Studio 13 - Bathing 2_Reflective Journal by Juu L

PROJECT LEVIATHE

RESEARCH & REFLECTION JOURNAL JOO LIEW_831400 TUTOR_HELLA WIGGE STUDIO 13_BATHING 2.0 SM1_2020

CONTENTS Prelude Past Studio Project Reviews Material & Media Tests Atmospheric Drawings

Atmospheric Models 1.0 Atmospheric Models 2.0 Atmospheric Models 3.0 Big Ideas Concept Research

Site Analysis

PROJECT LEVIATHE Secrets to be discovered in this unfamiliar place devoted to escape, rest & relaxation. Immerse in the myth that haunts the still waters of Australian rivers, the unknown entity. Merging old remains in new typology. Finding solace in solitude.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

concept art narrative, joo, 2020.

_PRELUDE W1.01 03/03

The preliminary sketches done in the first week, first session, where we think about our experience of bathing and combine it into a ‘set’ or storyboard. Done in 15-20 minutes, this helped with improving speed sketching storyboards. It is especially helpful for brainstorming sequence of frames for a narrative, which could be done for future ‘comic’ or illustration projects. Helps with getting into the flow of mindset for the subject at hand-bathing / showering. This could be improved if I first start out with the overall panorama frame of the environment or entry, rather than leave that halfway, as it sets the context for the characters or subject such as the bath tub, the soaps, person bathing etc. Medium: Ballpoint pen on paper

For the Past Studio Project Reviews, the following studios were evaluated: Water/Meta/Fable. They were all research-heavy and Meta/ Fable focused on dystopian themes, which helped with causing detours in research regarding health benefits in specific scenarios. Development and prototyping could have been maximized further, given more time, and also more sketching instead of reliance on the product and rational decisions. Though a lot of cited research is beneficial, it can be scarring to a project. For Studio Bathing 2.0, I hope to remedy these, thus find a balance between ‘too much research’ and ‘too much concept’. Medium: Ballpoint pen on paper, fineliners, mixed media

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

_PAST STUDIO PROJECT REVIEWS

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

_MATERIAL & MEDIA TESTS W1.02 06/03

This session was the first time I tried many of the media; I only had past experience with computers, watercolours and graphites. The markers and textured paper made for very interesting rough effects. Although shadow was a bit less defined for textured papers. This could however be integrated to future projects particularly rendering of plans and sections (2D drawings). I later did a bit more experimenting at home with said materials and media as well. A peaceful environment suits me best, with moderate amount of noise and communicating with my peers definitely helped with making colour combination decisions in this regard. Oil pastels made for smoother than expected- blending, together with watercolour overlay to create rippling effects. This could be used for future drawings that require vibrant depth of liquids portrayed in the piece, because it offers the reflective aspect of water also, hence having accurate texture.

Medium: Green crayon with textured paper underlay, oil pastels, watercolour pencil/watercolours, ink wash, posca markers, coloured paper, white pencil & graphites, material and media testing workshop

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

From this session of material tests, I found that subdued colours and/or monochromatic schemes were more appreciated, as the contrast of light and shadow was much sharper. White Posca marker over watercolour paints were especially intriguing as it could create highlights and layered brightness easily. This is much more efficient and I will be adopting this as part of my practice during sketches or ideation phases. Additionally, seeing presentations of other works really helped give some ideas to a combination of techniques, or even visual effects that can be done. I later decided to adopt this into model making in the future if possible.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

Graphite was my first material preference, due to the diversity of lineweights, contrast and depth that could be explored with it. 6B was the most beneficial to use as the diversity of weight was easier to achieve. 9B was too soft/dark and this didnâ&#x20AC;&#x2122;t emulate roughness as well as preferred. 2B was more beneficial for thinner lineweights hence 6B was the balanced type. Making these material tests helped analyse which specific medium was easier to get more varied results and appeals to the decision of choosing this(6B) over other pencil types as a first experiment for future sketches if done with pencil. Medium: 2B/6B/9B graphites on paper material testing

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

_ATMOSPHERIC DRAWINGS W2.01 10/03

This week began with 5 atmosphere drawings, 4 of which follow 2 precedents of a liked bathing experience. I would go for more organic photography to reference from, however I decided to step out of the comfort zone for this studio and chose 2 extremes: a contemporary and traditional example. Lighting was more effectively achieved with stronger contrast than graphite pencil, through charcoal. However using charcoal was relatively time-consuming (couple of hours) in comparison. Time considerations for future charcoal-based work needs to be considered. Colour pencil also took a long time because the strokes are too fine for quick work. Watercolour was much faster and cleaner to use, as edges were easier to keep due to restraint of water on the paper. The colours are also more vibrant so the best decision for complex A4 works would be to use watercolour and brushes, personally. Pencils hindered my ability to form larger â&#x20AC;&#x2DC;strokesâ&#x20AC;&#x2122;. From this it is deducted that pencils are better left for smaller works, or to make fine details such as wood grain textures, or for efficient ideation sketching.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

Medium (contemporary): 6B pencil (left), charcoal (right) 17

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

Medium (traditional): Colour pencils (left), watercolour (right) 18

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

Medium: Watercolour, oil pastel overlay, black fineliner pen, pencil 19

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

ATMOSPHERIC MODELS ITERATIVE PHASE POINT/LINE/PLANE FOCI SECTIONAL PERSPECTIVE

_ATMOSPHERIC MODELS 1.0 W2.02 13/03

Techtonic explored: Mass Use of Daiso’s paper clay was interesting; it was lightweight and pillowy-smooth, which made for replication of stone textures, earth or more organic forms and stairways. Perforations were also easy to cut compared to standard card. However this was more suited for organic forms similar to a cave or shell so tectonics were compromised. It grants access to the water via an upward stairwell, however this feature seemed dangerous in real-life application and this was later shifted to a downward transition to the water instead. Dappled light was far more efficient to obtain via this material and patterned paper did help reflect cold light, causing the interiors to appear warmer.

