted by the spa culture. The International Spa Association (ISPA) defines the spa as an “entity devoted to enhancing overall well-being through a variety of professional services that encourage the renewal of mind, body and spirit.”39 They further identify spa types according to services offered.40 (Table 1) The wide ranging scope of this definition evinces the gamut of services offered in Vancouver under the ‘spa’ umbrella. According to Statistics Canada41, a day spa business is classified together with almost any other business focused on aesthetic elements of the body (Table 2), opening the door for confusion among those seeking a sensuous experience of water in this context. Analysis of 2015 data from the City of Vancouver shows 181 commercial licenses were issued to businesses with the word “spa” in the name. These were classified into 8 categories and 11 subcategories, with actual services ranging from colonic cleansing and nail salons, to acupuncture and denturists. (Table 3) This data does not take into account additional spa businesses catering to animals. A more comprehensive survey of spas in Vancouver is necessary to determine the percentage of those falling under ISPA’s classification that actually use water as an active therapeutic tool promoting relaxation and Snare 2012: 23 ISPA as cited in Loureiro 2013: 36 40 ISPA as cited in Joppe 2010: 118 41 Statistics Canada 2014 38 39

holistic wellness. The majority of spas in Vancouver can be classified as either cosmetic or day spas, offering passive corporeal treatments such as facials, peels, waxing and massage. While there are currently a handful of gay bathhouses in Vancouver, there are no asexual, public bathhouses or mineral spas centered around an intimate, therapeutic experience of water, such as those discussed in the previous section. There is currently a confluence of opportunity and need to reimagine the concept of the public bathhouse in Vancouver. Re-framing the role of the bath user from a passive recipient to an active participant can begin to affect the cultural view of bathing as a â&#x20AC;&#x153;comprehensive aesthetic experience concerned primarily with non-objective, unquantifiable, and unique sensations.â&#x20AC;?42

Koren 1996: 23

Table 3- City of Vancouver spa business classifications

1 3

Figure 6- Traditionally inspired bathing facilities | Lower Mainland

CONTEXT local bathhouses ?

Options for traditional forms of asexual public bathing and enjoyment of water in Vancouver and surrounding localities are limited. Aside from private facilities and spas, there are a number of swimming pools, however, this investigation is not focused on pools since they typically present a different dimension of aquatic activities, focusing almost exclusively on functional aspects of water sport and recreation. Due to the programmatic requirements of swimming pools, such as club meets and swim lessons, they often lack opportunities for intimate enjoyment of water. Vancouverâ&#x20AC;&#x2122;s only dedicated public steam room is the relatively historic Hastings Steam and Sauna. Located at 766 East Hastings Street, it has been in continuous operation since 1926, offering private co-ed group rentals, private steam baths and public steam baths exclusively for men. The facility is advertised as a Finnish-inspired steam bath and wellness spa.43

Figure 7- Hasting Steam & Sauna | Vancouver

Hastings Steam & Sauna 2015

Figure 8- Hastings Steam & Sauna Interior | Vancouver

Figure 9- Hastings Steam & Sauna Heated Stones | Vancouver

Figure 10- Hastings Steam & Sauna Interior | Vancouver

Figure 11- Hastings Steam & Sauna Interior Seating | Vancouver

Figure 12- JJ Family Spa womenâ&#x20AC;&#x2122;s powder room | Coquitlam

CONTEXT local bathhouses ?

JJ Family Spa is the only traditional Korean-style bathhouse (Jimjilbang) in BC. It is located at 3000 Christmas Way in Coquitlam, offering gender-segregated bathing areas with showers, a hot tub, a cold plunge, a steam room, and a sauna. In addition, visitors can relax in the Earth room, the Charcoal room or the Salt room. Each of the rooms is thematically and thermally unique, purportedly offering differing health benefits. The spa also features dining and social areas and a variety of traditional skin care and massage services.44

Figure 13- JJ Family Spa | Coquitlam

JJ Family Spa 2015

Figure 14- JJ Family Spa steam room | Coquitlam

Figure 15- JJ Family Spa charcoal room | Coquitlam

Figure 16- JJ Family Spa salt room | Coquitlam

Figure 17- JJ Family Spa earth room | Coquitlam

Figure 18- Miraj Hammam Spa | Vancouver

CONTEXT local bathhouses ?

Currently, the most exclusive urban traditional spa is the Miraj Hammam Spa, at 1495 West 6th Avenue in Vancouver. As Canada’s first Hammam, Miraj Spa aims to bring the authentic experience of the Middle Eastern steam bath to discerning visitors. Their service centers around a steam bath in a marble-lined chamber, accompanied by a “gommage” body exfoliation, and followed by a luxuriation period in the well appointed lounge. They also offer a variety of facial and body massages and treatments.45

Figure 19- Miraj Hammam Spa Gommage exfoliation | Vancouver

Miraj Hammam Spa 2015

Figure 20- Miraj Hammam Spa interior | Vancouver

Figure 21- Miraj Hammam Spa Sultana lounge | Vancouver

RITUAL

“A life that does not incorporate some degree of ritual, of gesture and attitude, has no mental anchorage. It is prosaic to the point of total indifference, purely casual, devoid of that structure of intellect and feeling which we call ‘personality’.” ~Suzanne Langer

The notion of ritual is at the nucleus of this investigation, forming the critical catalyst for the elicitation of peak experience within the context of a bathhouse. At its core, a ritual is a series of actions performed in a specific sequence, time or place, embodying a specific intention or meaning.46 It suggests a motivation imbued with symbolism, whose employment in a given temporal-spatial context is beyond function or utility.47 As Charles W. Moore points out, “symbol finds an outlet in ritual, in gestures which dramatize meaning in the relation of man to the world around him.”48 This dramatization and symbolization of ritualized activities results in an intensification of emotion, alleviating tension.49 Meaning is culturally structured and mediated50, however the symbolic interpretation and application of meaning is a highly personal act. It represents the fundamental currency of understanding of the “causal relationships and mechanisms that explain the world around us.”51 Simply put, the physical world only has meaning if we are able to perceive it. Physical sensations, as experienced through our sensory system, and interpretation of the meaning or symbolism behind those sensations, are the keys to the generative force of the engagement in the physical phenomena of architecture.52 Controlling the perceptual agency of bathhouse architecture Stone 2012: 367 Tomkins 2012: 63 48 Moore 1957 97 49 Gusfield & Michalowicz 1984: 428 50 Ibid: 419 51 Legare & Souza 2012: 9 52 Holl [et al.] 1994: 41 46 47

through its formal, atmospheric or aesthetic characteristics can effectuate cognitive and physiological calming, allowing for introspection and spiritual focus. Spiritual reflection, emotional heightening, and introspection set the stage for a peak experience in the context of the bathing ritual.

