Graduating Design Studio Portfolio 2016 by Jacob Westerman

Intergenerational Living Jacob Westerman 12010966

This Graduation Portfolio is dedicated to my late Grandfather Albert Westerman

CONTENTS

OVERVIEW..............................................................................................................2 REGIONAL CONTEXT..........................................................................................4 THEORETICAL CONTEXT...................................................................................6 LEVELS.....................................................................................................................8 CITY CONTEXT....................................................................................................10 MASTERPLAN DEVELOPMENT......................................................................12 ANTROPIC OBJECTIVES..................................................................................14 MASTERPLAN ROAD NETWORK..................................................................16 MASTERPLAN DECIDUOUS TREES..............................................................18 MASTERPLAN PERINNIAL PLANTS.............................................................20 MASTERPLAN EXTERNAL FINISHES...........................................................22 DIAGRAMS MASSING..............................................................................................................26 MODULAR ACCOMODATION.......................................................................28 VERTICAL CIRCULAITON................................................................................32 HORIZONTAL CIRCULATION.........................................................................34 WASTE DISPOSAL.............................................................................................36 SERVICE SPACES................................................................................................38 PRECEDENTS &CONCEPT HISTORICAL TYPOLOGIES..............................................................................42 ROMANTHEMAE...............................................................................................44 BADEN-BADEN BATHING PROCESS...........................................................46 JJMJILBANG........................................................................................................48 BANYA...................................................................................................................50 FINNISH SAUNA.................................................................................................52 SENTO...................................................................................................................54 DESIGN APPROACH.........................................................................................56 BRIEF ANALYSIS.................................................................................................58 SYNTHESIS OF BRIEF........................................................................................60 PROPOSED BREIF..............................................................................................64 PRECEDENT HORWOOD ALMSHOUSE.....................................................66 PRECEDENT PENROSE ALMSHOUSE..........................................................72 PRECEDENT SZECHENYI BATHS...................................................................78

1:1 TECHNICAL STUDY 1:1 STUDY.............................................................................................................88 SITE PLANS & SECTIONS SITE PLANS..........................................................................................................94 SITE CIRCULATION.........................................................................................106 LONG SECTION................................................................................................108 PARTIAL SECTION...........................................................................................110 PERSPECTIVE SHORT SECTION..................................................................112 HYDROTHERAPY, ACCOMODATION & TECHNICAL PARTI...................................................................................................................116 MODEL STUDY.................................................................................................118 SPATIAL DEVELOPMENT...............................................................................120 HYDROTHERAPY PLAN................................................................................122 HYDROTHERAPY ROOM FUNCTIONS.....................................................124 HYDROTHERAPY STRUCTURUAL LINES.................................................126 INTEGRATED TECHNICAL SECTION..........................................................128 TECHNICAL DETAILS.....................................................................................130 INTEGRATED TECHNICAL SECTION..........................................................132 TECHNICAL DETAILS.....................................................................................134 INTEGRATED TECHNICAL SECTION..........................................................136 TECHNICAL DETAILS.....................................................................................138 HOUSING...........................................................................................................140 DETAILS..............................................................................................................146 HOW MUCH DOES THE BUILDING WEIGH? BUILDING WEIGHT.........................................................................................150 PRESENTATION SHEETS PRESENTATION SHEETS................................................................................188 ENVIRONMENTAL MODERATOR PROJECT ENVIRONMENTAL MODERATOR...............................................................160

Hydrotherapy centre Red Unit Green Unit Deck Circulation Vertical Circulation Waste Disposal Public Activity

OVERVIEW

The Development is a program of horizontal layers, the starting from ground level heading upwards, the ground floor, (minus the corner adjacent to what is colloquially known as the town bridge, which is reserved for the purpose of acting under the function of being a plant room for service for both a hydrotherapy centre and the accommodation units.) is the preserve of public amenities i.e. building use classifications of A1, A2, A3, A4.

The upper levels of the development (first floor, to fifth floor) are reserved as socially integrated student accommodation and elderly assisted living accommodation units. i.e. building use classifications C2, C3.

Located on the first floor which is at an equal height to the Newport Town Bridge, is a hydrotherapy centre, primarily aimed towards the treatment of the elderly residents, and the wider community, the centre focuses on the treatment of physical and age related conditions, through a holistic approach which aims to improve mental and physical wellbeing, building use classification D2.