Techtonic explored: Mass Similar to the previous model, this one focused on one perforation with the aim to focus one source of light at only one point (the pool) in the model. Although the stairway was interesting to recreate, this feature did not seem to suit the ‘flower bath’ aspect because it was visually static (and may be more suited for lower-scale applications such as a sand/mud bath). This discovery could help in the forming of other spaces for other schedules but was more not helpful in visually showing the main concept.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

Techtonic explored: Frame and Infill. Materials: mylar and aluminium wire. This was intended to frame the area surrounding the water and provide a direct downward access. It would be more essential for smaller items such as handrails, organic frames or as small partition elements. The mylar’s reflective properties was found to create a more expansive illusion of space despite the area being very small. Other peers used this to represent small pools and the wires were intended to frame an outline and depth of the pool but pool depth would be achieved more successfully if I made a separate plane partially covering the wireframe to indicate it it submerged.

Techtonic explored: Planar Using watercolour paper and acetate for apparent ‘changing room’ type of area and a small descending pool. The textures of the ‘flower bath’ in this case was done using expired cosmetics for a studio work for the first time. As they dried it would appear like stone with vibrant colours due to the pigment. This helped with shortlisting materials for ground textures. The human figure should be much smaller, which scale needed to be altered. I was also willing to experiment with this due to the waterproof aspect cosmetics had and was planning for ways to pour liquid into models without damaging them. In general there must be some rationale behind every decision, but I was keen to find out how well pigments would work on a different surface that isn’t the human skin.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

Techtonic explored: Point Line Plane. The experience being envisaged here is one where there is a slight sense of being beckoned to a secondary space, a more minor, shallow pool than the main bath, with an underlit source. The reflective silver caused cold reflections even though the light source was warm, indicating the material can balance the tone of atmosphere if placed in a sunny context. The planar elements were too formal and linear which appeared too logical and static. The proceeding model would draw on the same planar family but strive for dynamism and more extreme contrast of shadow used for guiding circulation.

Techtonic explored: Point Line Plane. The Line elements were awkward in the composition. Solid planar and semi-transparent elements could create 2 types of lighting or environments, and the sloping tectonic helped with progress for later models. Silver paper was too flimsy for larger cuts so this material had to be changed to card or coreboard to be more feasible for a more accurate 1:50 scale later.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

_PEER’S MODELS - REFLECTION & NOTES RESIDUAL IDEAS FOR FUTURE PROJECTS Stating potentials: Underground to sky relationship Timber and sand in interiors; natural landforms Connections of inside-out; border ‘voyeurism’ Models: Lee, 2020.

Class Models and Peer Photography, 2020. Penny, 2020.

Models: Rita, 2020.

20/03 Photography-wise, in comparison my peers composed their photos as though looking at cinematics- a movie scene rather than a technical building. This helped realize that it is easier to frame a composition by looking at it as a narrative rather than as a building (part) of itself, something which I will attempt to incorporate as part of the thinking process in order to compose interior experiences more effectively. Penny’s use of cotton to simulate clouds and bring the ‘sky’ to the water was innovative although structure tends to be a concern when relating to soft materials. The idea of observing from real materials (cotton) is something I could find use for (refer to *29/03 entries.) As to why I chose rigid planar elements to focus on, this is because I thought real-life applications would pose structural problems for softer organic forms. And to engage with the bath house, a place of natural bathing, I thought raw materials (can be used as structure and form/facade) could overcome structural issues later on.

Cold baths - stalactites, multidirectional, a quick race.

FUTURE LEARNING / DESIRED IMPROVEMENTS Pavilion-like quality Movement of the body to consider, then using their visualised actions to shape the water; arrangement of human body in space. Want to improve on a more sculptural aspect for major bath spaces so it stands out from other areas. (temporal fragmentation in circulation as well) Analyse configurations for negative space between structural elements, to imply routes for user’s investigation. The routes could vary in size and spatial dimension, to test the user’s decisions etc. TOOLS FOR FUTURE USE Vaseline with cling wrap, for waterproofing for a pool Mylar reflective paper could be used as a facade, to mirror or make parts of the building seem invisible (guide/ circulation, deterrent?) Maybe more clay+waterproof cosmetics for textures, even for both floors and some walls

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

_ATMOSPHERIC MODELS 2.0 W3.01 16/03

Using Point Line Plane model from 2.0 to develop the flower bath. Model making was slightly quicker, the plinth trimming could do with cutting less so there’s less cutting into the second paper layer. Was a good experiment with core board but was closer to ‘massing’ due to too much solidity. Spatial forming was rigid and hindering my portrayal of the concept.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

Another trial to integrate 2 types of atmospheres into a single space, testing on the physical aspects of transparency (light/public) vs solid (dark/ privacy). The paper strips on the roof creates a contrast with the steps but in hindsight this could have been extended so the contrast is greater for a more serene mood. Card was found to be flimsy at right angles so balsa wood probably would have been a stiffer (better) choice for rigid consistent angles. Personally more productive if I already have some visual of the space I wanted to make since the vision is clearer. However this still needed a lot of improvement to relate directly to the concept.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

The intent was to emphasize the enclosure whilst still leaving it open-ended, in connection with other spaces of the bath house schedule. Handrails and more safety aspects were added but needed more refinement in thinking how to implement these to suit the triangular-planar aspect. Access to water was by slope but was not feasible due to the gradient. Steps would have suited the fall instead. Human occupation and privacy was integrated in the small triangular space for 1-2 people sitting. The longwinded way of getting to the space required passing the pool and climbing upward, to portray a small journey. This was later explored again in Models 3.0, but was more suited as a frame-infill type.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

Found that triangular/irregular planar elements were closer to my concept of anticipation, as it was more effective and efficient in creating spatial ‘pockets’ and irregular guiding for people’s circulation. The ramp to the water for access was gentler this time but still needed more improvement (perhaps 2 degrees but that could be impractical due to the possible length). The sunken pool was also a hindrance, both to the concept and to user experience. So the idea of that is forgone altogether. It is better to decide which types of pools are not beneficial to the project’s concept or typology early on, so as to prevent the mistake of degressing in study and ideas.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