Figure 22- Take comfort in rituals

Figure 23- Sauna with plunge pool in Vuokatti region of Finland

WATER & TEMPERATURE

“It has been said that human beings were invented by water as a device for transporting itself from one place to another.” ~Tom Robbins

Water is perhaps the most symbolically laden of all the classical elements. While “other elements merely tolerate us, water intimately receives us.”53 Throughout recorded history, it has played a variety of roles in our lives, as an element both revered and feared. Compositionally, our bodies are primarily made of water. It gives life and cleanses our bodies. It is nourishing and utilitarian as well as symbolic and socially unifying.54 Charles Moore suggests that the secret behind this multivalent capacity of water is its “ability to keep its identity”55 across scales. Our minds can directly relate a water droplet to the generative or destructive properties of rain, rivers and seas.56 As a symbol, Moore argues, it is imbued with a latent duality. As the source of life, water symbolizes fertility. At the same time, it is also associated with destruction and death, due to its capacity for monumental transformation. Flowing water symbolizes the passage of time, while the stillness of the sea evokes timelessness. Furthermore, water is a symbol of immediacy, physical immersion and sexuality, yet it also represents limitless distance.57 Moving water cleans58, while the unknown darkness of deep water bring death.59 Despite the particularity of the metaphor, water has captivated our collective imagination, hovering “between the human and supernatural worlds.”60 France 2003: 65 Koren 1996: 34 55 Moore 1957: 99 56 Cassier cited in ibid: 99 57 Moore 1957: 96 58 Ibid: 102 59 Ibd: 106 60 Fischesser et el. cited in France 2003: 8 53 54

Throughout human history, water has also been extensively used as a therapeutic mechanism,61 with a growing body of scientific evidence expounding its effectiveness. Therapeutic application of water can be differentiated into three principal classifications: hydrotherapy, balneotherapy and spa therapy.62 Hydrotherapy employs regular water, while balneotherapy uses natural mineral water and peloids.63 Spa therapy generally consists of a combination of the former two, along with “therapeutic atmosphere... through the change in environment and lifestyle.”64 Water immersion facilitates a series of localized changes in the human physiology based on mechanical, thermal, and in the case of balneotherapy, chemical factors affecting the skin, mucous membranes and skeletomuscular system.65 Along with a host of other benefits, the thermal effect of bathing induces an increased cardiovascular flow and the production of chemicals which aid the function of the nervous and endocrine systems. The increased blood flow reduces peripheral resistance and increases diuresis, improving brain function.66 In addition, “immersion in water affects the autonomic nervous system by reducing sympathetic power, thus reducing anxiety.”67 Although a systematic, scientific approach to understanding the benefits of hydrotherapy and balneotherapy is a relatively recent phenomenon,68 an intuitive and effect-based understanding has existed among bathing cultures for millennia.69 As Yegül notes, the thermal sensibility of the Roman bath was “an extremely powerful stimulant for the creation of a feeling of relaxation, comfort and well-being. Bathing cleansed physical as well as moral stains. Across all cultures and societies, a freshly bathed person felt light and optimistic, as if touched by a thousand fingers of warmth.”70 When considered in the context of the ritual of bathing, most global bathing traditions suggest a particular sequence of immersion with respect to the water temperature. Generally, the sequence moves as a progression from a tepid pool through a

Bender [et al.]: 1 Ibid: 2 63 Rapoliene [et al.]: 2 64 Bender [et al.]: 2 65 Rapoliene [et al.]: 2 66 Ibid. 67 Ibid. 68 Mooventhan & Nivethitha 2014: 1 69 Lucore & Trümper 2013: 23 70 Yegül 2011: 16 61 62

hot one, terminating with a cold plunge and a relaxation period.71,72 In traditions centered around steam or vapor bathing, the means of experiencing various temperatures differ but the sequence generally follows the same path. (Table 4)

bathing sequence comparison

| ottoman hammam | finnish sauna

1. Apodyterium- the first in the sequence of rooms upon entry to the roman bath, the apodyterium was the dressing room, containing benches, cabinets, chests and other storage facilities. 2. Tepidarium: primary grouping of rooms containing pools of medium heat. 3. Caldarium: primary grouping of rooms containing hot pools.

combined with

roman thermae

Sudatorium: steam sauna Laconicum: dry sauna Heliocaminus: sunbathing room

1. Cemekân- the entry to the complex, used as the changing area as well as the social, relaxation zone after a thermal treatment.

3. Sicaklik: the heart of the complex, containing the gobektasi, an octagonal-shaped stone platform where the guests can lie down to relax or for a massage and shave.

2. Sauna- the steam bath principal room typically heated to 80-90°C. 3. Pesuhuone- the washing room with a shower for cooling down after sauna.

Yegül 2010: 17 Crinnion 2011: 215

Maghta: small steam rooms located over the sicaklik where temperature could exceed 40°C.

1. Pukuhuone- the dressing room is used to prepare for sauna as well as relaxing after each sauna cycle. 3. Avanto- a hole in the ice of a frozen lake or sea as an alternative method of cooling down.

Table 4- Bathing sequence comparison: Thermae, Hammam & Sauna

combined with

2. Ukluk: medium-temperature room allowing users to gradually acclimatize during the passage from the unheated cemekân to the heated rooms.

finnish sauna

hammam

4. Frigidarium: typically a large room containing one or more unheated (cold) pools.

Figure 24- A thousand points of light: Istanbul Hammam

THE MYSTERY OF LIGHT

“Natural light, with all its ethereal variety of change, fundamentally orchestrates the intensities of architecture and cities.” ~Steven Holl

Light is a form of electromagnetic radiation operating at a specific range of frequencies detectable by our eyes. Sight as the operative of light, is the primary sense by which we orient ourselves in our environment. It allows us to measure, anticipate and imagine space and our position in relation to it. Since the Classical origins of Western philosophical thought, it has been considered to be the noblest of all the human senses,73 giving rise to an occulocentric perceptual framework. This preference is not accidental. Evolutionary hypotheses, like the Savanna theory, explain that the ability to see over long distances was critical for the survival of human ancestors, thus establishing vision as a determinant in environmental aesthetic preferences.74 One of the factors of this preference matrix is the concept of visual mystery, which elicits curiosity, interest and a tendency to explore.75 Montello and Moyes cite experiments showing that light, occlusion and depth of view are the principal factors contributing to visual mystery.76 An optimal environmental aesthetic is the balance between the motivation to explore and the motivation to avoid novelty.77 In the context of architecture, deep shadows and darkness are essential in manifesting mystery. “They dim the sharpness of vision and invite the unconscious peripheral vision and tactile fantasy.”78 The intrigue of the unknown adjacency arouses curiosity, inducing movement and exploration, with the promise of sensory abundance.79 Light is the Pallasmaa 2005: 15 Ruso [et al.] 2003: 284 75 Montello & Moyes 2012: 392 76 Stamps cited in Ibid: 393 77 Berlyne cited in Ibid: 392 78 Holl [et al.] 1994: 34 79 Drew 1997: 23 73 74

primary mechanism by which architecture expresses its perceptual spirit and metaphysical strength. More specifically, they are informed by “the qualities of light and shadow shaped by solids and voids, by opacities, transparencies and translucencies.”80 The antithesis of Pallasmaa’s tactile fantasy is homogeneous light, which, as he states, “paralyzes the imagination.”81 The artist James Turrell has spent over five decades focusing precisely on that aspect of the relationship between space and light. Turrell’s art medium is light itself. He works with light phenomena, not as a narrative means to his art, but rather the end. He valorizes the tension between light and void, with the aim to activate and augment the senses and perception of the viewers. The resultant environment is highly conducive to meditation and introspection.82,83

“My work has no object, no image and no focus. With no object, no image and no focus, what are you looking at? You are looking at you looking. What is important to me is to create an experience of wordless thought.” ~James Turrell

Holl [et al.] 1994: 63 Ibid: 34 82 El Jardín Botánico Culiacán 2014 83 James Turrell 2015 80 81

Figure 25- James Turrell- Ganzfeld (Apani)

Figure 26- James Turrell- Skyscape (Culiacan Botanical Garden)