THE SITE

Cw Po br p: an 47 ,25 4

B A irm Po vera ing U p: g ha St niv 1 M e in m ud er il co en sity lio m t P ci n e: £ op ty 17 -£ :2 25 8, 66 K 4

REGIONAL CONTEXT

Lo A nd Po vera on U p: g St nive 8.5 e in ud r M co en sity illi m t P ci on e: £ op ty 35 -4 :3 0k 06 ,0 00

a 0 se ,3 an 241 Sw op: P

Newport Pop: 145,700 University city Student Pop: 24,000

B P ath Un op: St ive 83, ud r 99 en sity 2 t P ci op ty :1 5, 96 4

Br Po isto Un p: 4 l St ive 28, ud rs 10 en ity 0 t P cit op y :5 2,8 49

6 0 80 ty ,2 4, y ci : 26 2 3 it p p: rs Po Po nive ent U ud St

Severn Economic Region Average income: £17-£25K Total Pop: 1.2 Million 5 Universities Student Pop: 119,082

There is a drive to develop a Severn Estuary Economic Region, focusing on a knowledge economy, The University of South Wales, is expanding its Newport grounds, subsequently there is a rise in demand for student accomodation, the population of the UK is a ageing and there is a real need for assisted living within the UK, there is a drive to encourage developers to incorporate elderly care in future developments Severn Estuary Economic Region This diagram explains how if the urban areas surrounding the Severn Estuary were to combine as a regional economic powerhouse, the area can excel as a national knowledge based economic behemoth with a student population equal to 10% of the populous contrasted with London at 3.5% and Birmingham 3%. Transport links within the region should be strengthened to enable a greater level of freedom of movement to encourage more collaboration between institutions. The expansion of academic institutions should be actively encouraged and supported provided they are centrally located to ensure the greatest amounts of economic gains within Newport.

“ The locus is a relationship between a certain specific location and the buildings that are in it. It is at once singular and universal. All of the great eras of architecture have reproposed the architecture of antiquity anew, as if I were a paradigm established for eve, but each time it has been reproposed differently. Because the same idea of architecture has been manifested in different places, we can understand our own cities by measuring the standard against the actuality of the individual experiences of each particular place [….] goes beyond a building’s functions and its history, but not beyond the particularity of the place in which it exists. Perhaps we can better understand the concept of locus, which at times seems rather opaque, by approaching it from another perspective, by penetrating in a more familiar, more visible-even if no longer rational-way. Otherwise we continue to grasp at outlines which only evaporate and disappear. These outlines delineate the singularity itself and its limits. Where it begins and end. They trace the relation of architecture to its location-the place of art-and thereby its connections to, the and the precise articulation of, the locus itself as a singular artefact determined by its space and time, by its topographical dimensions and its form, by its being the seat of succession of ancient and recent events, by its memory. All these problems are in a large measure of a collective nature; they force us to pause for a moment on the relationship between place and man, and hence to look at the relationship between ecology and psychology.” Aldo Rossi; The Architecture of the City

This is to say that an architectural response has to take traces of the local physical topography and architectonic forms, by following abstract mesmeric lines of the existing surrounding physical geography as well as the psychological experiences to their respective conclusions.

THEORETICAL CONTEXT

‘’the presence of certain buildings has something secret about it. They seem to be there. We do not pay any special attention to them. And yet it is virtually impossible to imagine the place where they stand without them. These building appear to be anchored firmly in the ground. They make the impression of being a self-evident part of their surroundings and they seem to be saying ’I am as you see me and I belong here’. Every new work of architecture intervenes in a specific historical situation. It is essential to the quality of the intervention that the new building should embrace qualities which can enter into meaningful dialogue with the existing situation. For the intervention is to find its place, it must make us see what already exists in a new light. We throw a stone into the water. Sand swirls up and settles again. The stir was necessary. The stone has found its place. But the pond is no longer the same. I do not claim to know what space really is. The longer I think the more mysterious it becomes. About one think, however I am sure: when we as architects, are concerned with space, we are concerned with but a tiny part of the infinity that surrounds the earth, and yet each and every building marks a unique place in this infinity. With this idea in mind, I start by sketching the first plans and sections of my design. I draw spatial diagrams and simple volumes. I try to visualise them as precise bodies in space, and I feel it is important to sense exactly how they define and separate an area of interior space from a space that surrounds them, or how they contain a part of the infinite spatial continuum in a kind of open vessel. Buildings that have a strong impact always convey an intense feeling of their spatial quality. They embrace the mysterious void called space in a special way and make it vibrate.’’ Peter Zumthor: thinking Architecture

Thus a building that could otherwise be considered as ordinary or inconsequential, has a considerable impact upon an individual experience of and identification of a place. Therefore it is imperative to produce which can be interpreted as boring should the site context require it to be so.

LEVELS

The city of Newport is shaped in an obtuse ‘V’ when seen in section, the point at which the two lines meet in the ‘V’ is represented as the river Usk, this can be interpreted as the liquid heart of the city, for historically Newport grew around the river, originally known as ‘Newcastle’ Newport was born as a defensive gateway to Wales, and later grew around the river as an industrial trading port, eventually the castle became obsolete when this happened the industrious Victorians cut through castle with a railway that connected South Wales coal mines with other industrially developed areas, however as coal became obsolete for the industrial coal miners and the railways were dismantled and replaced with highways, the connection with the river was lost, entirely due the expansive nature of the road and the un-anthropic nature of roads.

The manifesto of this project is to recreate a connection with the river through mimicking the effect of water in a ‘V’ that is to refocus the alignment of Newport back towards its historic centre, the River Usk. This will be an intergenerational re-alignment, which will reengage a historical connection with birth of Newport by recreating a lost area of the city, whilst refraining from creating pastiche of the past, this recreation will be of the inhabitation of space, repurposing the use of an underpopulated space, through rediscovering a lost centre.