_ATMOSPHERIC MODELS 3.0 W3.02 19/03

Focusing on developing the triangular-planar elements for a different take on dappled light inside an enclosed pool area. Deliberate placement of the walls were intended to create light that would draw the user in to the enclosure of the pool (imagine if it were half-filled). From this I would focus my personal research on perhaps to implement a similar effect but in small-scale spaces such as resting areas. If this were to happen, more refinement and/or smaller cuts could make for a more graceful, stagnating mood. This was also a myriad of sketch ideas combined together and I found it was much quicker to spend a while sketching on paper before making the model accordingly.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

More pre-sketching in the book helped with faster modelmaking. The tectonics for the ground area was also gentler and more refined from the previous models in 2.0. Daiso clay was smeared across some parts of the ground, which added interesting stone texture when dried. This could be refined further as a safety feature of the pool (unpolished levelled sandstone based finish) if chosen to explore further. Hearing out peerâ&#x20AC;&#x2122;s interpretations did help with discerning how much texture there should be, and to perhaps add elevated aspects to control the amount of light entering the space more. This particular model could have been more successful if the texture was rougher to indicate non-slip surfaces.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

Was trying to create a sense of a ‘trail’ or ‘railway’ to ascend from a narrow corridor area down to a wider area of descension into the bath. The path is a roundabout one, with a back way toward a cold bath and private resting area. Varying levels of ground tectonics also could make the journey to the warm bath enjoyable and there are multiple routes to access the pool; in relation to excitement, or anticipation of different journeys.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

Originally an alternate part to connect to other models in the 3.0 series. The pool still required a gentler gradient for access if using a ramp. â&#x20AC;&#x2DC;Glassâ&#x20AC;&#x2122; handrails could compliment the planarity of the space. Overall this model helped me make decisions on proceeding with more control on shadow, having walls and roofs as one hybrid element and to direct users to more subdued spaces through this control of light towards the destination. Foci: interior framing to structural support/white materials to enhance contrast and lighting A good habit which was really only consistent since models 3.0 was sketching before making; it was faster to sketch out silhouettes of models and then make the planar elements fold accordingly.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

Attempt to incorporate varied lighting sequences depending on the angle of daylight, to entice users into the cold bath space. Was trying to achieve a cold and sharp mood through linearity of the overall space. The form is less intricate than the flower bath models to portray this as a secondary, not a â&#x20AC;&#x2DC;mainâ&#x20AC;&#x2122; bathing area, thus have users spend less time here. From this, personal research should move forward with integration of more (smaller) spaces for discovery. How will future works address living with uncertainties and gain comfort from this?

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

_MODELS 4.0 + SECTIONAL PERSPECTIVES W4.01 23/03 Relating to feedback from Atmospheric Models 3.0, I attempted again to have more focus on stairways, access routes, and establish a relationship between flower to cold bathing spaces.

PLAN VIEW

FRONT VIEW

Flower bath is wider, more accommodating and spacious with generous rest areas. I imagined this would be lukewarm resting elements enveloped in the soft steam emanating from the hot bath itself.

To suit a cold bath; formation of the plan as an abstraction of an arrow through time, that would subtly point the direction to the next potential destination (but only if users can notice it). Sharp linearity to force people through the space faster. JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

Linework 1

Other overlaying textures; soft pastel, colour pencil

Linework 2 36

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

Testing split - complimentary, mono chromatic, triadic and a muted complimentary respectively, to first see which combination suited a warm flower bath aspect. The colder study was done as a contrast to the former and see which colours were most vibrant from the pastels. Helped discern which combinations I was more drawn to. Attempts with greens was visually unnatural and artificial no matter how much I adjusted it in Photoshop. For green inputs, it could be achieved more successfully if I pasted scraps of plants like a collage instead of using standard art media. This would have let it create a more natural, organic feel while preserving that colour, but then again it may not convey the concept as adequately as the subdued scheme.

Thought the last two of these studies were most successful due to a)sharp and clear contrast of atmosphere and b)visual depth. However the first one could be more suited for a warm bath due to the warmth from primary colours. The variety of palettes used was ensure I could look back on this in later weeks and see again what worked well to convey certain emotions in a particular space. Eg the warmer schemes could be for cold baths instead, to provide users a sense of heat to balance with the cold water.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

Because I felt silhouettes of people in the previous colour studies did not fully show the experience so I painted a hybrid version of the two baths, incorporating the â&#x20AC;&#x2DC;shellâ&#x20AC;&#x2122; observed scheme (*see Material Research chapter for further related decisions) to simulate being inside of an entity and discovering small spaces of comfort for a small group of people to enjoy. Painting it helped more than overlaying a collage on linework as it is a more organic process for me to imagine moods and atmospheric content. It could be a different and more comfortable approach to my usual architecture-design tactics in past studios- mainly because those were intensely statistic/logistic based... I think this project may be unique in the sense it is not completely construction/ physically-focused. Media used: Photoshop + wacom drawing tablet. 38

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

_SITE RESPONSE COLLAGE W4.02 26/03

Photo credit (129 Elgin St): Lee Kong, 2020. Photo credit (UoM, Carlton neighbourhood profile): Joo Liew, 2020

A collage draft. Used parts of photos to make a low-rise planar form that could adapt to the profile of Carlton. Scrapped because it focused on site boundary and frontage aspects; on completion I felt it did not fully address the site as it ignored traffic aspects and people-people interaction. External atmosphere had only one theme and this also did not convey the concept adequately either. Structure was also visually confusing so I attempted to emphasize these as pedestrian interaction with the area was important to the planning scheme. To get more insight, further site research through mapping sites and point clouds were useful. Usually I would make collages in grayscale so inserting colour to get the most out of the colour studies was a challenge to get out of comfort zones, before doing the actual collage-- attempt to become a more versatile designer in general. 39

Decisions. A cool colour scheme with dominant reds was the primary focus as a decision to reflect the neighbourhood profile (parameters). The planarity and sharp cantilever elements were to reflect ‘pointing’ toward surrounding existing businesses (to support other business in the vicinity by directing attention) and to portray the ‘scales’ form of an unknown entity (the building). - focus on red brick and Victorian bluestone contrast - dull green to relate to Macarthur square -on the right, an interior preview of sorts, showing the ‘unknown variety of spaces’ the project has to offer for the local demographic, to learn of the past narrative that preceded the site. In comparison with other peers, this could be less complicated on the eye by having more negative space and also showing the materials on the side, maybe inside a circle.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

DESIGN RESEARCH SKETCHES 3 STARTING POINTS CONCEPT ESCALATION

_BIG IDEAS

(*See next page for more detail on each idea)

Idea based on thoughts about health, hydrotherapy and aromatherapy oils used in certain western baths. Stage of contemplation but weak in linking the idea due to it already being an ‘essential’ addition within bathing experiences.