Figure 27- James Turrell- Projection pieces (Raethro Red) Figure 28- James Turrell- Projection pieces (Afrum Pale Blue) Figure 29- James Turrell- Projection pieces (Alta Green) Figure 30- James Turrell- Projection pieces (Stufe White)

Figure 31- James Turrell- Aten Reign at the Guggenheim New York

Figure 32- Bath at Bagby Hotsprings | Mt. Hood National Park | Oregon

MATERIALITY

“We must constantly ask ourselves what the use of a particular material could mean in a specific architectural context. Good answers to these questions can throw some new light on both the way in which the material is generally used and its own inherent sensuous qualities.” ~Peter Zumthor

Engaging the materiality of architecture, we immerse ourselves into the haptic realm. Our eyes span the distances between our bodies and the objects around us, while our skin engages in an intimate dialogue with the material expression of those objects. In states of heightened emotion, such as those potentially enabled through the bathing ritual and peak experience, “sense stimuli seem to shift from the more refined senses towards a more archaic, from vision down to touch and smell.“84 This holds true both in moments of ecstasy as well as profound sadness. We close our eyes and shift the sensuous primacy to that of touch, allowing our skin to translate the details. Intimate connection comes from immersion; from making physical contact with the skin of ‘the other’, its materiality. Through the materiality of architectural objects, their texture, patterns, reactivity to light, thermal capacity and firmness, we are able to discern the character of space constituted by their presence. This spatial atmosphere, or genius loci, as Christian Norberg-Schulz termed it85, is a product of distilling the implied meaning of materials to their very essence, which “is beyond all culturally conveyed meaning”86. Rather, it is a recollection of our earliest experiences of sensory phenomena, a mnemonic mechanism for prior moments of intersection with the physical world.87 It has been argued that the absence of these memories, or Holl [et al.] 1994: 34 Norberg-Schulz 1980: 13,14 86 Zumthor [et al.] 2006:10 87 Ibd: 8 84 85

more specifically, the presupposing contact, is behind the sense of social disconnect that is currently ubiquitous in Western society.88 The considered emphasis on materiality in the setting of a bathhouse has the power to temporarily reconnect us to our memories. Our bodies, externally bound by the our haptic senses, are â&#x20AC;&#x153;the most concrete example of the natural world within our livesâ&#x20AC;?89, an extension of the intimate connection we seek.

Figure 33- Tooled travertine

Figure 34- Polished travertine

France 2003: 36 Ibid: 38

88 89

Figure 35- Wood wall

SOUND

“Sound is a spatial event, a material phenomenon and an auditive experience rolled into one. It can be described using the vectors of distance, direction and location. Within architecture, every built space can modify, position, reflect or reverberate the sounds that occur there. Sound embraces and transcends the spaces in which it occurs, opening up a consummate context for the listener: the acoustic source and its surroundings unite into a unique auditory experience. ” ~OASE #78 In a physical sense, architecture is the domain of geometric scales & proportions, materials, and visual spaces. However, architecture is also expressed and experienced through sound. Just as variability of light ignites the power of human imagination to create space, sound creates abstract spatial realities through a combination of resonant frequencies, echoes, and surface properties of the materials in our environment.90 This sonic architecture is independent of visual phenomena. It unfolds in cognitive space and therefore has the capacity to directly affect our emotional response to space, and the meanings we ascribe to it. Much like symbolic values of ritualized behavior, we process aural meaning through a lens of “cultural biases and personal cognitive processes.”91 Sound is therefore intrinsically symbolic. As such, it is intimately linked to ritual behavior and has the potential to play a key role in the bathing ritual within the bathhouse. Sound waves and electromagnetic frequencies have been shown to promote the restoration of healthy cellular dynamics, reprogramming DNA structure, and eliciting self-healing mechanisms.92 Other studies demonstrate that using sounds within a limited low frequency range, has a curative effect on the whole body, improving “respiration, heart rate, blood pressure, blood volume, digestion/gastric motility, feelings Blesser & Salter 2009: 58 Richie cited in Ibid: 50 92 Muehsam & Ventura 2014: 41 90 91

of fatigue, attention, level of activation, muscle reflexes, galvanic skin resistance, brain waves and biochemical responses.”93 Further studies in vibroacoustic stimulation have shown improvements in somatic and functional disorders presented as alleviation of pain, decreased muscle tension and spasms, and health complaints related to stress and neurotic health disorders.94 Despite the many documented benefits of sound as a therapeutic mechanism, Steven Holl reminds us that tranquility is still the most essential product of architecture.95 A bathhouse aiming to create an atmosphere of calm and introspection can only realize its full potential in the balance of sound and stillness. “An architectural experience silences all external noise; it focuses attention on one’s very existence.”96

Rüütel 2002: 17 Ibid. 95 Holl [et al.] 1994: 31 96 Ibid. 93 94

True silence is the rest of the mind, and is to the spirit what sleep is to the body, nourishment and refreshment. ~William Penn

Figure 36- Antelope Canyon | Arizona

Figure 37- Antelope Canyon | Arizona

CAVES

Caves are of particular interest to this study because, as phenomenal zones, they offer a greatly reduced range of sensory stimuli. They represent an ideal microcosm for the study of the effects of sensory phenomena on human psychological responses, providing insight into the methodology of evoking peak experiences. “The visual and structural characteristics of environments like caves facilitate or impede various activities of people, and they alter the experience people have in them, both cognitively and emotionally.”97 Caves are spaces that hyper-focus our perceptive senses, creating aural & visual mystery, and stirring our imagination. As discussed in earlier sections, these are important environmental aesthetic preference characteristics, related to human evolution and survival. They are independent of culturally assigned values. An overwhelming archaeological body of evidence indicates that, since the Paleolithic era, caves have consistently been used for ritual, mystical and sacral purposes in geophysically disparate locations.98 This is in no small part due to the fact that caves offer a rich milieu as symbolic environments. Reduced light levels with high contrasts, common in caves, play a significant role in rousing the imagination and creating “imaginary geographies”99 of transcendence. Although generally too extreme for habitation, parallels can be drawn with the effectual impact of cave atmospheric character to that of phenomenally curated architecture. Much like built environments, the defining physical characteristics of caves are ambient light,texture, color, surface reflectivity, geometry, temperature and moisture levels.100 Extreme characteristics of cave dark-zones notwithstanding, these attributes have been shown to elicit meditative states, typified by relaxation and introspection.101 The bathhouse design will aspire to translate these qualitative potentialities of cave realms into spiritually moving environments conducive to introspection, meditation and peak experiences. Montello & Moyes 2012: 390 Clottes 2012: 15 99 Gallese & Lako cited in ibid: 394 100 Montello & Moyes 2012: 389 101 Ibid. 97 98

Figure 38- Reed Flute Cave | China

Figure 39- Tham Lod Cave | Thailand

Figure 40- Domus Civita | Italy

Figure 41- Domus Civita | Italy

Figure 42- Scandinave le Bains: hot pool

Figure 43- Scandinave le Bains: cold plunge pool

PRECEDENTS scandinave les bains | montréal, canada

The following series of precedents represent a small cross-section of realized work that will serve to inform and inspire the theoretical, contextual, programmatic and aesthetic narrative of the bathhouse design. Location: Montréal | Québec Architect: Saucier & Perrotte Context: Urban

Program: reception, changing rooms, sauna, steam bath. hydro-jet bath, cold plunge pool & shower, massage rooms, juice bar, relaxation area, offices. Area: 1,000m2 | 10,700ft2