Newport Noli Study This was a study into the built geography of the city of Newport, this study led to the selection of an area of Newport which appeared to be missing. From reading Aldo Rossiâ&#x20AC;&#x2122;s, the Architecture of the City, where Rossi described the concept of the Genius Loci and the relationships held upon a new architectural development, according to Rossi, architecture should take itâ&#x20AC;&#x2122;s articulation through the interpretation of unseen abstract lines of space, connecting memory and movement, through tectonic and geographical relationships of ecology and psychology: Thus this project developed through mesmeric abstract lines on a tectonic three dimensional interpretation of space, lines were taken from the historic and the existing solid forms of the edifices of Newport, which would be used to define the proportional limitations of the future project, once the limits were found the solid forms were made to be subtracted from, but never to be added to.

CITY CONTEXT

The empty space, is a space that is currently occupied by an underused 6 carriageway road.

Through a process of continuing existing routes, a form could be developed

The majority of the lines taken from the existing built geography, were from the main circulation routes, however an important sight line was also used to identify space, this being the tower on the market building.

The spaces that the lines started to define were then marked as a solid mass that could later be reshaped into a more suitable form.

Forms that were deemed too inappropriate for an architectural response, or did not sit well with the existing spaces were removed, to leave a diagrammatic layout for a future masterplan to be developed.

MASTERPLAN DEVELOPMENT

SITE MASTERPLAN SCALE: 1:2000

ANTHROPOCENTRIC OBJECTIVES

Discouragement of car use through gentle persuasion techniques, e.g. one way systems, peripherally located parking infrastructure, etc. Shared space; when possible the street scape should be predominantly shared space, this would change the hierarchy of the street away from cars. Pedestrianisation, this is already present in some central areas, the aim is to although this pedestrianisatian to continue to a greater area around the centre. Public Transport should take dominance over private cars, the current infrastructure needs to be expanded to make travel without a car a viable alternative. Reduced speed limits, to an average speed of 20 miles an hour or less, in all built up areas.

Improved cycle network currently the majority of Newportâ&#x20AC;&#x2122;s residents donâ&#x20AC;&#x2122;t see cycling as a viable alternative to driving, this must be made apparent to the local population that cycling is an economical alternative. This can be achieved through increased cycle storage, and Dutch style protected cycle lanes and junctions. Bicycle share, is an international success storey of public infrastructure and can be seen in almost every major city around the world, anywhere ranging from, Izmit in Turkey, to London in the UK, and in almost all anthropospheres that bicycle share has occurred it has been a universal success, and thus it can and should be applied to Newport, Wales.

SCALE: 1:2000 Pedestrian Prioritised space Southbound Traffic Northbound Traffic

MASTERPLAN ROAD NETWORK

With the Uskwayâ&#x20AC;&#x2122;s downgraded classification and its subsequent downsizing, in accordance with the Newport masterplan, which has freed this site to be allocated for development, it is proposed in this development to create a one-way system of traffic that complements the strategic development of the riverfront area. This new motor access & egress system will be accompanied by the creation of a shared space network, that will encourage the decelerating of speed of the motor vehicles and the increased present of pedestrian activity generally.

SCALE: 1:2000

MASTERPLAN DECIDUOUS TREES

Silver birch is a striking, medium-sized deciduous tree native throughout the UK and Europe.

Bird cherry is a deciduous tree native to the UK and Europe.

Grass which contains native deciduous flowers

Scots pine is an evergreen conifer native to northern Europe, and is one of just three conifers native to the UK.

SCALE: 1:2000

MASTERPLAN PERENNIAL PLANTS

Lavender Summer Flowers

Salvia Nemorosa From Summer to Autumn flowers

Japanese Anemone Late summer till autumn

Sedum Late Summer early autumn flowers

Phlox Late spring to autumn flowers

Penstermon Flowers June until the first frosts

Rudbeckia Late Summer early autumn flowers

Helenium Mid-Summer to early autumn flowers

Foxglove Mid-summer to autumn

Geranium Summer flowers

Dianthus Summer flowers

Tiarella March to November flowers

SCALE: 1:2000

MASTERPLAN EXTERNAL FINISHES

The development will be cladded in the same local grey limestone as newport castle, in a structured rythmic pattern, this is to both reflect and contrast the historical context of the site.

DIAGRAMS

MASSING

With the general tectnonic form that regulates the scale of edifices established the next step was to responded to the environmental factors.

The relationship with the affects of the winter and summer sunpaths, canbe used to influence the eventual design scheme.

With a design parameter set at 20% per annum under shade, the general building form would look like this, however this would not be a wise paremeter, because the south of wales experieances a predominatly overcast weather front.

With a shadded factor of 35% per annum the overall design requirements can be met, whilst enabling a highly illuminated publc rhelm

MODULAR ACCOMODATION

The accommodation units are divided into two unit types each with a distintive loayout; the green unit layout comprises of two single occupancy assisted living dwellings, and a three bed student masonete, the red unit type comprises of two single occupancy assisted living dwellings, and two, three bed student flats.