Thoughts as a result of very long term novel obsession: Lewis Caroll’s ‘Alice in Wonderland’. A multitude of experiences that would perhaps lead to a almost thriller (or horror) aspect like in Dante’s Divine Comedy, but then realized for a bath house, this would be not the most pleasant of ideas to follow through despite the potentially strange or distorted spaces it could form. JOO LIEW

Spontaneous inspiration due to personal outside work, drawing commissions for clients. This originated from thinking about how to best draw proposals for my current string of clients. Thought it would be meaningful to see how far the project can go, delving into a almost ‘taboo’ subject of sorts. 831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

(**Done very early (Week 2) so it is subject to changes.) 26/03. Wanted this to explode into ‘odd’ social practices trope, but I decided later to incorporate this notion more subtly, due to concept change/higher understanding and also because previous ideas seemed to be missing a link with their relationship to building. I needed to rationalize how and why planar forms could directly contribute to user’ anticipation and resemble a journey inside an unknown entity as well.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

This studio has given opportunity to review techtonics I havenâ&#x20AC;&#x2122;t had chance to do so due to previous studios being more research-heavy. In doing so I was able to understand preferred techtonics for design through sketches and hand-modelling; personal research and vision for the bath house; process was easier through sketching perspectives and then sections and plans, which made for faster more successful compositional choices.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

W4.02 28/03

28/03. Atmospheric models sketches for sectional perspective in W4.01. Viewing the finished models, writing down feedback from personal review and listening to what worked for other peers in studio helped determine specifics in the concept. Sketches were also found to be a fast way to record residual ideas so I could come back to this later on; in particular, there were many folding stair potentials here that I would look forward to incorporating in future works or other studios as in hindsight, it may help with building upon the newly refined concept, because the flow is less linear and grants access to water more subtly. 45

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

W4.02

26/03 - 30/03

_CONCEPT PROGRESS Basing the model refinement/colour studies and site response collage tasks on further thoughts and research to the concept. ‘Anticipation’ (of the unknown) seemed to be a conceptual element that could be explained by something bigger. (I felt it lacked conceptual strength, the push it needed and looked for a missing link to tie back to why I thought planar techtonics could be more effective in design opportunities for the schedule. Hence further brainstorming was done in the middle of these tasks). Thought about the origins of bathing (rivers/oceans) and what is known now and what is ‘unknown’ more deeply. Treading into strange territory, what if the bath house can portray the narrative of a mythological sea creature of Australia? The building form, facade material research should also reflect a sense of discovery and challenge the curiosity of users. How far will they be willing to go to find secrets in the place? The Aboriginal sea cryptid (origin from Hawkesbury River) is essentially Australia’s version of the Loch Ness monster-- this could give more depth to the overall concept and I think having the time to further evaluate the planar models done was helpful in providing more strength and ‘entertainment’ to the concept. The colour studies also helped derive a mood type I may aim for, such as the subdued colour palette, as it gives an aura of mystery and uncertainty. Also trying to tie back to the Australian rivers, and inspired by the American Sweat Lodge Rituals of storytelling time, I hope this would be able to reflect a legend that Australian explorers are still trying to uncover to this day.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

_CONCEPT PROGRESS 30/03. More analysis on the internal Pinksys Lane which can provide more private access, conveying the entrance itself can be a secret, suiting the concept of unknown exploration. Regarding site analysis, the project will engage with surrounding businesses and unpleasantries, and hope to soothe their effects. However I learnt from others that they are less willing to let their bath house complement other businesses which I found odd. It could be cultural difference since coming from a third-world background I thought of unpleasant places as something to be â&#x20AC;&#x2DC;used toâ&#x20AC;&#x2122;. Will be using this perspective to my advantage for an open-minded yet meaningful concept and built space.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

DESIGN RESEARCH PRECEDENTS SEQUENCE & PROGRAM

_concept Anticipation. to happen sooner.

how the concept can be explored.

What will you encounter this time?

Major + minor type insertion of spaces (smaller scale for detours; a ‘world of its own’ for maybe 1-2 occupants), each small space is a diﬀerent theme on its own.

where guests visit a place they think they would be familiar with.

anticipation of the unknown what will you encounter this time

discovery of the unknown- the more knowledge you possess the better your position(experience) in ‘life’. What is known (typical reality) vs. the unknown (a parallel ﬁction-esque experience) -- parallel ‘realities’

Different ‘slots’ of unexpected features-even in stairs, small details in floor texture or difference of wall paper for a small section of an area. Colours, textures, planes- subdued and vibrant, contrast between every space - no one space is alike another-- thematic restructure Circulation- difficult to get to these smaller places. Think ‘treasure trove’ or ‘secret’ type of pockets of spaces.

joo liew

_concept parameters

831400

_concept logistics

Brief.

Atmosphere model integrations

Minimum 1320 sqm total area for schedule of spaces to refer to.

Place of respite

Play on shadow (hiding smaller spaces; misdirection) for more private activities. Changes in transparency of elements.

Public bath house with main amenities + smaller private amenities for temporary stay, not more than 24 hours stay.

Public sector: open bath with concentrated light to direct visitor focus. Private sector: detour to another section(s), maybe more dimly lit for secrecy, small spaces for couples or small groups to congregate

Large area of focus for light to shine on, to signify it is a more public and communal area.