Year of completion: 2009

Located in the heart of a historic Old Montreal and facing the vibrant piers of Old Port, Scandinave le Bains vieuxMontréal is an urban spa whose purpose is to provide a thermal therapy experience that engages each of the body’s senses. The building, rebuilt half a century ago after extensive fire damage, has housed warehouse functions until recently when it was acquired by the new owners: the new spa is positioned at the ground/entrance level . The formal parti is derived from the contact between hot and cold- more specifically, the naturally occurring phenomena associated with these conditions. The design distills the idea of cool glacial forms and the warmness of volcanic rocks, whose duality is articulated through both the spa’s forms and materials. Visitors are immersed in the unique environment where walls, floors and ceilings are slightly angled according

to a notion of interior topography. These angles, though subtle, heighten awareness of the corporeal relationship with one surroundings, grounding each visitor for that moment in time. Just as in a natural landscape, slight undulations in the ground plane create gentle slopes; depressions in the floor level generate basins of water for bathing. At particular moments, volumes emerge from the ground to sculpt interior zones for the sauna and steam bath. Uniting the main space is an undulating wood ceiling that echoes the movements of the floor: walls of white marble mosaic appear to melt at the point of contact with the warmcolored wood on the ceiling. Heated, cantilevered benches made of black slate offer visitors a warm place to pause in between the hot and cold bathing cycle. Opalescent glass allows natural light through the building’s existing openings while providing a sense of privacy for the visitors. The light that permeates the bath area glows, adding to the purity of the space of the feeling of tranquility for the bathers while keeping contact with city life. Along de la Commune Street, a thin cascading layer of water flows on glass surfaces, filtering views so that from the exterior, passersby can see only shadowed silhouettes of the figures within the hot bath. Rounding out the holistic journey is the relaxation room and the juice bar where bathers can relax. ~Saucier & Perrotte

4. 3.

11. 8.

11.

10. 10.

11.

10.

11.

11. 11. 11. 11. 12.

Figure 44- Scandinave le Bains: plan

1. Hydrojet bath 2. Cold plunge pool 3. Cold shower 4. Steam bath 5. Sauna 6. Juice bar

7. Relaxation area 8. Dressing room 9. Reception 10. Office 11. Massage room 12. Employeesâ&#x20AC;&#x2122; room

Figure 45- Scandinave le Bains: relaxation area

Figure 46- Scandinave le Bains: juice bar & relaxation area

Figure 47- Scandinave le Bains: steam bath

Figure 48- Scandinave le Bains: steam bath

Figure 49- Scandinave le Bains: sauna

Figure 50- Scandinave le Bains: undulating ceiling over hot pool

Figure 51- Scandinave le Bains: relaxation area

Figure 52- Therme Vals: interior

PRECEDENTS the therme vals | graubünden, switzerland

Location: Graubünden | Switzerland Architect: Atelier Peter Zumthor Context: Rural

Program: entry, make-up room, changing rooms, showers, sweat stone w/ Turkish showers, indoor bath, outdoor bath, sound bath, hot pool, cold pool, flower bath, rest space, massage space, attendant office, variety of therapeutic facilities, plant & building services Area: ~3350m2 | ~36,060ft2 Year of completion: 1996

The idea was to create a form of cave or quarry like structure. Working with the natural surroundings the bath rooms lay below a grass roof structure half buried into the hillside. The Therme Vals is built from layer upon layer of locally quarried Valser Quarzite slabs. This stone became the driving inspiration for the design, and is used with great dignity and respect. “Mountain, stone, water – building in the stone, building with the stone, into the mountain, building out of the mountain, being inside the mountain – how can the implications and the sensuality of the association of these words be interpreted, architecturally?” This space was designed for visitors to luxuriate and rediscover the ancient benefits of bathing. The combinations

of light and shade, open and enclosed spaces and linear elements make for a highly sensuous and restorative experience. The underlying informal layout of the internal space is a carefully modeled path of circulation which leads bathers to certain predetermined points but lets them explore other areas for themselves. The perspective is always controlled. It either ensures or denies a view. “The meander, as we call it, is a designed negative space between the blocks, a space that connects everything as it flows throughout the entire building, creating a peacefully pulsating rhythm. Moving around this space means making discoveries. You are walking as if in the woods. Everyone there is looking for a path of their own.” The fascination for the mystic qualities of a world of stone within the mountain, for darkness and light, for light reflections on the water or in the steam saturated air, pleasure in the unique acoustics of the bubbling water in a world of stone, a feeling of warm stones and naked skin, the ritual of bathing – these notions guided the architect. Their intention to work with these elements, to implement them consciously and to lend them to a special form was there from the outset. The stone rooms were designed not to compete with the body, but to flatter the human form (young or old) and give it space…room in which to be. ~Peter Zumthor

5. 7.

35°C

7. 42°C

10.

36°C-winter 30-33°C-summer

13.

12.

11.

14.

21.

32°C

15.

33°C

17.

16. 22.

19.

18.

20.

18.

Figure 53- Therme Vals: bathing level plan 1. Entry 2. Cleaners 3. Make-up 4. Change room 5. Shower 6. W/C

7. Sweat stone w/ Turkish showers 8. Indoor pool 9. Outdoor pool 10. Terrace 11. Sound pool

12. Fire (hot) pool 13. Cold pool 14. Shower 15. Water fountain 16. Sounding stone 17. Flower bath

18. Rest space 19. Outdoor shower 20. Massage 21. Accessible facilities 22. Attendant office

41. 42. 43. 45.

37.

36°C

38. 40.

35.

32.

44. 34. 34.

23. 24.

36.

39. 41.

34.

37.

33. 31.

29.29.30. 29. 30.29.29.28. 24. 27. 27. 27. 24.

26.

25.

Figure 54- Therme Vals: building services and therapeutic level plan 23. Waiting 24. Rest area 25. Physiotherapy 26. Underwater massage 27. Massage 28. Orthopaedic bed

29. Mud treatment 30. Medicinal bath 31. Inhalation 32. Aquatherapy 33. Tea kitchen 34. Storage

35. W/C 36. Flower bath equip. 37. Chemicals 38. Electrical 39. Water treatment 40. Main sanitation

41. Fire bath equip. 42. Ozone treatment 43. Secondary sanitation 44. Freshwater tank 45. Wastewater tank

Figure 55- Therme Vals: outdoor pool

Figure 56- Therme Vals: interior (split frame image)

Figure 57- Therme Vals: indoor pool

Figure 58- Therme Vals: fango therapeutic mud treatment rooms

Figure 59- Therme Vals: fire (hot) bath

Figure 60- Therme Vals: entry into sound bath

Figure 61- Therme Vals: interior

Figure 62- Therme Vals: stairs from changing rooms to bathing pools

Figure 63- Horai Onsen bath house extension

PRECEDENTS horai onsen bath house | izusan, japan

Location: Izusan | Japan

Architect: Kengo Kuma & Associates Context: Rural

Program: entry, waiting/changing area, washing area, bath Area: 58.5m2 | 630ft2

Year of completion: 2003

This is an outdoor bath with a roof for one of the leading hot spring inns in Japan that is located on a large slope in Atami overlooking the Pacific Ocean. The area where you take off your clothes, washing area and spa were planned in a continuous linear orientation on a long thin site on the cliff. The entire floor was covered with Japanese cypress boards, and the light corrugated plastic roof is supported by 60mm square steel posts. A transparent roof and cypress were used in order to recreate the tradition of wooden structures in Japan in a contemporary manner. ~Kengo Kuma

