AR2224 FINAL ESSAY TOH EU JUIN A0216178B
Final Essay- Therme Vals (Simplicity and Complexity)
darker private spaces such as the changing rooms are located inside.
In Words and Buildings, Adrian Forty addresses ‘simplicity’, in modernism, covers anything from ‘the method of design, to structural expression, to perceived effect’1. Peter Zumthor also offers his own framework for seeing architecture from angles “historically, aesthetically, functionally, personally and passionately”.2 With this holistic approach, I intend to explore how Zumthor’s Therme Vals exemplifies simplicity through its natural approach in design, Architectonics, maximisation of the complex phenomenological experiences and the historical context of thermal baths to trace how time has changed the world view of simplicity in the typology of thermal baths. The Therme Vals achieves simplicity through its humble design to allow its users to fully immerse themselves in the baths and experience a highly sensuous and restorative sensation, proving that complexity can co-exist even in a simple design.
Figure 1: Fissures of Glass
Figure 2: Crevices of Caves
Simplicity: Natural Approach of Design Abbe Laugier’s idea of ‘simplicity’ as “a fundamental property of architecture, founded in its natural origins”3 is in line with Zumthor’s own belief ‘of apprehending and expressing some of the primal and as if were ‘culturally innocent’ attributes of these elements’4, which is also exemplified in the Therme Vals. The Therme Vals is metaphorically conceived as a geometric cave system made from locally quarried Valser Quarzite. Similar to the crevices of caves, Zumthor carved out slids to allow light into the space. (Figure 1 & 2) As they do in a natural cave system, light enters through the ‘cave’s’ mouths, and through ‘cracks’ between the ‘geological’ sections of the ‘rock’ roof.5 Light not only leads users to certain predetermined destinations (Figure 3) but also plays with the humid environment to create a visual spectacle and ambience upon reflecting in air and refracting into water. The lines of light that appear between these thin fissures of glass also makes the heavy roof feel even lighter. As the natural light is filtered through these small gaps, it creates the illusion that these massive concrete ceiling are floating in midair. Following the form of caves, the hierarchy of privacy driven by light can also influence its programs. As spaces closer to the exterior façade are exposed to more light, they are assigned public spaces while
A natural approach on designing Therme Vals is also seen in its harmony with landscape. The concrete grass roof enables Theme Vals to blend in with the landscape in both summer and winter. (Figure 4 & 5) In summer, natural vegetation extends onto the roof, making it a natural part of the site, while in the winter, snow are left to cover the roof and the baths are concealed within the landscape. Being a vernacular architecture, Zumthor sourced exclusively on the local Valser stones to fit with the mountainous landscape as they had already demonstrated atmospheric qualities. A natural expression of time was also achieved by replacing clock time with movement of the sun and clouds across the sky6. Even time was not artificial as it allowed bathers to not be bounded by time and really immerse themselves in the whole bathing experience.
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Forty, A. (2000). Simple. In Words and buildings: A vocabulary of modern architecture (p. 250). London: Thames & Hudson. 2 Zumthor, P. (2017). A Way of Looking at Things . In Thinking architecture (p. 18). Basel: Birkhäuser. 3 Forty, A. (2000). Simple. In Words and buildings: A vocabulary of modern architecture (p. 250). London: Thames & Hudson. 4 Zumthor, P. (2017). The Hard Core of Beauty. In Thinking architecture (pp. 31-32). Basel: Birkhäuser.
Figure 3: Guided Movement by Light
Unwin, S. (2015). Thermal Baths, Vals. In Twenty-five buildings every architect should understand: A revised and expanded edition of twenty buildings every architect should understand (p. 207). London: Routledge, Taylor & Francis Group. 6 Unwin, S. (2015). Thermal Baths, Vals. In Twenty-five buildings every architect should understand: A revised and expanded edition of twenty buildings every architect should understand (p. 210). London: Routledge, Taylor & Francis Group.