Each unit consits of a central communal entraceway, with a communal staircase, which serves both as a social node, and equally as a method of reducing the required deck access-ways

Once all the units have been stacked, they are equal in length to East West, rows of accomadation, and once the units are stacked North South, they can be made an equal length throught the addition of two more green units.

MODULAR ACCOMODATION

VERTICAL CIRCULATION

There are four routes of vertical circulation which lead towards the deck access of the accomodation units. the vertical access routes each consist of a lift and a stairway.

HORIZONTAL CIRCULATION

There are two levels of deck access, however the the lowerlevel is equal in height the to the Newport Town Bridge, which when access said from said bride gives the impression of ground level, the lower deck is not and addertive structure, but rather a 5m wide terrace, which fucntions equally as a segment of roofing to the public units beneath.

The upper of the layers of deck access, is effeciverly a continuos â&#x20AC;&#x2DC;Julietâ&#x20AC;&#x2122; balcony that runs a ribbon around the upper levels, untill it reaches the roofscape of the health centre, where the deck access becomes a an open roof terrace overlooking the the river usk.

WASTE DISPOSAL

The waste disposal points are located next to the vertical circualtion points, these can be access on both levels of deck access and contain multiple shutes that lead to waste collection points on the ground level.

Service Cavity Plant Room

SERVICE SPACES

The health centre, sits upon a floor dedicated to the function of bing a plant room, this enable the centre above the freedom to locate spaces by best location for use as oppose to an over emthasis on the location of services.

The main floor level is elevated by a metre, this is to ensure that there is an ability to rise and lower the floor heights of the health centre to allow for the poll requirements, this extra metere of also opperates as a service cavity for the healthcentre.

PRECEDENTS & CONCEPT

Warm Showers

154˚C Vapour Bath

Shower & Soap Massage

Massage Tables

Swim in Pool at Body Tempreture

Massage Tables

Massage Tables Dinning Room

Room of 140˚C Room of 150˚C

Covered with Blankets Rest 20mins

Dried down with Warm Towels

Entrance/Showers

Series of Gradually cooler showers & Pools

Kiln Saunas 15-20mins rest in Sprudel Pool

Sleeping Rooms Jjinjilbang

The Baden-Baden Bathing Process

Entrance Room

Wash Room

Hot Room

Changing Room

External Cold Pool

Entrance Room

Steamroom

Boiler Room Bathing Area Sauna (with cold bath)

Changing Room Sauna

Banya

Sentõ

Laeconicum (Sauna) Sadotorium (Steam Bath) Long Corridor

Atrium

Apolyterium (Changing)

Fridgidarium (Cold Plunge Bath)

Tepidarium (Hotroom/Sweat Bath) Coldarium (Hot Plunge Bath)

Sevice Areas 42

Thermae

HISTORICAL TYPOLOGIES

Peter Zumthorâ&#x20AC;&#x2122;s, Thinking Architecture, describes the invisibility of great architecture how a building thoroughly thought through disappears into its surroundings, the way a building communicates should be quietly reserved, but spatially exciting, for the moment a building becomes visible it is often for the wrong reasons, like the placement of a statue in the middle of a path frequented on a daily basis, initially interesting, its location can soon become an immovable nuisance, a statue should be located to the side a key route as seen in the Athens agora, likewise the solid mass of a building should not blockade and aggressively assault the anthroposphere but should enhance the milieu; therefore in order to develop a spatial rational, a historic study was formulated into the needs of historical architectural models to understand what the paradigm of the use of space for hydropathic architecture, once the archetype was understood, the process of organising space could begin.

Laeconicum (Sauna) Sadotorium (Steam Bath) Long Corridor

Atrium

Apolyterium (Changing)

Fridgidarium (Cold Plunge Bath)

Tepidarium (Hotroom/Sweat Bath) Coldarium (Hot Plunge Bath)

Sevice Areas Thermae

ROMAN THEMAE

Passing through the principal entrance, a, which is removed from the street by a narrow footway surrounding the building and after descending three steps, the bather finds a small chamber on his left which contained a water closet (latrina), and proceeds into a covered portico, which ran round three sides of an open court. These together formed the vestibule of the baths (vestibulum balnearum), in which the servants waited. A passage leads into the apodyterium a room for undressing in which all visitors must have met before entering the baths proper. Here, the bathers removed their clothing, which was taken in charge by slaves the apodyterium was a spacious chamber, with stone seats along two sides of the wall. And a door that leads to the tepidarium and another to the frigidarium, with its cold plunge-bath. The bath in this chamber is of white marble, approached by two marble steps.

From the frigidarium the bather who wished to go through the warm bath and sweating process entered the tepidarium. Which is merely heated with warm air of an agreeable temperature, in order to prepare the body for the great heat of the vapour and warm baths, and, upon returning, to prevent a too-sudden transition to the open air. In the baths at Pompeii this chamber also served as an apodyterium for those who took the warm bath. From the tepidarium a door opened into the caldarium, whose mosaic floor was directly above the furnace or hypocaust. Its walls also were hollow, forming a great flue filled with heated air. At one end was a round basin (labrum), and at the other a quadrangular bathingplace (puelos, alveus, solium, calida piscina), approached from the platform (schola) by steps. The labrum held cold water, for pouring upon the batherâ&#x20AC;&#x2122;s head before he left the room.