This bathhouse is located on the narrow ledge of a steep site within the property of Horai, a prestigious and well-known traditional Japanese hotel. The ledge is so narrow that it seems almost impossible to build anything there. Kuma took advantage of this condition, however, and derived the architecture of the bathhouse from it. Due to the narrow site, the structure is situated close to its surroundings, bordering on the rising cliff on one side and the precipice on the other. The project accordingly evolved along an extruded plan with activities arranged in a linear fashion. As is often the case with Japanese bathhouses, the pool as well as all other facilities except the locker room are outdoors to provide the benefit of being in nature while enjoying the soothing experience of the hot mineral bath. Kuma’s bathhouse is in fact nothing more than a wooden deck or floor covered by a corrugated and translucent polycarbonate canopy that hovers over it like a tent; there are no walls or other outside boundaries. Even the washing faucets and hand-showers are arranged individually on top of the deck with mobile cases to hold towels and other necessary items. The 2.37-inch (60-mm) square steel columns that support the canopy are painted with galvanized gray paint, which effectively blends them into the background. The Horai Onsen Bath House is— both by the nature of its function and its architectural design— certainly Kuma’s most minimalist and ephemeral design to date. ~Botond Bognar

1. Entry 2. Waiting/changing area 3. Washing area 4. Bath

Figure 64- Horai Onsen bath house plan

Figure 65- Horai Onsen bath house cross section

Figure 66- Horai Onsen bath house longitudinal section

Figure 67- Horai Onsen bath house

Figure 68- Horai Onsen bath house perspective

Figure 69- Horai Onsen bath house daytime interior perspective

Figure 70- Horai Onsen bath house evening interior perspective

Figure 71- Horai Onsen bath house context

Figure 72- Horai Onsen bath house washing area detail

Figure 73- Horai Onsen bath house entry interior

Figure 74- Landmark Lusatian Tower, Senftenberg | Denmark (Installation: 2012)

Figure 75- Maison Du Peuple, Clichy | France (Installation: 2012)

corpus

Location: Various | Europe

Artist: Art of Failure Collective Nicolas Maigret, Jeremy Gravayat, Nicolas Montgermont Years active: 2006-2013

CORPUS_ is a sound and multimedia project in which objects, furniture and the architecture of a place are set in resonance by infra-low frequencies. For this project, Art of Failure analyzes the sound frequencies at which the different elements of a place enter in vibration. The tones of these vibrating elements are used to build a generative

| resonant architecture

composition. The technical configuration of the installation is composed of vibrators precisely placed inside the site and/or by loudspeakers playing sub-bass. All the elements of the site become active, or â&#x20AC;&#x153;aliveâ&#x20AC;? and reveal their own tones. This project offers a unique physical experience of the space, a relation all at once sensitive and ghostly with what surrounds us. The offered experience is entirely thought according to the specificities of each space, establishing a dialogue between architecture, spatial components and their geographical context.

Figure 76- Pyramid at ENSAPBX, Bordeaux | France (Installation: 2009)

PRECEDENTS

~Art of Failure

Figure 77- The Sea Organ perspective

PRECEDENTS the sea organ | zadar, croatia

Location: Zadar | Croatia Architect: Nikola Bašić Context: Urban

Program: public space Area: 58.5m2 | 630ft2

Year of completion: 2005

The Sea Organ is actually a system of organ pipes activated by the kinetic energy of the waves breaking against the shore. The external form, sequences of simple rectangular stone blocks, is extremely austere. All the luxury and opulence is in its resonance. Passers-by do not interrupt their stroll merely to sit by the sea or to enjoy the view. Instead

Figure 78- The Sea Organ plan & section diagram

they are captivated by the sound of an instrument played by a primordial creative force. Through scarcely visible square openings in the front faces of the highest steps come the tones of an ever-changing composition. The promenade along the quay descends to sea level at this spot via an elegant double flight of steps split into seven parts; the width of each section corresponds to the different lengths of the organ pipes located below the massive white stairs. Sets of five pipes dimensioned according to selected tones of the diatonic scale are located under each section of the stairs. ~ Krunoslav Ivanišin

Figure 79- The Sea Organ intake holes

Figure 80- The Sea Organ resonance tube outlet holes

Figure 81- The Sea Organ | Zadar, Croatia

BURRARD INLET

2 5 WEST END

DOWNTOWN

CHINATOWN

3 KITSILANO

FALSE CREEK

FAIRVIEW

Figure 82- Proposed project locations 1:25,000

MT. PLEASANT

SITE + ANALYSIS

proposed site options

The process of site selection was based on a number of criteria. The overarching presupposition is that the proposed design for the bathhouse will be situated in an urban context. Vancouver’s Downtown peninsula and the area surrounding False Creek was deemed as the most fertile subject area, due to the inherent density, variety of land use and neighborhood character in these zones. Each assessed site presents unique latent potentials due to its location, surroundings, character and projected future.

A GI

B AL

• At the intersection of Gilford Street and Robson Street

E TR

• Dense residential area • Proximity to Lower Robson and Denman Street corridors SO

• Public transit readily accessible

• Confluence of various socio-economical and cultural demographics • Eclectic neighborhood with a strong sense of community

1 Figure 83- Proposed site #1 BE

AT T

• Parking lot between two buildings, located at 740 Cambie Street

• Split level site- topography presents interesting potentialities R

A GI

O GE

• Bordering a densely populated residential area in Yaletown and the business district

• Proximity to a number of hotels

• Public transit readily accessible

Figure 84- Proposed site #2

• Recent city council approval for removal of the viaducts and redevelopment of the land adjacent to False Creek North. • Unique opportunity to incorporate design into a larger speculative urban plan • Confluence of various socio-economical and cultural demographics

GEORGIA VIADUCT

MAIN STREET

DUNSMUIR VIADUCT

PRIOR STREET

UNION STREET

• Intersection of Main Street and the Dunsmuir Viaduct

• Bordering Chinatown district in the process of renewal and the upcoming Concord Pacific redevelopment.

• Public transit readily accessible

Figure 85- Proposed site #3 E

d 2n

E AV

SCOTIA STREET

• Site composed of two lots at 2006 + 2022 Main Street

• Site at the edge of an upcoming Mt. Pleasant neighborhood, popular with a young demographic

E. 5th AVENUE

E. 4th AVENUE

• Properties currently underutilized by semiderelict industrial buildings

MAIN STREET

• Wellness oriented, “creative class” community

4 Figure 86- Proposed site #4

• Located at the intersection of Denman Street and Pendrell Street M

• Currently an empty lot; previously occupied by a gas station

• Site at the SW entry point into the West End, adjacent to English Bay. E

• Confluence of various socio-economical and cultural demographics

O RT

E AV

• Eclectic neighborhood with a strong sense of community • Anchors a dense residential area