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AR2224 FINAL ESSAY TOH EU JUIN A0216178B
Figure 4: Summer Landscape
Figure 5: Winter Landscape
Stripped off any ornamentation, Zumthor uses material in its most natural form. He believes that the potential of materials (structural, technological, tactile, visual) can be best expressed by respecting their natural laws as “material react with one another and have their own radiance”.7 Only 3 inherent materials will be seen from bathers- local stones, water and metal (brass railing), showing Zumthor’s continued embrace and persistence on simplistic and natural solutions for design. The simple use of materials was also not simply achieved, but through various experimentations and discoveries. Zumthor believed that “In architecture, stone and water can enter into a natural, and even charmed relationship. Stone loves water. And water loves stone, perhaps even more than any other material.”8 Furthermore, Zumthor established the relationship of stone with the human skin. Physically, he believes that for “the stone to caress the human body, it has to be heated, made to feel as if it had been warmed by the sun”9. This tactile nature of the stone reassures the bathers that despite being smaller than these huge stone walls, they are able to hold these stones in their hands and not be intimidated by them. To add to the comfort of the bathers, the stone walls are left unadorned as these “stone rooms should not compete with the body”, but rather “they should flatter it and give it space.”10 Upon entering the Therme Vals, thermal water is seen flowing from the protruding brass pipes, staining the concrete stone walls with red mineral deposits. (Figure 6) Zumthor allows for this beautiful aging and deterioration of stone. This poetic decay of the building allows stories to be left and read over time. It also strengthens the relationship between stone and water even more than before. This simple use of a single natural material like stone proves that there is far more complexity behind the understanding and application of it.
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Zumthor, P. (2006). Material Compatibility. In Peter Zumthor: Atmospheres: Architectural environments, surrounding objects (p. 25). Basel: Birkhäuser. 8 Zumthor, P., Hauser, S., Binet, H., Lum, K., & Schelbert, C. (2008). Therme Vals (p. 131). Zurich: Scheidegger & Spiess. 9 Zumthor, P., Hauser, S., Binet, H., Lum, K., & Schelbert, C. (2008). Therme Vals (p. 132). Zurich: Scheidegger & Spiess.
Figure 6: Red Mineral Deposits on Concrete Stone Wall
The versatility of stone was truly understood and demonstrated by Zumthor as he was able to contextually exploit the benefits and characteristics of the local stone and establish relationships between other natural elements. He trusted the raw natural materials such that unnecessary materials were not additionally included to cover up for their limitations. This only goes to show Zumthor’s extensive mastery and careful consideration for natural materials, which exhibits ‘simplicity’ in Therme Vals without complicating it. Evidently, Zumthor is the skilful architect that J.F.Blonde wrote in his Cours, as ‘it is easier to please the crowd by the confusion of elements and the prodigality of sculpture than by the simplicity of which we speak’11. More Importantly, Zumthor’s intent for the Therme Vals is for it to be as if it was a natural occurrence and to not stand out from the surrounding landscape.
Architectonics: Unity in Design and the Concealment of Insignificant Complex Construction Details Zumthor knows that ‘our eyes, guided by our analytical mind, tend to stray and look for details to hold on to’ 12. Hence, a ‘stone-course-layering scheme’ (Figure 7) is employed to not only conceal the complex construction systems, but also act as a visual continuity to express the building as a single monolithic structure. It is not with huge blocks of stone that the monolithic effect of the structure is produced, but with a small pattern running through the entire building like a matrix. These vast stone walls are not blank smooth blocks. The methodical stacking of slabs of different height forms them. Each bed of stone runs the length of the building at the same height. Each slabs seems to have a different thickness and that order of stacking seems haphazard. However, this is merely an illusion. It is
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Zumthor, P., Hauser, S., Binet, H., Lum, K., & Schelbert, C. (2008). Therme Vals (p. 133). Zurich: Scheidegger & Spiess. 11 Blondel, F. (1698). Volume 1. In Cours d'architecture enseigné dans l'Academie Royale d'Architecture. ... (pp. 396-397). Paris: Chez l'auteur. Et se vend a Amsterdam, chez Pierre Mortier. 12 Zumthor, P. (2017). A Way of Looking at Things. In Thinking architecture (p. 26). Basel: Birkhäuser.