These basins are of marble in the Old Baths, but we hear of alvei of solid silver. Because of the great heat of the room, the caldarium was but slightly ornamented. The Old Baths have no laconicum, which was a chamber still hotter than the caldarium, and used simply as a sweating-room, having no bath. There were three boilers, one of which (caldarium vas) held the hot water; a second, the tepid (tepidarium); and the third, the cold (frigidarium). The warm water was turned into the warm bath by a pipe through the wall, marked on the plan. Behind the boilers, another corridor leads into the court or atrium (K) appropriated to the servants of the bath.

In many ways, baths were the ancient Roman equivalent of community centres. Because the bathing process took so long, conversation was necessary. Many Romans would use the baths as a place to invite their friends to dinner parties, and many politicians would go to the baths to convince fellow Romans to join their causes. The thermae had many attributes in addition to the baths. The Romans believed that good health came from bathing, eating, massages, and exercise. The baths, therefore, had all of these things in abundance. Since some citizens would be bathing multiple times a week, Roman society was surprisingly clean.

Warm Showers 154˚C Vapour Bath

Shower & Soap Massage Swim in Pool at Body Tempreture

Room of 140˚C

Room of 150˚C

Series of Gradually cooler showers & Pools

Covered with Blankets Rest 20mins

Dried down with Warm Towels

15-20mins rest in Sprudel Pool

The Baden-Baden Bathing Process

BADEN-BADEN BATHING PROCESS

The Baden-Baden bathing procedure began with a warm shower. The bathers next entered a room of circulating, 140-degree hot air for 20 minutes, spent another ten minutes in a room with 150-degree temperature, partook of a 154-degree vapor bath, then showered and received a soap massage. After the massage, the bathers swam in a pool heated approximately to body temperature. After the swim, the bathers rested for 15 to 20 minutes in the warm “Sprudel” room pool . This shallow pool’s bottom contained an 8-inch (200 mm) layer of sand through with naturally carbonated water bubbled up. This was followed by a series of gradually cooler showers and pools. After that, the attendants rubbed down the bathers with warm towels and then wrapped them in sheets and covered them with blankets to rest for 20 minutes. This ended the bathing portion of the treatment. The rest of the cure consisted of a prescribed diet, exercise, and water-drinking program

Massage Tables

Dinning Room

Entrance/Showers Kiln Saunas

Sleeping Rooms

Jjinjilbang

JJIMJILBANG

A jjimjilbang is a large, gender segregated public bathhouse in Korea, furnished with hot tubs, showers, Korean traditional kiln saunas and massage tables. Areas of the building or on other floors there are unisex areas, usually with a snack bar, ondol-heated floor for lounging and sleeping, sleeping quarters with either bunk beds or sleeping mats. Many of the sleeping rooms can have themes or elements to them. Usually jjimjilbangs will have various rooms with different temperatures to suit guestsâ&#x20AC;&#x2122; preferred relaxing temperatures. Most jjimjilbangs are open 24 hours and are a popular weekend getaway for Korean

families. During the week, many hardworking Korean men, whose families live out of the city for cost savings, stay in jjimjilbangs overnight after working or drinking with co-workers late into the night. In the bathing areas, there are different kinds of kiln saunas with varying themes including a jade kiln, a salt kiln, a mineral kiln: the dome-shaped inside walls of kiln rooms are plastered with jade powder, salt and mineral respectively. Often there are several kilns with different temperatures ranging from 60 to 120 degrees Fahrenheit (15 to 50 degrees Celsius). The temperature of the kilns is displayed on a sign at the kiln entrance.

Entrance Room

Wash Room

Steamroom

Banya

BANYA

Russian banyas usually have three rooms: a steam room, a washing room and an entrance room. The entrance room, called a predbannik or pre-bath, has pegs to hang clothing upon and benches to rest on. The washing room has a hot water tap, which uses water heated by the steam room stove and a vessel or tap for cold water to mix water of a comfortable temperature for washing. The heater has three compartments: a fire box that is fed from the entrance room, the rock chamber, which has a small hole to throw the water into and a water tank at the top. The top of the water tank is usually closed to prevent vapour from infiltrating the banya. Water from a bucket by the stove is poured over the heated rocks in the stove. There are wooden benches across the room. People enter the steam room when the stove is hot, but before water is poured on the rocks. Getting a good sweat is thought to protect and condition the skin from the steam.