• Proximity to Denman & Davie Village commercial corridors

Figure 87- Proposed site #5

ET RE ST

E I AV D

D LL RE D N PE

E U N E AV

BI N

ET RE ST

O M CO

N O RT O M

ET RE ST

AVENUE

E U N E AV

BEACH

CH A BE

Figure 88- Satellite image of site in context

90 ET

ST O

CH IL C

SITE + ANALYSIS project site

The site at 1103 Denman Street, at the north corner of the intersection of Denman Street and Pendrell Street, was ultimately selected as the project site for the design of the bathhouse. It is located at the south end of Denman Street, often called the West End’s “main street”,102 anchoring the gateway into the West End from English Bay. Denman Street is an important pedestrian thoroughfare through the West End, forming a corridor between English Bay and the Burrard Inlet. The site is well positioned in terms of walkability and alternate modes of transport. It is located one block from two designated bikeways, and is on the principal transit route connecting the Robson Village Character District to the North, with the Davie Village District to the South. Situated within the narrow commercial strip defining the Denman Village Character District, it is flanked by low to mid, and high-rise residential zones to the East and West. Only a block away is English Bay beach, one of the city’s most vibrant and popular waterfront destinations. In addition, the adjacency of the site to Stanley Park presents opportunities for collaborative programmatic implementation, positioning the bathhouse as an extension of the natural, regenerative and curative properties of the park’s forest environment. Perhaps the most important determinant in the selection of the site is the supporting population base. The West End is an eclectic neighborhood, with a strong sense of community and a diverse population demographic. The 2011 figures by Statistics Canada show the combined population of the West End and Downtown areas was 99,230, of which, 44,540 habitants are located in the West End. At 216.9 ppl/ha, the West End is the fourth most densely populated area in the City of Vancouver.103 Although it features the fourth highest density of children in a Vancouver residential neighborhood at 8.8/ha104, the majority of the households in the area consist of less than 2 people. The West End population base is primarily made up of individuals between 20-69 years of age, of which, 59.3% are single and 17.6% are couples without children. (Tables 5 & 6) Such a demographic may present a higher City of Vancouver 2014: 37 Ibid: 9 104 Ibid 102 103

Figure 89- Proposed site context plan with amenities 1:10,000

potential user base for a facility devoted to the individual enjoyment of bathing rituals, requiring time and introspection. A relatively large proportion of West End residents (52%)105 work in the Downtown Peninsula, eliminating the need for car ownership. With the highest walk to work mode share in Vancouver at 40%106, the location of the site on a major pedestrian thoroughfare is critical in increasing street exposure of the bathhouse. There is currently a need for a facility providing a restorative bathing experience in the West End. There are two principal community facilities serving the West End within a 15-20 minute walking range of the site. The nearest public aquatic facility is the Vancouver Aquatic Center (VAC), located at the north base of the Burrard Street bridge. The VAC is a large, open plan swimming pool, primarily focused on lane swimming and diving. The layout and program of the pool offer virtually no opportunity for pure relaxation and enjoyment of water, other than sportoriented physical activity. In addition, the West End Community Plan points out that the VAC is in need of renewal in order to meet the needs of the community.107 Although a number of spa/wellness centers are located in the Lower Robson District, the majority of these are principally focused on aesthetics and cosmetic treatments. Another key determinant in the site selection process was the proximity to the confluence of two very vibrant commercial district corridors. The Lower Davie Village and Denman Village areas, along with the Robson Street District to the North, form a part of the West End Business Improvement Association (WEBIA). The WEBIA is an independent, non-profit association made up of local businesses, and charged with promoting and revitalizing of the West End. Although they are primarily a commercial organization, their activities contribute tremendously to the West Endâ&#x20AC;&#x2122;s strong sense of community.

City of Vancouver 2014: 10 Ibid: 12 107 Ibid. 105 106

Figure 90- Administrative local areas 1:25,000

Table 5- Population & age demographics in the West End and surrounding areas: 2011

Table 6- Singles and childless couples in the West End and surrounding areas: 2011

Figure 91- Zoning districts and business improvement associations 1:10,000

Figure 92- Site context with contours 1:2,000

FIG. 96

FIG. 97

FIG. 94

FIG. 95

Figure 93- Site plan 1:250

The proposed site is currently empty, occupying an area of approximately 804m2. Previously housing a gas station, it is adjacent to a single storey building to the northeast along Denman Street, and a six storey residential building to the north, along Pendrell Street. The site is zoned C5, permitting uses containing a community or fitness center, swimming pool, and a health enhancement center, among others. The permitted floor space ratio is 2.2 in a building up to 18.3 meters high, providing up to 1,769 m2 (19,031ft2) of space to house the proposed bathhouse.

Figure 94- South perspective

Figure 95- East perspective

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Figure 96- West perspective

ZERO LOT LINE CONDITION SITE ACCESS VIA EXISTING PARKING LOT

Figure 97- North view with adjacent commercial parking area

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METHODOLOGY

The design process will begin with an intensive conceptual study of the possibilities inherent in the overlap of theoretical and programmatic frameworks. A series of generative â&#x20AC;&#x153;scriptsâ&#x20AC;? will serve as emotive guides for the codification of the typology of sensuous experience. Through a series of sketches, drawings, and simulations, these spatial-temporal archetypes will help elucidate moments within the scope of the project, that offer the greatest potential for meaningful interaction with oneâ&#x20AC;&#x2122;s material surroundings. These studies will further be substantiated through physical and digital models, simulating or illustrating light and sound conditions. As a general approach, initial exploration of ideas will be done through quick hand sketches and diagrammatic studies. The fast and highly energetic quality of these sketches is often able to capture a seed of an idea that may have potential of later resolution. This resolution may take the form of quick digitization, increasing the level of clarity. Design is an iterative process. At times, this will require multiple modalities of illustration to be combined in order to best elucidate a concept in a short time span. The transformation from abstract ideas and representative sketches to more realistic representations will take place through the digital realm. This may be accomplished through a series of digital 3D models in combination with parametric analysis and sound simulation software. Lighting will be tested by both digital and analog means, through renderings and photographic studies. Finally, physical models will aid in the understanding of spatial relationships, massing scale and materiality.

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PROGRAM

“The challenge for architecture is to stimulate both inner and outer perception; to heighten phenomenal experience while simultaneously expressing meaning; and to develop this duality in response to the particularities of site and circumstance” ~Steven Holl

The primary objective of this project is the design of an urban bathhouse that focuses on phenomenological experience as the potential driver affecting peak experience. It contends that the first and necessary step in achieving this effect requires us to reestablish a conscious dialogue with our senses. In doing so, we reacquaint ourselves with the textures, rhythms and tastes of our world. This practice of sensory awareness has the ability to transcend the emotionally normative daily experiences, and elicit the reconnection with one’s fundamental sense of self. Organizationally, the project will consist of two levels of program. The primary program will be made up of the entry and waiting area, bathing and experience areas, changing facilities, showers, and areas of relaxation & contemplation. The secondary programmatic elements will house the service areas such as offices, water treatment and sanitation rooms, water holding tanks, chemical and operational storage rooms, pump room and building mechanical & electrical service rooms. The systemization of the primary program areas will be rooted in the fundamental sensory experience provided by distinct phenomenological zones. These zones of experience will focus on materiality, light, sound and temperature. Haptic stimulation will be explored through interaction with water, mud, oil, stone and wood. Light and sound will be contrasted by darkness and tranquility, creating evocative psycho-sensory landscapes conducive to relaxation and introspection. In addition, zones of experience will be overlapped to create social zones, as destination points, departure points and way finding instruments.