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AR2224 FINAL ESSAY TOH EU JUIN A0216178B actually made up of an arrangement of 3 elements of different thicknesses, but the total is always 15cm. (Figure 8) The permutations in the order of these elements are enough to create great visual variety without necessarily complicating construction. Despite the details of varying stone heights, “they do not distract or entertain.” Instead, “they lead to an understanding of the whole of which they are an inherent part.”13 This sense of continuity is also in line with J. J. Winckelmann’s The History of Ancient Art, “All beauty is heightened by unity and simplicity”14 as the seemingly complex stone wall can be concise into a single central idea.
Figure 9: Concealed Infrastructure
Figure 10: Section Exposing Concealed Infrastructure
Figure 11: Hidden Water System
Figure 12: Section Exposing Hidden Water System
15cm
15cm
Figure 7: Stone-CourseLayering Scheme
Figure 8: Composition of Layers
Simplicity is also achieved through the concealment of insignificant complex construction details. The stonecourse-layering scheme also function as a curtain to hide the expansive network of technical infrastructure required for the availability of comfortable conditions for the programme. This allow the bathers to have a visually simple aesthetic of the interior. Technical infrastructures include the underfloor heating system and multiple layers of construction in the roofs. (Figure 9 & 10) Hidden water system is also integrated into the stone-course-layering scheme. (Figure 11 & 12) Water drain system have the potential to affect the structural stability of a design. Hence with this method of allowing water to be collected by the depressions in the floor Zumthor is not only able to conceal the water circulations within the infrastructure of the building, but also preserve the calming atmosphere of the Therme Vals. Throughout the whole process, the underlying complexity never disrupts the compound masonry surface, rather, it binds and conceals it, thus maintaining the continuous appearance.
This idea of concealment for simplicity is very much different when compared to other modernist architects’ structural expression. In many of the works by Mies Van Der Rohe, it spoke and lived out his aphorism of “Less is More”. However, the approach to his minimalistic and simple works was different from that of Zumthor’s. Mies was more expressive with the structure of his buildings and his steel crucifix columns were clear and articulated. (Figure 13) Instead, Zumthor chose to conceal all these structures and systems to prevent distractions by the users and even with a vast symphony of stone, it was clear enough that it was meant to be read as a single unit.
Figure 13: Expressed Crucifix Column 13
Zumthor, P. (2017). A Way of Looking at Things. In Thinking architecture (p. 15). Basel: Birkhäuser.
Figure 14: Complex Geometric Matrix
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Forty, A. (2000). Simple. In Words and buildings: A vocabulary of modern architecture (p. 252). London: Thames & Hudson.
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AR2224 FINAL ESSAY TOH EU JUIN A0216178B Furthermore, behind the seemingly ordered orthogonal grid, lies a highly complex geometrical matrix created by Zumthor.(Figure 14) It is only through accurate proportions and distribution of the 15 simple stone units to form this unity of the whole, that ‘the building looks simple’.15 Similar to the stone-course-layering scheme, Zumthor does not achieve simplicity by simply stripping off any ornamentations through simplification, but adds an additional layer of richness in meaning while maintaining a seemingly simple aesthetic. Venturi also mentioned that for Complexity to be successful as a whole, “it must embody the difficult unity of inclusion rather than the easy inclusion of exclusion”16 which the Therme Vals is testament to.
Simplicity: Maximisation of Complex Phenomenological Sensation Learning from Classical Architecture, English Architect John Soane states that simplicity is essential in effecting the senses and through ‘order and just proportions…intricacies and simplicity’, ‘varied sensations of gaiety and melancholy, of wildness, and even of surprise and wonder’17 is produced. This is apparent in the ordered distribution of spaces in the Therme Vals which triggers an orchestra of phenomenological experience for the bathers. The pinwheel arrangement (Figure 15) of 15 simple units’ stone parallelepipeds of the bath offers numerous ways of moving around the space and exploring certain predetermined areas. (Figure 16) The supplementary spaces are then scattered around the pools so that they are independent from each other and also ensure or restrict the view from a point along the path.