Majorly bath house and minor ‘love hotel’ typologies to experiment marriage

Examples include individuals, pairings, coworkers who wish to ﬁnd a place for conversation (whether casual or for discussion)

Gradual descents into pool with intentional circulation through guidance of linear elements and planar semi-enclosures.

Spatial experience to vary between programs, depending on environment or thematic structure

Themes per individual room; Distortion of spaces & dimensions

A space that differentiates itself from each one of the other spaces within the bath house project itself. Each considering a different theme, or have slightly different aspects of lighting yet at the same time all share a relationship to each other.

Circulation ﬂow can attract certain demographics to use a speciﬁc area more often than other areas during their stay.

Encourage mindfulness amidst busy lives and rapid urbanisation; Provide a place ‘after work’ for rest, social activities and cleanliness Deliberate elements of framing perspectives either for views or circulation. To keep it safe for families to venture into, the project will have spaces to encourage communal engagement but also protect privacy where appropriate, via circulation, themes and (semi-)enclosured areas.

Spaces that hold a relationship/connection to each other. Shown by shadow and light crossovers when light is cast.

Primary structure eg precast concrete panels to guide with leading circulation for direct experience. May have detours occuring, situated by use of other structural materials eg timber panels or beams, stone cladding along a planar element.

Accommodative & versatile; myriad of spaces for diﬀerent actions, standing, sitting, resting, talking, walking etc

Play on shadow to potentially assist with thermoregulation particularly in ‘basement’ or under ground level/spaces

Facade to adhere to the neighbourhood profile in accordance to Urban Melbourne planning scheme, hence the internal experiences will be very focused on, to create a different ‘world’ separate from the outer. ^neighbourhood profile would mean a possibly subdued appearance, whether in colour, texture or just overall exterior form or facade. Accommodate for mostly pedestrian access as the main source of transport to the site due to existing conditions & ease of access Take advantage of this low-rise commercial zone as sunlight will shine directly on the building at all times until nightfall, with minimal overshadowing from other lots. As a corner lot with 3 sides of street frontage, may have a back entrance for various preferences, and a main entrance at the front to celebrate the opposite lot’s program. ^Can attract attention to the project upon entry and also support surrounding businesses by directing focus upon visitor exit.

Building height limit ~10.5m; approx 3 storeys high. Hence levels: Basements, Ground, Level 1 Building setback of ground level from site frontage is 2m.

21/03. Uncovering more knowledge, curiosity and discovery of, for self, and for others. 26/03. Concept slightly more refined; this is now intended to read as exploring the remnants of an unknown entity as users unravel the project’s mysteries for themselves. (*Concept research and precedents. Please read top left to right bottom.) 50

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

_bathing & bath house

bathing 2.0 bath house rituals, precedents & hybrids senses relationship

Oﬃcial deﬁnitions.

Spin-oﬀ / personal takeaways

Bath (n.) /bæth/

A ritual of sorts

To be immersed in...[something]

Immersion of water, mud/clay, sand

The act of a bath

A process; condition

To cleanse oneself

To submerge in relief

A quantity of water

[A ‘space’ or area for bathing (see above), encouraging use of social activities such as keeping company, mingling, allowing private and public aspects.]

[A building for baths and communal use.]

joo liew

831400

_precedent

_ceremony sequence American-indian sweat lodge ceremony

Native child & family services Lodge in Toronto; based on Temazcal Sweat Lodges Performed under leadership of a medicine man Architect: Levitt Goodman Architects Consists of 4 rounds of prayer : ﬁrst for yourself, second for others, third as healing, last as a Area: ~2787.0912 sqm

round of gratitude

Aim: Create a place that reconnects urban aboriginals with nature in the heart of the city Outcome: Contemporary iteration of a rooftop healing lodge and ﬁre circle Activites: Used for public assembles and ceremony, drumming, counselling and playtime

Opening prayers done outside lodge

Medicine Man enters and sit to the west of the lodge

Women enter in clockwise and sit in the north of the lodge

Men enter in clockwise and sit to the south of the lodge

7 stones are placed in the central pit and herbs added as oﬀering (eg tobacco, cedar

[entrance]

and sweetgrass)

Special features: Woven timber motif for welcoming, respect of origin

Water is poured over the rocks to create thick steam

Medicine Man conducts opening prayer with a sacred pipe raised to Grandfather Sky, Grandmother Earth and the Four Directions

Materials: Precast concrete, yellow birch heartwood, eastern white cedar, Erimosa limestone, river rock and red slate

Pipe passed around and smoked by each participant

Men shake their rattles and chant songs

10.

Medicine man summons the power of his Power Animal

11.

Each session ends oﬀ with Medicine man and rattles are shaken 4 times

12.

The next set of heated rocks placed in the pit for the following round

melissa chong & joo liew

28/03. Precedent study that was found to be interesting in lore but I must admit the traditional hut construction left much to be desired visually. The ritual and ambiguity on interpretation of ‘descent into ascension’ was a notion that helped determine how the refined atmosphere models would be able to hold water. It could be further improved if I tried the opposite as well, which could be shown in additional drawings. 51

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

_inspirations Potential inspirations for Project.

Features.

Use of sun / light direction to inﬂuence design intent of each room

Entrance: Small crawl-in that always faces the east (origin of new beginnings)

Motion of entry & traverse (diﬀerence between social demographics eg male/female/trans/asexuals vs family groups etc)

Size: Must be able to accomodate 2-10 people

‘Central’ foci of circulation, directional guide

Shape: Circular nature represents equality among participants

Space (or lack thereof) between people. Testing personal space boundaries.

Special features: Small shallow pit in the centre for hot stones to be placed

Use of sound - chanting and storytelling

Floor covered with aromatic herbs like sage

Healing intervention for addiction and traumas

Medicine man to put a symbol of his spirit guide at the entrance

Scent of materials or point/lined/plane elements

‘Dog soldiers’ remain outside to tend to ﬁre

Can we re-deﬁne the origins of such features and represent these in a diﬀerent way that is still respecting the original culture yet appeals to our concept, demographic/other chosen factors.