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â&#x20AC;&#x153;The most masterful bathing environments and rituals encourage you to explore the present moment with completely fresh eyesâ&#x20AC;? ~Leonard Koren

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PROJECTED SCHEDULE

Graduation Project Meeting Jan 4th @ 2:00 PM (Lasserre 202)

W1 Jan 4-8

W2 Jan 11-15

Concept Development | Schematic Design

W3 Jan 18-22

Schematic Design | Program Clarification

W4 Jan 25-29

Explore Moments | Materials | Mystery

W5 Feb 1-5

W6 Feb 8-12

W7 Feb 15-19

Concept Revisions | Program Resolution

W8 Feb 22-26

Explore Moments | Materials | Mystery

W9 Feb 29- Mar 4

W10 Mar 7-11

Committee Meeting #3 Pre-interim Progress Review Interim Reviews (Appendix D) Feb 10th

Comments Received Feb 12th

Committee Meeting #4 Post-interim Review | Adjustments | Direction

Physical Studies

Committee Meeting #5 Progress Review & Feedback

Sound & Light Studies

W11 Mar 14-18

Design Resolution

W12 Mar 21-25

Design & Production

W13 Mar 28- Apr 1

Design & Production

W14 Apr 4-8

Design & Production

W15 Apr 18-22

Production

W16 Apr 25-29

Appendix E Compilation | Production

Table 7- Projected schedule for completion of GPII

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Committee Meeting #2 Progress Review

Physical Studies

Collation | Organization | Presentation

Committee meeting #1 Introduction | Schedule | Direction

Committee Meeting #6 Progress Review & Feedback

Committee Meeting #7 Final Progress Review & Feedback Recommended Adjustments Final Reviews April 20-21st GP II Report (Appendix E) April 26th @ 12:00 PM

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ILLUSTRATION & TABLE CREDITS

Cover Image

https://vaybytemania.files.wordpress.com/2014/06/spatter-83169.jpg

Figure 1- Bathing tubs at the ancient Greek bath at Cyrene | Cyrenaica, Libia http://www.archaiologia.gr/wp-content/uploads/2011/12/4ADV2014-1200x798.jpg

Figure 2- Cross section of the Thermae of Diocletian

http://lapisblog.epfl.ch/gallery3/var/albums/20140709-01/paulin_edmond_thermes_de_diocletien_ rome_1890.jpg

Figure 3- Çemberlitaş Hamami | Istambul, Turkey

http://images.nationalgeographic.com/wpf/media-live/photos/000/019/cache/istanbul-cemberlitasbath_1956_600x450.jpg

Figure 4- Finnish sauna at Kiuasniemi | Padasjoki, Finland

http://nomadisbeautiful.com/wp-content/uploads/2014/09/Sauna-7.jpg

Figure 5- Hoshi onsen | Minakami-machi, Japan

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Figure 6- Traditionally inspired bathing facilities | Lower Mainland

created by author based on information provided by https://www.google.ca/maps

Figure 7- Hasting Steam & Sauna | Vancouver

http://www.hastingssteamandsauna.com/images/shmntv1kkz_208c0fbd_b7a8_15aa_3e58_531753890d95.jpg

Figure 8- Hastings Steam & Sauna Interior | Vancouver

http://www.hastingssteamandsauna.com/images/shmntv1kkz-bd807b9f-82dc-9b88-7d43-203d928ef072.jpg

Figure 9- Hastings Steam & Sauna Heated Stones | Vancouver

http://www.hastingssteamandsauna.com/images/shmntv1kkz-4ad108d0-0b13-3277-93d2-7d8e25000160.jpg

Figure 10- Hastings Steam & Sauna Interior | Vancouver

http://www.hastingssteamandsauna.com/images/shmntv1kkz_caa2a1dc_bc1f_cfc1_3d4d_1973fed6aa95.jpg

Figure 11- Hastings Steam & Sauna Interior Seating | Vancouver

http://www.hastingssteamandsauna.com/images/shmntv1kkz-b621a0fb-a709-7e60-8060-461f43920272.jpg

Figure 12- JJ Family Spa women’s powder room | Coquitlam

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Figure 13- JJ Family Spa | Coquitlam

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Figure 14- JJ Family Spa steam room | Coquitlam

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Figure 15- JJ Family Spa charcoal room | Coquitlam

http://media-cdn.tripadvisor.com/media/photo-s/07/4e/de/35/jj-family-spa.jp

Figure 16- JJ Family Spa salt room | Coquitlam

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Figure 17- JJ Family Spa earth room | Coquitlam

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Figure 18- Miraj Hammam Spa | Vancouver

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Figure 19- Miraj Hammam Spa Gommage exfoliation | Vancouver

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Figure 20- Miraj Hammam Spa interior | Vancouver

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Figure 21- Miraj Hammam Spa Sultana lounge | Vancouver

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Figure 22- Take comfort in rituals

http://rosiemolinary.com/wp-content/uploads/2013/02/take-comfort-in-ritual.jpg

Figure 23- Sauna with plunge pool in Vuokatti region of Finland https://upload.wikimedia.org/wikipedia/commons/0/02/Sauna-pool.JPG

Figure 24- A thousand points of light: Istanbul Hammam

Winfield I. Parks, Jr via http://photography.nationalgeographic.com/photography/wallpaper/turkish-steambath_pod_image.html

Figure 25- James Turrell- Ganzfeld (Apani)

https://www.technologyreview.com/sites/default/files/images/turrel.review.2x1000.jpg

Figure 26- James Turrell- Skyscape (Culiacan Botanical Garden)

http://www.designboom.com/wp-content/uploads/2015/08/james-turrell-encounter-skyspace-culiacanbotanical-garden-designboom-03.jpg

Figure 27- James Turrell- Projection pieces (Raethro Red) http://jamesturrell.com/work/type/projection-pieces/

Figure 28- James Turrell- Projection pieces (Afrum Pale Blue) http://jamesturrell.com/work/type/projection-pieces/

Figure 29- James Turrell- Projection pieces (Alta Green) http://jamesturrell.com/work/type/projection-pieces/

Figure 30- James Turrell- Projection pieces (Stufe White) http://jamesturrell.com/work/type/projection-pieces/

Figure 31- James Turrell- Aten Reign at the Guggenheim New York

http://web.guggenheim.org/exhibitions/turrell/content/turrell_atenreign_ph044.jpg

Figure 32- Bath at Bagby Hotsprings | Mt. Hood National Park | Oregon photo by Natasha Irvine via https://hotsprung.wordpress.com/page/4/

Figure 33- Tooled travertine

ttp://www.architetturadipietra.it/wp/wp-content/uploads/2013/01/tratto_part.jpg

Figure 34- Polished travertine

http://decotile.com/wp-content/uploads/silverTravertinePolishedLarge.jpg

Figure 35- Wood wall

https://s-media-cache-ak0.pinimg.com/736x/c0/bb/ec/c0bbece0f711ac43e808f286933fc28b.jpg

Figure 36- Antelope Canyon | Arizona

https://upload.wikimedia.org/wikipedia/commons/a/aa/Lower_antelope_3_md.jpg

Figure 37- Antelope Canyon | Arizona

http://wonderstoday.com/wp-content/uploads/2011/06/photo19_Antelope_Canyon_wonderstoday_com600x392.jpg

Figure 38- Reed Flute Cave | China

http://www.trendleaks.com/wp-content/uploads/2012/02/image_thumb131.png

Figure 39- Tham Lod Cave | Thailand

photo by John Spies via: http://www.thaifakta.com/aktiviteetit/ulkoilma-ja-seikkailu/luolat

Figure 40- Domus Civita | Italy

photo by Bob Coscarelli via: http://images.adsttc.com/media/images/50bd/32a1/b3fc/4b60/b100/00e1/large_ jpg/DOMUS_CIVITA_MEDITATION_ROOM.jpg?1354576545

Figure 41- Domus Civita | Italy

photo by Bob Coscarelli via: http://images.adsttc.com/media/images/50bd/338c/b3fc/4b60/b100/00e7/large_ jpg/DOMUS_CIVITA_POOL_PHOTO_1.jpg?1354576780