Figure 16: Circulation of Movement
One would enter the Therme Vals through a subterranean entrance which intentionally dislocates the individual from the world outside. The only driving factor is the feeling of curiosity and anticipation, while being occasionally held back by anxiety. Unlike an ordinary traditional spa, which would immediately bring you directly to the various functions, the lack of detail, familiarity, warmth, or intimacy of the long narrow corridor in glossy black paint continues to disengage you from any kind of involvement and slide you down this dark alley.18 (Figure 17) After passing through a repeated row of iodized discoloured splash made by each spill that radiates out and faces the bathers (Figure 18), one will realised that he has fallen into his lowest point. This was an intentional turning point designed by Zumthor in which the bathers are then surprised by a deep red opening of the small changing rooms (Figure 19) which offers a warm invitation to the spa.
Figure 17: Dark Entrance
Figure 15: Exploded Axonometric of Therme Vals
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Zumthor, P., Hauser, S., Binet, H., Lum, K., & Schelbert, C. (2008). Therme Vals (p. 103). Zurich: Scheidegger & Spiess. 16 Venturi, R. (1977). Nonstraightfoward Architecture: A Gentle Manifesto. In Complexity and contradiction in architecture: Robert Venturi (p. 16). New York: Architectural Press/Museum of Modern Art. 17 Forty, A. (2000). Simple. In Words and buildings: A vocabulary of modern architecture (p. 252). London: Thames & Hudson. 18 Ardehali, A. (2011, October 8). Mood-Conciousness and Architecture: A phenomenological Investigation of Therme Vals by
Figure 18: Repeated Iodized discoloured Splash
Figure 19: Red Changing Rooms way of Martin Heidergger's Interpretation of Mood [Scholarly project]. In Mood-Consciousness and Architecture: A Phenomenological Investigation of Therme Vals by Way of Martin Heidegger’s Interpretation of Mood A Thesis Submitted to the Graduate School of the University of Cincinnati. Retrieved November 12, 2020, from https://etd.ohiolink.edu/rws_etd/send_file/send?accession=ucin1313 765491&disposition=inline
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AR2224 FINAL ESSAY TOH EU JUIN A0216178B The pillars of rocks are hollowed out for secret spaces inside of them. (Figure 20) It is also in these pods and the spaces that are surrounded by them, where a complex multi-sensorial experience of the 5 senses and even psychological senses of the bathers are strongly stimulated.
Figure 21: Temperature Zones
Figure 22: Fire Bath
Figure 23: Ice Bath
Figure 24: Analysis on Sound
Figure 25: Analysis on Scent
Figure 20: Plan and Programme of Therme Vals
Indeed the consistent play of light and shadow throughout the whole baths heightens the theatricality of the water and fluctuate the different moods of bathers. However, the sense of sight that is stimulated to catalyse the translation to the mental affect, is further demonstrated through the colour coded rooms that indicate the temperature of the baths. (Figure 21) For example, red coloured concrete wall heightens one's perception of temperature in the fire bath, (Figure 22) while the ice bath has a blue-green colour concrete immediately quenches the physical and mental burn of the heat (Figure 23). Besides the splashing sounds of water in the pools, the sounding stone also creates a symphony of sounds produced by oscillating stones which awakens one’s audio-sensory perception. Even without any gimmicks, Zumthor believed that the interiors are like large instruments, collecting sound, amplifying it, transmitting it elsewhere19, hence conversations from a far distant can also be heard from beyond the solid walls. (Figure 24) In contrast with the smell of chlorine in an ordinary spa, a flower room is intentionally designed with “marigold petals float in the warm 33°C water in a misty, fragrant atmosphere enclosed by black walls“20 to evoke the sense of smell for bathers (Figure 25). One can also treat themselves to a cup of Vals mineral water at the drinking stone to not only benefit from the minerals on a surface-level, but also to consume it.
The effectiveness of the simple and ordered arrangement of the stone units goes further by catering for psychological senses too. Anxiety arises every time one crosses the threshold and enters another unknown secret place. The long-stepped ramp slows down one’s descend from the changing rooms (Figure 26), and thereby creating a sense of selfconsciousness as his bare body is exposed to a larger audience at the indoor pool or, on the other hand, if one is confident of his own skin, he will feel a sense of gratification instead.
Figure 26: Long Stepped Ramp
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Zumthor, P., Hauser, S., Binet, H., Lum, K., & Schelbert, C. (2008). Therme Vals (p. 69). Zurich: Scheidegger & Spiess.