Temperature: Hard to regulate (>39 degrees celsius)

Vision:

Take on shadow and how this can create a ritual of choice at the entranceway

Audition:

Possible acoustics; hear water and silence or the bustling of people in a communal space

Gustation:

Vapor that is fresh or earthy

Olfaction:

freshness, potential use of herbs and/or aromatherapy

Tactition:

Close proximities, or lack thereof. Intimacy or privacy dependent on area and circulation towards

Nociception:

Or lack thereof, physically therapeutic and ‘treatment’ beneﬁts on the psyche

Equilibrioception:

Giddiness from heatwaves and humidity ‘high’ (excessive), or stable (time spent in moderation), light if feeling refreshed

Proprioception:

Or lack thereof; feeling elevated and in good spirits (also can relate to equilibrium)

Materials: Flexible timber (structure) and animal/buck skin (coverage). Local.

melissa chong & joo liew

_precedent

_precedent `

The Therme Vals

Gleichenberg Thermal Bath

Architect: Peter Zumthor (1996, Switzerland)

Architect: Jensen & Skodvin Arkitektkontor (2008, Austria)

Aim: Create sensory experiences within a hotel and spa combined.

Area: 17500 sqm

Spaces for visitors to reminisce; be reminded of the traditional eﬀects of bathing and experience plays on light and shadow, linear and enclosed elements, thus restoring their emotional states.

Aim: 4-star hotel with public thermal bath and medical facilities and treatment rooms for both patients and outside guests.

Outcome: Baths laid beneath a grass roof structure penetrating into the hillside so it partially buried.

Allow sun and views to trees, with the bath shaped around the courtyard, giving convenient access and framing of views for all the patients. Smaller private treatment rooms with thermal ﬂuctuated rooms are also included.

Special features: Undercover bath pool, calculated informal layout of circulatory paths that lead to intentional points of visit, but also allow for detour to other spaces. Controlled perspectives/views.

Outcome: Unintended to resemble any kind of hospital thus the internals focus more on the treatment of the public thermal bath, landscape and hardscape as well as courtyard room surrounds.

Materials: Vitrosca minimalist Sliding Window, precast concrete,Valser Quarzite stone slabs

Special features: Surround courtyard with thermal bath, 50 treatment rooms and residential ﬂoor hotel with public amenities, including private baths, washrooms, sauna and cold rooms. Materials: Reinforced concrete slab, timber linings, glass panel, steel reinforcement

Reminded me of video game areas I had encountered in the past, either in study and/or leisure. The layered stone balances planar elements, creating ‘weightless mass’. It is sharp and cold, but invokes desire to submerge or even drown in this environment. Relationship to the ground plane is discreet, it is indistinguishable where the artificial and natural ground starts; creates hypersensitivity with senses (eg you can ‘see’ the sounds of especially, the underground chambers, and invokes nostalgia and stagnation of living in the moment). 52

Medical and residential for temporary lodgings, is a hybrid with a bathing facility. Each floor plan is subtly different, creating a myriad of spaces that play with void elements to direct a user’s focus and has a directional quality to it. The timbre of the external atmosphere is also able to reflect inward, allowing even cold spaces to feel warm, comforting, and therapeutic for its patients’ wellbeing. A wholesome precedent. JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

_precedent Melbourne City Baths Architect: JJ & EJ Clark, Swanson Brothers Builders (1903, Australia) Specialty: 30m pool, gym, ﬁtness classes, spa, sauna, squash courts Aim: Originally a public bath space for people to bathe as Yarra River was a cause of typhoid outbreak. Now a ﬁtness centre and pool area. Materials: Edwardian red-brick, cream-paint Edwardian Baroque pallette. Planned entry for south side of Franklin St, more ramps for disability-friendly access. Convenience. 360 degrees appreciation hence asymmetrical form and planning. High visibility level. Pools at level 2. Separation of men and women with separate pools. Had sloped lounging baths on GF, mikvah bath on 1F. Mixed bathing initiated in 1947 and became a swimming venue after. Pool divided into 4 lanes: aqua play lane, medium, fast, slow lane

Melbourne City Baths: Irregular plan with pockets of renovated areas; adheres to the small limited site area it has and has similar low-rise application, as the project brief. Wanted to study the number of entries thus the ease of access-- the external form looks simple but the interior suggests otherwise so the building is not as ‘straightforward’ as it seems. It accommodates for many interior programs and is dishonest in comparison to the external form and materials used. 53

Disability access, site area and neighbourhood profile, along with planning restrictions and a demographic(s) to design for, is always top priority before concept, to let the project be feasible. Hence choice for the very traditional precedent, as this site also has similar planning restrictions, slope gradient and building scheme to the brief.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

_love hotel 「ラブホ」

_precedent

Oﬃcial.

Features.

Short stay enclosure; Few hours - 24 hours stay, pay by the hour

Rooms typically include regular amenities such as a washroom/bathroom, bedroom, small table and couple-chairs, bed area.

Mylines Hotel Architect: LYCS Architecture (2017, Hangzhou) collaboration with Chun Shui Tang

Operates 24/7 Privacy and for sexual activities; Typically for couples, one-time celebration of love Celebrates social-cultural changes; increased liberation of romantic love; typically has thematic rooms each with diﬀerent experience Accommodate for rapid urbanisation where there is less room for privacy in a highly populated areas. These provide rooms for such scenarios.

Other features commonly included are TV with on-call service to reception to purchase R18 products, victuals, services and any other devices appropriate to the room’s theme. Check-out is typically within the next 24 hours, depending on payment for length of stay. Checkout times are later in the day~10am or later. Open baths or washrooms, sometimes amenities merge together in the same space such as a living area and bathing area.

Contributes approx. ¥40 billion to Japan’s economy

Area: 2200 sqm, 9000 sqm (total site area) Aim: provide internal renovation of varied spatial experiences for couples and lovers Outcome: spaces that offer relaxation, romance, emotional relief and passion. Special features: thematized research conducted to design the rooms according to: narcissism, long-cherished lust, exposure, fantasy and romance. Offers controlled illumination, manipulation of interior and exterior interface, various environments and control of spatial configurations.