Banya temperatures often will exceed 93 degrees Celsius and special felt hats are typically worn to protect the head from this intense heat. Some clientsprefer to sit on a small mat brought into the banya to protect bare skin from the dry, hot wood of the interior benches. In Russia, special felt hats are commonly sold in sets with felt mitts, along with aromatherapy extracts for inclusion into the steam water. People often hit (massage) themselves or others with bunches of dried branches and leaves from white birch, oak or eucalyptus in order to improve the circulation. The dried branches are moistened with very hot water before use. Sometimes in summer, fresh branches are used instead After the first good sweat is induced, it is customary to cool off in the breeze outdoors or splash around in cold water or in a lake or river. In the winter, people may roll in the snow with no clothes on or dip in lakes where holes have been cut into the ice. Then the banya is re-entered and small amounts of water are splashed on the rocks. If too

much water is used at once, the steam will be cool with a clammy feel. A small amount of water on sufficiently hot rocks will evaporate quickly, producing a steam consisting of small vapour particles. Waving the venik causes convective heat. The second sweat is commonly the first time venik is used, but some people wait until the third session. After each sweat, cooling off is repeated and patrons use the break to drink beer, tea, or other beverages, play games or relax in good company in an antechamber to the steam room.

Hot Room

External Cold Pool

Sauna

FINNISH SAUNA

The Finnish sauna is a substantial part of Finnish culture. There are five million inhabitants and over three million saunas in Finland - an average of one per household. For Finnish people the sauna is a place to relax with friends and family, and a place for physical and mental relaxation as well. Finns think of saunas not as a luxury, but as a necessity. Before the rise of public health care and nursery facilities, almost all Finnish mothers gave birth in saunas. One reason the sauna culture has always flourished in Finland has been because of the versatility of the sauna. When people were moving, the first thing they did was build a sauna. You could live in it, make food in the stove, take care of your personal hygiene, and, most importantly, give birth in an almost sterile environment. The sauna tradition is so strong that even Finns abroad enjoy a good sauna, Finnish soldiers on peacekeeping missions are

famous for their saunas; even on the UNMEE mission in Eritrea, a sauna was one of the first buildings to be erected. A Second World War-era Finnish military field manual states that a rest of eight hours is all that is required for a battalion to build saunas, warm them and bathe in them. Saunas, even in the military, are strictly egalitarian places. No titles or hierarchies are used in sauna. Taking a sauna begins by washing oneself up and then going to sit for some time in the hot room, typically warmed to 80â&#x20AC;&#x201C;110 Â° Water is thrown on the hot stones topping the kiuas, a special stove used to warm up the sauna. This produces steam, known as lĂśyly, which increases the moisture and heat within the sauna. Occasionally one uses leafy, fragrant boughs of silver birch called vihta in West Finland and vasta in East Finland to gently beat oneself. This has a relaxing effect on the muscles and also helps in calming the effects of mosquito bites. When the heat

begins to feel uncomfortable it is customary to jump into a lake, sea, or a swimming pool, or to have a shower. In the winter rolling in the snow or even swimming in a hole cut in the ice. Often after the sauna it is a custom to sit down in the dressing room or the porch of the sauna to enjoy a sausage, along with beer or soft drinks. After cooling one goes back to the hot room and begins the cycle again. The number and duration of hot room-cooling down cycles varies from person to person based on personal preference. Usually one takes at least two or three cycles, lasting between 30 minutes to two hours. Sometimes men and women go to the sauna together, sometimes not. For someone brought up in Finland, the rules are instinctive but they are difficult to put into words. Depending on the size, composition, relationships, and the age structure of the group three basic patterns can emerge: Everyone can go to the sauna

at the same time, men and women may take sauna separately, or each family can go to sauna separately. Mixed saunas with non-family members are most common with younger adults, and are quite rare for older people or on more formal occasions. It is common for teenagers to stop going to sauna with their parents at some point. In the sauna it is a faux pas to wear clothing in the hot room, although it is acceptable to sit on a small towel, a disposable tissue designed to endure heat and humidity. While cooling off it is common to wrap a towel around your body. Although mixed saunas are quite common, for a typical Finn the sauna is, with few exceptions, a non-sexual place. Foreign visitors to Finland often get invited into the sauna. This can even happen after business negotiations and other such event. Such an invitation in a business setting may indicate that the negotiations have gone well and a joint business effort is anticipated.

Changing Room Boiler Room Entrance Room

Bathing Area

Changing Room

Sauna (with cold bath)

SentĂľ

SENTO

Sentō is a type of Japanese communal bath house where customers pay for entrance. Traditionally these bath houses have been quite utilitarian, with a tall barrier separating the sexes within one large room and a single large bath for the already washed bathers to sit in among others. Since the second half of the 20th century, these communal bath houses have been decreasing in numbers as more and more Japanese residences now have baths. Some Japanese find social importance in going to public baths, out of the theory that physical proximity/intimacy brings emotional intimacy, Others go to a sentō because they live in a small housing facility without a private bath or to enjoy bathing in a spacious room.

Most traditional sentō, are very similar. The entrance from the outside looks somewhat similar to a temple, with a Japanese curtain across the entrance. The curtain is usually blue. After the entrance there is an area with shoe lockers, followed by two long curtains or door, one on each side. These lead to the datsuijo (changing room), also known as datsuiba for the men and women respectively. The men’s and the women’s side are very similar and differ only slightly. The ceiling is very high, at 3 to 4 m. The separating wall between the men’s and the women’s side is about 1.5 m high. The dressing room also often has access to a very small Japanese garden with a pond, and a Japanese-style toilet. There are a number of tables and chairs.