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Zumthor, P., Hauser, S., Binet, H., Lum, K., & Schelbert, C. (2008). Therme Vals (p. 89). Zurich: Scheidegger & Spiess.
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AR2224 FINAL ESSAY TOH EU JUIN A0216178B The use of a bare and unadorned stone wall, while creating varied atmospheres for bathers to immerse themselves allow them to constantly self-reflect. Indeed, architecture strengthens the existential experience, one’s sense of being in the world, and this is essentially a strengthened experience of self. 21 To exit the baths, the only way out is through a small gate which bathers have to swim down and out. (Figure 27) In this moment, the bathers are finally relieved and experience a sense of freedom greater than that when they first entered the baths.
of heat for people to interact with the surfaces either by walking, sitting, or even by touch. An additional layer of touch, exclusive to the Therme Vals, is found in the ‘sweat stone’ which allows one to interact with a space through the creation of steam. All of these interactions affect one both at a physiological and psychological level.23 This shows that although the Therme Vals’ design is simpler in terms of its materiality, it is able to generate far more complex sensations for its users.
Figure 27: Exit Gate to Outdoor Swimming Pool
Despite the simplicity in aesthetics, it is also true that Zumthor goes beyond the simple function of the thermal baths and elevated it to an almost mystical experience. The complexity of the archetypal and metaphoric scene and what is encountered here is beyond either belief or explanation. 22 This opposes the practical (sachlich) approach that Muthesius views simple architecture to be. Perhaps, it is because the Therme Vals presents an intriguing correspondence between Heidegger’s writings and Zumthor’s architecture.
Therme Vals: A Stage in the History of Art and Architecture Fragments of Zumthor’s design are also seen to be heavily influenced by the past’s typology of bathhouses. The focus on sensual experiences in the thermal baths at Vals is reminiscent of that in the bathing complexes of the ancient Romans. In Ancient Roman Public Baths (Figure 28), material with properties of tactile exchanges were used. Material such as marble were used due to its good conductivity and were situated on top of geothermal springs. (Figure 29) The typology of the bathhouse has not changed much since. Zumthor’s Therme Vals uses similar techniques of heating to allow the exchange of tactile sensations. In fact Zumthor used a more primitive and natural material – stone, as the conductor
Figure 28: Roman Public Bath
Figure 29: Geothermal Systems Diagram
For Zumthor, the concept of ‘memories’ plays a significant role in his design process. “The large domed spaces in the Turkish baths where I am received, where I change my clothes… inspired us to invest the room where we take off our clothes with a similar atmosphere of warmth and welcome but in keeping with our own cultural context.”24 , shows that the Therme Vals was built with a strong contextual background despite its inspiration. The stark contrast in modern Therme Vals to Rudas Baths is also attributed to the different vocabulary of architecture and an emphasis in a more humble and self-reflective main indoor bath as compared to a grand indoor bath respectively. The massing of a flat roof while indirectly lit with small, square cut-outs on the ceiling are relatively more subtle (Figure 30) and are used to create more discrete emotions as compared to the Rudas Baths’ large cupular with points of multicoloured light penetrating through the space. (Figure 31) This positive centering space of the Rudas Baths is monumental in nature, while that of the Therme Vals is a negative space of a simple 4 by 4 roof sheltering the bathers through a meandering space “as if in the woods”25- Peter Zumthor.