Considered cheaper than regular hotels with listed amenities thus more convenient: Convenience of atmosphere, food, small essentials shopping within rooms itself, entertainment, security

_references _love hotel 「ラブホ」 Books & Journal articles Process of entry; ‘ritual’

History & culture

Entering not so inconspicuously as these buildings often have thematic/amusement park-like facades.

Started since the Edo Period (1600-1868) teahouses (deai cha ya) with inconspicuous entranceways for geishas and sex workers for services for samurai, who needed to uphold their honor and thus be secretive about their personal interests.

Basil, Michael. 2007. “Japanese Love Hotels: Protecting Privacy For Private Encounters.” ACR European Advances E-08 (1). http://www.acrwebsite.org/volumes/13953/eacr/vol8/E-08. Lin, Ho Swee. 2008. “Private Love in Public Space: Love Hotels and the Transformation of Intimacy in Contemporary Japan.” Asian Studies Review 32 (1): 31–56. Traganou, Jilly. 2009. “Japanese Love Hotels: A Cultural History.” The Journal of Architecture 14 (5): 643–45. https://doi.org/10.1080/13602360903187535.https://doi.org/10.1080/10357820701872094. Ragnheiður, B, and Þóra Egilsdóttir. 2016. “HÁSKÓLI ÍSLANDS HUGVÍSINDASVIÐ Sexual Appreciation in Japan A Journey down the Rabbit Hole of Kink.”

Greeting the owner; typically a single person minding the reception or at the back (depending on difference of profitability of business) Choosing the room. Staff are usually behind a screen with hands only visible as eye contact must not be made. Old women as guiding staff can be expected to give customers a warmer welcome. Payment done in advance by a single-party (some allow advance bookings but typically reservation cannot be done), given to a machine or pneumatic tube. Guided to the room directly. Some hotels may give a key. Late checkouts.

https://skemman.is/bitstream/1946/24435/1/BA_FINAL_COPY_LISSIE.pdf. Websites & video documentaries “At Honest Look At The Inside Of A Dirty Japanese Love Hotel.” 2018. Japan Inside. July 3, 2018. https://japaninsides.com/at-honest-look-at-the-inside-of-a-dirty-japanese-love-hotel/.

Facilities after WW2 were built for workers and laborers but customers were also looking for few-hour stays for their personal activities. Hotel owners began to exploit this and install hourly rates.

Broad, Chris. 2019. “What Owning a Love Hotel in Japan Is Like.” YouTube Video. YouTube. https://www.youtube.com/watch?v=fso4yjbgceY. Ikkyon, Kim. 2013. “Japan’s Aﬀection for Love Hotels.” Nippon.Com. June 3, 2013. https://www.nippon.com/en/views/b02701/. Kaeru, Onegai. 2015. “Inside Popular Themed-Love Hotels in Japan. Why so Many Love Hotels in Japan.” Japan Travel, Market Entry & Shopping Service & 海外進出支援. August 21, 2015.

Many shut down in WW2, but resumed with westernised inﬂuence, evolving into love hotels. The cultural mindset: These were once ‘places a guy took their female companion to’ but has culturally evolved to ‘places where couples make a decision to drop by for a staycation together.

https://www.onegai-kaeru.jp/2015/08/21/inside-a-themed-love-hotel-in-japan-why-so-many-love-hotels-in-japan/ Tohoku. 2018. “Staycation at a ‘Love Hotel’ | Tohoku Local Secret Tours.” Www.Tohoku-Local-Secret-Tours.Jp. 2018. https://www.tohoku-local-secret-tours.jp/tourinfo/587/. Precedent Goodman, Levitt. 2011. “Native Child and Family Services of Toronto / Levitt Goodman Architects.” ArchDaily. March 17, 2011. https://www.archdaily.com/120391/native-child-and-family-services-of-toronto-levitt-goodman-architects.

Traditionally thin walls ie the shoji screens of Japanese houses do not provide the privacy and space that some people seek therefore the place for couples to socialise was necessary.

LYCS Architecture. 2017. “Mylines Hotel / LYCS Architecture.” ArchDaily. August 15, 2017. https://www.archdaily.com/876857/mylines-hotel-lycs-architecture. Jensen & Skodvin Arkitektkontor. 2008. “Gleichenberg Thermal Bath / JSA.” ArchDaily. December 10, 2008. https://www.archdaily.com/9803/gleichenberg-thermal-bath-jsa?ad_source=search&ad_medium=search_result_projects. “Melbourne City Baths History - City of Melbourne.” 2020. Vic.Gov.Au. 2020. https://www.melbourne.vic.gov.au/community/sports-recreation/melbourne-city-baths/about-mcb/Pages/our-history.aspx. Pintos, Paula. 2019. “Nine Hours Capsule Hotel / Naruse Inokuma Architects.” ArchDaily. December 17, 2019. https://www.archdaily.com/930347/nine-hours-capsule-hotel-naruse-inokuma-architects. Zumthor, Peter. 2009. “The Therme Vals / Peter Zumthor.” ArchDaily. February 11, 2009. https://www.archdaily.com/13358/the-therme-vals.

_precedent The Meguro Emperor Architect: Yasuhisa Kurosaka (1973, Tokyo) ~¥22,200 / night Aim: provide privacy for celebration of love amidst rapid urbanisation Outcome: Architectural controversy amongst oﬃce infrastructure Activities: Medieval Europe outer appearance with internal contemporary space, simulating a amusement park but for adults Special features: fairy tale-themed, gondola beds, playground slides, vibrating/gyrated/rotating beds Materials: built for long-lastingness; reinforced concrete slabs (primary structure), concrete panels, cement-board (facade) in replication of a Bavarian facade.

_precedent Nine Hours Capsule Hotel Architect: Naruse Inokuma Architects (2019, Japan) Area: 994 sqm Aim: provide heightened capsule hotel comfort away from the traditional design of capsule living. Outcome: more habitable spaces with convenient access to amenities (shower to sleep spaces). Connected in a single sequence with a spatious “sanitary lounge” at its core.