Figure 42- Scandinave le Bains: hot pool

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http://www.scandinave.com/assets/montreal/_resampled/CroppedImage1400710-0A-SPA-2.jpg

Figure 43- Scandinave le Bains: cold plunge pool

http://www.scandinave.com/assets/montreal/_resampled/CroppedImage1400710-CF3.jpg

Figure 44- Scandinave le Bains: plan

https://karmatrendz.files.wordpress.com/2010/10/scandinave_les_bains_vieux_17.jpg?w=1200&h=

Figure 45- Scandinave le Bains: relaxation area

https://karmatrendz.files.wordpress.com/2010/10/scandinave_les_bains_vieux_16.jpg

Figure 46- Scandinave le Bains: juice bar & relaxation area

https://karmatrendz.files.wordpress.com/2010/10/scandinave_les_bains_vieux_12.jpg

Figure 47- Scandinave le Bains: steam bath

http://www.e-architect.co.uk/images/jpgs/canada/spa_scandinave_sp060309_6.jpg

Figure 48- Scandinave le Bains: steam bath

http://acdn.architizer.com/thumbnails-PRODUCTION/45/96/4596d7714cdcf7b39b98eab21b9045e2.jpg

Figure 49- Scandinave le Bains: sauna

https://acdn.architizer.com/thumbnails-PRODUCTION/51/aa/51aac5bf47270b5cd9e375d728fecc3f.jpg

Figure 50- Scandinave le Bains: undulating ceiling over hot pool

https://acdn.architizer.com/thumbnails-PRODUCTION/6a/2e/6a2eb1b43e1268e2f6702afca935e086.jpg

Figure 51- Scandinave le Bains: relaxation area

https://acdn.architizer.com/thumbnails-PRODUCTION/53/6b/536b1e5de62b257fe7a46aaef2d7da47.jpg

Figure 52- Therme Vals: interior

http://meravigliapaper.com/wp-content/uploads/2013/01/Schermata-01-2456295-alle-16.42.37.jpg

Figure 53- Therme Vals: bathing level plan

Weston, R. (2004). Key buildings of the twentieth century : plans, sections, and elevations (1st ed.). New York: W.W. Norton.

Figure 54- Therme Vals: building services and therapeutic level plan

https://s-media-cache-ak0.pinimg.com/736x/15/22/dc/1522dc7f3592c5700292513e8ea46ce0.jpg

Figure 55- Therme Vals: outdoor pool

http://www.placestoseeinyourlifetime.com/wp-content/uploads/2014/01/Untitled-83.jpg

Figure 56- Therme Vals: interior (split frame image)

http://www.my2cents.it/wp-content/uploads/2015/01/terme_relax_particolare_svizzera.jpg

Figure 57- Therme Vals: indoor pool

https://media.hotelleriesuisse.ch/eyebasealbum.data/bilder/1024/369/00039081_m.jpg

Figure 58- Therme Vals: fango therapeutic mud treatment rooms

https://s-media-cache-ak0.pinimg.com/736x/0c/69/cf/0c69cf447b055dbb2279389ed56e5789.jpg

Figure 59- Therme Vals: fire (hot) bath

http://blog.santaeulalia.com/wp-content/themes/sevenapp/inc/timthumb.php?src=http://blog.santaeulalia. com/wp-content/uploads/2011/05/Captura-de-pantalla-2011-01-28-a-las-16.14.03.jpg&h=auto&w=573&zc=1

Figure 60- Therme Vals: entry into sound bath

http://amagazine.com.au/wp-content/uploads/2015/06/3P5F4723-Klanggrotte.jpg

Figure 61- Therme Vals: interior

http://3.bp.blogspot.com/-9w_7dyuGmsw/T-34sQ9evGI/AAAAAAAAC9A/CHKtFSJ986s/s1600/interior+7.jpg

Figure 62- Therme Vals: stairs from changing rooms to bathing pools

http://ideasgn.com/wp-content/uploads/2013/04/Therme-Vals-Switzerland-by-Peter-Zumthor-006.jpg

Figure 63- Horai Onsen bath house extension

https://acdn.architizer.com/thumbnails-PRODUCTION/55/bc/55bcb47b9064f6aef041344c0d0ef8b9.jpg

Figure 64- Horai Onsen bath house plan

Bognar, B. (2005). Kengo Kuma : Selected Works. New York, NY, USA: Princeton Architectural Press.

Figure 65- Horai Onsen bath house cross section

Bognar, B. (2005). Kengo Kuma : Selected Works. New York, NY, USA: Princeton Architectural Press.

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Figure 66- Horai Onsen bath house longitudinal section

Bognar, B. (2005). Kengo Kuma : Selected Works. New York, NY, USA: Princeton Architectural Press.

Figure 67- Horai Onsen bath house

Bognar, B. (2005). Kengo Kuma : Selected Works. New York, NY, USA: Princeton Architectural Press.

Figure 68- Horai Onsen bath house perspective

https://acdn.architizer.com/thumbnails-PRODUCTION/90/8f/908f83ef28dc51e38494126a97f994c9.jpg

Figure 69- Horai Onsen bath house daytime interior perspective

Bognar, B. (2005). Kengo Kuma : Selected Works. New York, NY, USA: Princeton Architectural Press.

Figure 70- Horai Onsen bath house evening interior perspective

https://acdn.architizer.com/thumbnails-PRODUCTION/02/de/02decf2d12eed3c907daa3dad79bda9c.jpg

Figure 71- Horai Onsen bath house context

https://acdn.architizer.com/thumbnails-PRODUCTION/be/90/be9098615f28f7a9459a012d87e4793a.jpg

Figure 72- Horai Onsen bath house washing area detail

Bognar, B. (2005). Kengo Kuma : Selected Works. New York, NY, USA: Princeton Architectural Press.

Figure 73- Horai Onsen bath house entry interior

https://acdn.architizer.com/thumbnails-PRODUCTION/5e/0b/5e0b139f6e4cad9115231d75505d2c5a.jpg

Figure 74- Landmark Lusatian Tower, Senftenberg | Denmark (Installation: 2012) http://resonantarchitecture.com/img/Landmarke_Lausitzer_Thomas_Spier-ApolloVision2.jpg

Figure 75- Maison Du Peuple, Clichy | France (Installation: 2012) http://resonantarchitecture.com/img/clichy.jpg

Figure 76- Pyramid at ENSAPBX, Bordeaux | France (Installation: 2009) http://corpus.artoffailure.org/photo/pyramide_4.jpg

Figure 77- The Sea Organ perspective

http://www.therealcroatia.com/wp-content/uploads/2012/01/sea-organ.jpg

Figure 78- The Sea Organ plan & section diagram

http://everwideningcircles.com/wp-content/uploads/sites/41/2015/11/sea-organ-design.jpg

Figure 79- The Sea Organ intake holes

https://upload.wikimedia.org/wikipedia/commons/f/fe/Sea_organ_Zadar_5.jpg

Figure 80- The Sea Organ resonance tube outlet holes

https://upload.wikimedia.org/wikipedia/commons/thumb/3/3c/Sea_organ_Zadar_6.jpg

Figure 81- The Sea Organ | Zadar, Croatia

http://3.bp.blogspot.com/uf5Ape9K-lomeJel8F6zIAbem0rXmwWWt7VSCnXEdtA=w1000-h500-no

Figure 82- Proposed project locations 1:25,000