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Pallasmaa, J. (2005). The eyes of the skin: Architecture and the senses (1996) (p. 41). Chichester: Willey. 22 Ardehali, A. (2011, October 8). Mood-Conciousness and Architecture: A phenomenological Investigation of Therme Vals by way of Martin Heidergger's Interpretation of Mood [Scholarly project]. In Mood-Consciousness and Architecture: A Phenomenological Investigation of Therme Vals by Way of Martin Heidegger’s Interpretation of Mood A Thesis Submitted to the Graduate School of the University of Cincinnati. Retrieved November 12, 2020, from https://etd.ohiolink.edu/rws_etd/send_file/send?accession=ucin1313 765491&disposition=inline
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Stone, B. (n.d.). Spatial Perception through Tactile Stimulation (p. 11, Tech.). doi:http://cast.b-ap.net/wpcontent/uploads/sites/36/2016/12/Methods-and-Proceduresnew4.pdf 24 Zumthor, P., Hauser, S., Binet, H., Lum, K., & Schelbert, C. (2008). Therme Vals (p. 84). Zurich: Scheidegger & Spiess. 25 O'Grady, E. (2009, February 11). The Therme Vals / Peter Zumthor. Retrieved November 13, 2020, from https://www.archdaily.com/13358/the-therme-vals
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Figure 30: Therme Vals Indoor Bath
Figure 31: Rudas Baths Cupular
Zumthor’s Therme Vals is definitely a matured design of a thermal bath which only upon cultivating overtime and through memories, can a simple yet effective design be manifested in a humble and modest bathing complex. While at the same time, not compromising the purity and experience of the baths .The level of maturity of Zumthor truly give rise to an architecture of “noble simplicity and sedate grandeur”26- J.J. Winckelmann, like that of the classic period, while not associating “with the crude and savage features of the original stage”27- Hegel.
Zumthor’s Works of Simplicity – Bruder Klaus Field Chapel Across all of Zumthor’s works, they all share similar spirit of a simple design yet thought-provoking and is of one which evokes a multitude of emotions. Similar to the Therme Vals which is purely built from natural local stone, the Bruder Klaus Chapel is built entirely with the surrounding pine trees while being casted in concrete. (Figure 32) Upon pouring the concrete, the interior wood tipi is burned, leaving an odour of the burnt trees and allowing a trace back on the construction process and to evoke the spirituality of the place. The concept of tactility is also evident in the Chapel as it was in the Therme Vals. The uneven granularity of the concrete walls (Figure 33) produced by the moulds of the tree trunks adds an additional dimension of touch and comfort, similar to that of the layered stone walls in the Therme Vals. Such primitive construction process was due to Zumthor’s belief that “mass production and scientific-technological advances have contributed to the desacralization of materials”.28
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Forty, A. (2000). Simple. In Words and buildings: A vocabulary of modern architecture (p. 252). London: Thames & Hudson. 27 Forty, A. (2000). Simple. In Words and buildings: A vocabulary of modern architecture (p. 253). London: Thames & Hudson. 28 Luis Diego Quiros, David Burns, Ethan Repp. Achieving the Metaphysics of Architecture: The Architecture of Peter Zumthor. Retrieved November 12, 2020, from
Figure 32: Zumthor Gathering Pine Trees from the Nearby Forest
Figure 33: Bruder Kalus Interior Walls
The simplicity of spatial distribution for both buildings by Zumthor is effective in creating a sensuous journey into and through the space. Clarity of Zumthor’s appeal on the users, such as the type of emotions to be evoked, as well as how people are to use the space, is very straightforward and direct. These down-to-earth designs encompasses the identity of Zumthor’s humility and mastery in simple design. His works also encourage users to be self-reflective and utilise their personal senses to experience the space. Upon stepping into the Chapel’s vestibule, one will be thrown into complete darkness as the imprint of daylight is still on one’s retina29 (Figure 34) and is therefore, forced to rely on other senses as the eyes take time to adjust to the darkness. The play of light and shadow in the Chapel is also evident from the drop-shaped plan (Figure 35) creating two spaces, a dark entrance and a praying area which is directly connected to the sky. Light penetrates through a hole in the roof and through the little openings created by the wooden lagging (Figure 36), similar to the fissures in the Therme Vals.
Figure 34: Only a Slither of Light that Passes Through the Narrow Gap in the Door is Visible After One’s Eyes are Calibrated
Figure 35: Early Sketches of Plan
http://www.quirpa.com/docs/achieving_the_metaphysics_of_architec ture__peter_zumthor.html 29 Byrne, P. (2018, April 17). Enhancing Sensuous Experience: Peter Zumthor’s ‘Bruder Klaus Field Chapel’ [Scholarly project]. Retrieved November 13, 2020, from https://issuu.com/peterjbyrne/docs/enhancing_sensuous_experience _peter_zumthor_s__bru
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Figure 36: Natural Light Penetrating Glass Hemispheres Inserted into Holes of Walls
It can be concluded that Zumthor’s works are specific of their typology and always strive to achieve the fundamental essence of its typological meaning and purpose by employing a simplistic design approach rooted in nature.