DESIGN APPROACH

Fernando Tavora’s essay on the organisation of space emphasises the importance of people. Ergonomic space should be designed with the experiential in the forefront, the creation of harmonic hierarchal integration of functions whilst energising the architecture with artistic expression, the idea of form and beauty in an architectonic language requires the agreement of forms in the dualistic whelms of artistic sculpture and function, an equilibrium of thoughts should be met when one ingresses upon metaphoric formations of architecture the language met should not unintentionally juxtapose the languages of the functions. If the organisation of space requires the experiential perception of space to develop an equilibrium between the forces

which manipulate architec¬ture, function & sculpture, then the understanding of phenomenon becomes an imperative to the design process. Looking at the world with the same perceptions as the French phenomological philosopher Maurice Merleau-Ponty lead to a specific interpretation of organised architectural space. “The phenomenological world is not the

bringing to explicit expression of a pre-existing being, but the laying down of being. Philosophy is not the reflection of a pre-existing truth, but, like art, the act of bringing truth into being.”(Merleau-Ponty, M.) This would mean that the world as we see it is a creation through our own experiences, finding meaning in what we do. Therefore the unique individual interpretation of

space and the world as we see it and experience it can be sculpted and remodelled to suite our purposes likewise architecture can and does damage our phenomenological gateways to a perceived notion of the world, therefore the idea of a designed space should be sensitive the actions of people, and should not intervene onto their movements unless there is a real well justified purpose as Merleau-Ponty points out an external temporal force does not redefine a person but merely is acted upon a person who is already defined.

Therefore the umwelt of a person that experiences an organised space, will be a different experienced than that of another person, making it an impossible feet to design a space that is perfect for all as we all have a different experience of the space, and the only way that space can be organised is through an individual self-rationalities which are not felt or perceived the same by another rather only as an abstract thought of a distant ubiquitous anonymous designer who has somehow made their historic mark upon the earth.

“Nothing determines me from outside, not

“Because we are in the world, we are con-

because nothing acts upon me, but, on the contrary, because I am from the start outside myself and open to the world.”

demned to meaning, and we cannot do or say anything without its acquiring a name in history.” (Merleau-Ponty, M.)

(Merleau-Ponty, M.)

TEMPRETURES OF THE ROOMS OF THE BADEN-BADEN SYSTEM

BRIEF ANALYSIS

TEMPRETURES OF THE ROOMS OF THE THERME VALS

THE BADEN-BADEN SYSTEM PROMOTES USING SPACES FOR AN AVERAGE OF 10 MINS

SYNTHASIS OF BRIEF 12.6m3

2.5m3

42.12m3 42.12m3

2.5m3 27.73m3

10.97m3

12.6m3 25m3

2.48m3

12.6m3

25m3

42.12m3 42.12m3

25m3 61

ROOM SIZES REQUIRED FOR HEALTH CENTRE

Steam-Room

Changing Room

Cold-Pool Cold-Pool

Shower Hydrotherapy

Sprudel Pool

Hot-Room Shower

Massage-Room Hot-Room

Massage-Room

Hot-Pool

Cold-Pool

Rest-Room 62

ROOM FUNCTIONS AND TEMPRETURES REQUIRED FOR HEALTH CENTRE

SYNTHASIS OF BRIEF

Thermal water pool to produce an increase in the relative humidity of the space, the room should contain provision of seating and be made of a material which response well to wet and humid environments,.

accomodation of space for derobing,, provision of adiquite staorage facilities, provision of privacy for the transition to public

Space for standing space for washing, space for shower unit, air extractor fan, l i g h t i n g , drainage

A basin pool with a 24cm thick bottom layer of sand which natrually carbonates the the water, seating which enable the bubbles to filter throught to the person sat upon said seating.

A wood burning fire, with rocks stored upon the the stove, to retain the heat, a thermostat, seating, dim lighting

Space for 15.12m3 of water at its natrually cold tempreture, suitable steps and ramps for access, provision of seating, lighting,, circulation of air, handrails, drainage, and refill, thermostat, nearby towels, provision of space for an attendent to monerter teh treatment of the guests without the disturbance.

Enough room to accomodate a massage table with provison of space the massuese to monevour around the guest, and object to store oils and lostions and a sandtimere to time the the mmassage without the unpleasant sound of a c l o c k .

A pool containing salenated water with an adujustable floor to provide the appropriate depth for a given set of exercises, both ramped and stepped access with stepped seating which can be use in the therapy sessions, anon-sterile medical environment instead a wellcoming friendly space for remedial treatments which servre to improove the quality of life.