Conclusion Simplicity in design is achieved in the Therme Vals through the Zumthorian way of respecting materials by following their natural “folds”. The consistent authenticity of design of the Therme Vals was crucial in creating a simple design which is not bland, but rich in meaning and is able to evoke a plethora of emotions and affect on its users. Ultimately, the simplicity of Therme Vals enabled users to rediscover the ancient benefits of bathing through its ‘silent, primary experiences’.30
Word Count: 3369 Words
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Zumthor, P., & Binet, H. (1998). Thermal Baths, Vals. In Peter Zumthor works: Buildings and projects 1979-1997 (p. 135). Baden: Lars Müller.
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Bibliography (of images) Figure 1: Fusion. (1970, January 01). Inspirations from Existing Architecture. Retrieved October 08, 2020, from http://jabezhoarch1201.blogspot.com/2010/04/inspirationsfrom-existing-architecture.html Figure 2: Trummelbach Falls, Switzerland. (n.d.). Retrieved October 08, 2020, from https://graphics.stanford.edu/~lucasp/pictures/switzerland/tru mmelbach/ Figure 3: Zumthor, P., Hauser, S., Binet, H., Lum, K., & Schelbert, C. (2008). Therme Vals (p. 77). Zurich: Scheidegger & Spiess. Figure 4: Www.dimscale.com. (1970, January 01). ARCHITECTURE REFERENCES - Therme Vals, by Peter Zumthor. Retrieved October 08, 2020, from http://dimscale.blogspot.com/2013/03/architecturereferences-therme-vals-by.html Figure 5: Andathousandwords, •. (2016, May 14). A MAGICAL ESCAPE AT HOTEL 7132. Retrieved October 08, 2020, from https://andathousandwords.com/2016/02/05/amagical-escape-at-hotel-7132/ Figure 6: Medlin, T. (2009, July 30). RE:mote . . . . . . . Controlled. Retrieved November 13, 2020, from http://constructionculture.blogspot.com/2009_07_01_archive. html Figure 7, 8, 10, 12: Karaiskakis, D. (n.d.). Therme Vals and the Concealment of Complexity [Scholarly project]. Retrieved October 08, 2020, from https://www.yumpu.com/en/document/read/12370116/therme -vals-and-the-concealment-of-complexity-kingstonFigure 9: Zumthor, P., & Binet, H. (1998). Therme Vals. In Peter Zumthor works: Buildings and projects 1979-1997 (p. 157). Baden: Lars Müller. Figure 11: Zumthor, P., Hauser, S., Binet, H., Lum, K., & Schelbert, C. (2008). Therme Vals (p. 148). Zurich: Scheidegger & Spiess. Figure 13: PETERSON, S. (n.d.). THE DEMATERIALIZATION OF ARCHITECTURE, A MiesConception of Idealized Space. Retrieved November 13, 2020, from https://petersonlittenberg.com/ArchitectureUrbanDesign/Mies_part_2.html Figure 14: Unwin, S. (2015). Thermal Baths, Vals. In Twentyfive buildings every architect should understand: A revised and expanded edition of twenty buildings every architect should understand (p. 209). London: Routledge, Taylor & Francis Group.