A wood burning fire, with rocks stored upon the the stove, to retain the heat, a thermostat, seating, dim lighting

Space standing washing, shower extractor lighting,

for space for space for unit, air fan, drainage

A large open space with containing a bed with large sheets which the guest are cocooned within, and left for roughly half an hour, once the thirty minutes have expired the the guest are woken up gently through the opening of curtains and the gentle sounds of soft gentle music which slowly increases in v o l l u m e

ROOM FUNCTIONAL REQUIREMENTS FOR HEALTH CENTRE

Ch an Roo ging m Sho we r

Ho t-R oom Co ld

-Po

Ho t-R oom

ol Ma Ste am -Ro om

ssa

ge -

Roo

Ho t-P ool

Spr

el P ool

Hy dro the rap y Sho we r Ma

ssa

ge -

Roo

Res

t-R

oom

PROPOSED SEQUENCE OF BATHING

PROPOSED BRIEF

‘’the expression to ‘organise space’. On a human scale evokes a sentiment that is different, for example from that evoked by the expression ‘to occupy space’ in the word ‘organise’ we can sense a desire, a manifestation of will, a sentiment that the term ‘occupy’ cannot convey. Therefore we use the expression ‘to organise space’ with the constant supposition that it impels the hypothesis of an intelligent man, by nature an artist. It follows that the occupation of space by man is always aimed, and always follows a path, and turns its every intention toward the creation of a harmony of space, aware that harmony is the exact transition of equilibrium, the right combination of knowledge and sensibility, the hierarchical, correct integration of the factors […] this leads to our difficulties –finally becoming awareness of a useless act – in classifying the events of spatial organisation, given them a functional or artistic sense, saying, for example that this is a purely functional act, while this other act is purely artistic; to the point of imagining that it is possible to separate two aspects that are connected, so connected that one might wonder if a form can be beautiful if it doesn’t function, and if a form can be functional if it isn’t beautiful.’’ Fernando Tavora: Da organizcao do espaco (The Organization of Space) This is to say that the organisation of space and the accommodation that a space provides for its function can have a direct impact upon whether a building can be perceived with a sense of delight or dissatisfaction, if a building is a sculptural masterpiece without function it can no longer be perceived as architecture and any applied function would not be fully accommodated, likewise if a building is a functional machine without applied artistry then the building would function well but fail to provide delight, therefore a floor plan should strive to accommodate function as a sculptural form.

HORWOOD ALMSHOUSES

PRECEDENT VISIT; BARNSTAPLE; HORWOOD ALMSHOUSES

Almshouses are a medieval charitable concept of providing housing to those who are often unable to afford their own accommodation, similar to the contemporary concept of social housing the accommodation was typically provided to the elderly and the disabled, almshouses were often a way that ensured groups that would otherwise have been socially isolated were able to keep engaged with their local community. The architectural language of almshouses is commonly a series of small terraced houses or apartments which are grouped in a way that generates a communal experience of inhabitation, the aesthetics are typically a reflection of the local vernacular, and an expression of the period that they were built in. Horwoodâ&#x20AC;&#x2122;s almshouses Barnstaple built in 1650, were founded by Thomas Horwood, a merchant and mayor of Barnstaple, the almshouses are situated adjacent to a former girls school which was founded by his wife, the almshouses have been in continuous occupation, by the local needy since their construction.

The Almshouse is located in a quiet oasis between two busy highstreets

The courtyard encourages social interation

PRECEDENT VISIT; BARNSTAPLE; HORWOOD ALMSHOUSES

The comunal courtyard has been occupied as an external interior social space

Cars are not wellcome in this anthropocentric space

The comunal threshold into the collective courtyard creates a social node

A narrow alley is th eanthropocentric route into the Almshouse

PRECEDENT VISIT; BARNSTAPLE; HORWOOD ALMSHOUSES

Green space is clearly visable,the greenspace is treated like a room seperate from the rest of the streetscape

PENROSE ALMSHOUSES

PRECEDENT VISIT; BARNSTAPLE; PENROSE ALMSHOUSES

Behind a heavy, wooden door set within a colonnade in a small street lies a group of almshouses nearly 400 years old built in, which are still used for the same purpose as when they were built in 1627. The original layout for these almshouses consisted of 20 dwelling which each were to house 2 people of the same gender however today they are used as single room apartments for individuals, the almshouse gains its name Penrose from their founder John Penrose a merchant trader and mayor of Barnstaple. The door to the almhouses are opened every morning, and shut every evening by the caretaker who lives on site. The almshouses also incorporate a Chapple and communal hall, with allotments to the rear of the building, and an original still function water well, and some bullet marks from the English civil war.

This 16th centuary Almshouse has created a semi public threshold which creates a breakaway from the rest of the exhisting streetscape.

Within the cloister is a continous bench that serves as an offering to the pedestrians to dwell within the space

PRECEDENT VISIT; BARNSTAPLE; PENROSE ALMSHOUSES

There’s a warden whom lives within the Almshouse, the warden is an elected-volunteer who is a resident but wishes to help with maintenance and care taking

The Cloister doesn’t contain the entrances to the dwellings but instead the entrances to comunal halls

There is a single entrance which encourages socialisation

To the rear of the Almshouse there is a co-inhabbited vegetable garden.

PRECEDENT VISIT; BARNSTAPLE; PENROSE ALMSHOUSES

SZECHENYI BATHS