Investigation of Therme Vals by way of Martin Heidergger's Interpretation of Mood [Scholarly project]. In MoodConsciousness and Architecture: A Phenomenological Investigation of Therme Vals by Way of Martin Heidegger’s Interpretation of Mood A Thesis Submitted to the Graduate School of the University of Cincinnati. Retrieved November 12, 2020, from https://etd.ohiolink.edu/rws_etd/send_file/send?accession=u cin1313765491&disposition=inline Figure 18: Lianopoulos Manos lianopoulos@greed.gr, V. (n.d.). Made of Stone and Water, for the Human Body. Retrieved November 13, 2020, from https://www.greekarchitects.gr/en/degrees/made-of-stoneand-water-for-the-human-body-id2843 Figure 20: Zumthor, P., Hauser, S., Binet, H., Lum, K., & Schelbert, C. (2008). Therme Vals (pp. 91-92). Zurich: Scheidegger & Spiess. Figure 21: Thermal Baths Plan. (n.d.). Retrieved October 08, 2020, from https://en.wikiarquitectura.com/wpcontent/uploads/2017/01/Termas_de_Vals_distr_baC3B1os.j pg Figure 22: Gallery of The Therme Vals / Peter Zumthor - 2. (n.d.). Retrieved October 08, 2020, from https://www.archdaily.com/13358/the-thermevals/500f245228ba0d0cc7001d3d-the-therme-vals-image Figure 23: Lamontagne, M. (2009, March 26). Therme Vals Spa by Peter Zumthor in Switzerland. Retrieved November 13, 2020, from http://cromadesign.blogspot.com/2009/03/therme-vals-spa-by-peterzumthor-in.html Figure 24, 25: Poetics of Space. (n.d.). Retrieved October 08, 2020, from https://www.facebook.com/The.Poetics.of.Space/photos/spat ial-typology-boardtherme-vals-peterzumthor/1890058501245095 Figure 26: Gallery of The Therme Vals / Peter Zumthor - 3. (n.d.). Retrieved November 13, 2020, from https://www.archdaily.com/13358/the-thermevals/500f246628ba0d0cc7001d41-the-therme-vals-image Figure 28: Roman Baths (Bath). (2020, October 20). Retrieved November 13, 2020, from https://en.wikipedia.org/wiki/Roman_Baths_(Bath) By Diliff Own work, CC BY 2.5, https://commons.wikimedia.org/w/index.php?curid=1231248 Figure 29: Stone, B. (n.d.). Spatial Perception through Tactile Stimulation (p. 11, Tech.). doi:http://cast.b-ap.net/wpcontent/uploads/sites/36/2016/12/Methods-and-Proceduresnew4.pdf
Figure 15: B6omZNmCMAA-Xoi.jpg 1,200×1,029 pixels: Architecture details, Architecture drawing, Thermal vals. (n.d.). Retrieved October 08, 2020, from https://www.pinterest.com/pin/191403052898373342/
Figure 30: K. (n.d.). Thermal Baths Vals Back to main article page. Retrieved November 13, 2020, from http://architectuul.com/architecture/view_image/thermalbaths-vals/5173
Figure 16: S. (n.d.). ARCHITECTURE - Time Space & People August 2014. 32. Retrieved October 8, 2020, from https://www.coa.gov.in/show_img.php?fid=148
Figure 31: Livewithadventure. (2011, September 08). Rudas Baths. Retrieved October 08, 2020, from https://tasteadventuretravel.com/tag/rudas-baths/
Figure 17, 19, 27: Ardehali, A. (2011, October 8). MoodConciousness and Architecture: A phenomenological
Figure 32: Peter Zumthor gatherining pine trees from the nearby forest. (n.d.). Retrieved November 13, 2020, from
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AR2224 FINAL ESSAY TOH EU JUIN A0216178B http://en.wikiarquitectura.com/wpcontent/uploads/2017/01/Bruder_Klaus_3.jpg Figure 33: Florio, J. (n.d.). James Florio. Retrieved November 13, 2020, from http://jamesflorio.com/galleries/148 Figure 34: Amoretti, A. (2016, October 29). Gallery of Peter Zumthor's Bruder Klaus Field Chapel Through the Lens of Aldo Amoretti - 13. Retrieved November 13, 2020, from https://www.archdaily.com/798340/peter-zumthors-bruderklaus-field-chapel-through-the-lens-of-aldoamoretti/581389d2e58ece9678000313-peter-zumthorsbruder-klaus-field-chapel-through-the-lens-of-aldo-amorettiphoto Figure 35: Asd. (1970, January 01). Amazing use of concrete: Bruder Klaus Chapel by Peter Zumthor. Retrieved November 13, 2020, from http://patricksiah.blogspot.com/2011/10/amazing-use-of-concrete-bruderklaus.html Figure 36: Croonenbroeck, M. (2011, September 21). Bruder-Klaus-Feldkapelle von Peter Zumthor in Wachendorf. Retrieved November 13, 2020, from https://www.flickr.com/photos/martincroonenbroeck/6169356 697/
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