28/03. Love hotel related precedents and study was related to an earlier concept that was less refined but not all is wasted. The rooms and themes along with amusing play of light and shadow in spaces, are more carefully depicted by the specified love hotel designers. There is also a surprising (cultural) ritual sequence associated that is different from a standard ‘arrive in, exit out’ basis. 9 Hour Capsule Hotel- as tatami modules are a represent of the human proportion in basic measurements, seeing the depth of each space provided me with a compositional choice on how to increase the depth of spaces to help with enhancing atmospheres. The artificial lighting element or underlit sources was another physical element I think I may need later, especially if the concept requires backlit inscriptions of some sort to create varied spaces.

How the love hotels researched, in general, they captured the atmosphere of ‘living in the moment’ or having a chance to breathe, due to their interiors. What interested me the most was how they were able to accomplish that emotion even through the use of artificial lighting, which they seemed to rely on heavily. This could help with certain baths or spaces in underground floors if I were to incorporate deeper levels to achieve both functional lighting and also appear ambient. Granted, this lighting type should not be used too frequently otherwise it would lose its impact and also cause eye strain for users. Perhaps there could be a softer modification.

Special features: rooms carpeted of 0.91mx1.82m tatami mats and capsule dimensions of 1.07mx2.15m. Thin opaque pull down curtain separating the space from other guests; this auditory proximity creates a new yet odd sense of intimacy. Materials: Fibre-reinforced plastic for silk-smooth interior, giving illusions of expansion. ‘Breath Air’ material-ﬁlled mattress with Panasonic/Matushita Electric Work Lighting that responds to thermoﬂuctuations and humidity of the internal capsule.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

AMERICAN INDIAN SWEAT LODGES COLLABORATIVE RESEARCH: JOO & MELISSA RITUAL, THERAPY & MOOD PLAY MATERIAL RESEARCH

_history & culture 2 starving Lakota scouts chanced upon a White Buffalo Calf Woman. One of them lusted after her and was struck down for his impure thoughts whereas the other was told to return to the tribe to prepare for her arrival. He was told that she would help his tribe reunite with the creator spirit. Upon her arrival, she brought a Chanupa, a sacred prayer pipe and taught the 7 sacred rites, consisting of the vision quest, Sundance and Inipi ceremony.

american indian sweat lodges Temporary low-profile wigwam-shaped hut

This ceremony uses intentional discomfort to allow participants to experience the suffering of others in the world and send them prayer with true intentions and invoke sincerity and serenity.

Natural materials such as local timber, covered in buckskins or fabrics

The sweat lodge, in this context, represents a womb within the Earth, which purifies the participants.

Ceremony for purification purposes, ‘sweat’, sometimes known as the Inipi

_ceremony sequence

_traits

Performed under leadership of a medicine man

Consists of 4 rounds of prayer : first for yourself, second for others, third as healing, last as a round of gratitude

Opening prayers done outside lodge

Medicine Man enters and sit to the west of the lodge

Women enter in clockwise and sit in the north of the lodge

Men enter in clockwise and sit to the south of the lodge

7 stones are placed in the central pit and herbs added as offering (eg

Entrance :

Small crawl-in that always faces the east (origin of new beginnings)

Size:

Must be able to accomodate 2-10 people

Shape:

Circular nature represents equality among participants

Special features:

Small shallow pit in the centre for hot stones to be placed

[entrance]

Floor covered with aromatic herbs like sage Medicine man to put a symbol of his spirit guide at the entrance

tobacco, cedar and sweetgrass) 6.

Water is poured over the rocks to create thick steam

Medicine Man conducts opening prayer with a sacred pipe raised to

‘Dog soldiers’ remain outside to tend to fire

Grandfather Sky, Grandmother Earth and the Four Directions 8.

Pipe passed around and smoked by each participant

Men shake their rattles and chant songs

10.

Medicine man summons the power of his Power Animal

11.

Each session ends off with Medicine man and rattles are shaken 4 times

12.

The next set of heated rocks placed in the pit for the following round

Temperature:

Hard to regulate (>39 degrees celsius)

Materials:

Flexible timber (structure) and animal/buck skin (coverage). Local.

_precedent Native child & family services Lodge in Toronto; based on Temazcal Sweat Lodges Architect: Levitt Goodman Architects Area: ~2787.0912 sqm Aim: Create a place that reconnects urban aboriginals with nature in the heart of the city Outcome: Contemporary iteration of a rooftop healing lodge and fire circle Activites: Used for public assembles and ceremony, drumming, counselling and playtime Special features: Woven timber motif for welcoming, respect of origin Materials: Precast concrete, yellow birch heartwood, eastern white cedar, Erimosa limestone, river rock and red slate

Artwork: Richard Packo, 1990. Mohawk Sweat Lodge. Retrieved from https://www.tickettailor.com/events/kawaipurapura/303534

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

_sauna vs sweat lodge

_senses

Saunas

Sweat Lodges

Entering the ‘dark’ with negative emotions, leaving with contented spirit back out into the light

Heat focus & relaxation

Spiritually focused

Tightness with no spaces in between

20-30 minute sessions

Ceremonies for several hours

Humidity, high temperature and air stillness

Originally for bathing rather than sweating, or other functions (curing meats, preparing bodies for funerals, ceremonies, childbirths etc)

Purification of body/mind/soul

Intimacy within closed community; sounds for connection

To give thanks, encourage, search for wisdom, pray for wellness of the people and crops, pray for protection

Difficulty breathing as weight shifted to chest

Mindfulness & relaxation/meditation

Dizzy and disoriented

Potential sensory deprivation

Healing mental trauma; assists with healing from substance use

Discomfort when sitting in the same position for too long

Can be communal or private

To find one’s ‘soul’

Primitive postures and gestures

Social interaction

Mostly community-based Sensory overload Fight infections via a temporary fever state

Medicine for the soul Numbness Sense of accomplishment towards the end

_inspirations Use of sun direction to influence design intent of each room

Vision: Complete darkness during ceremony, re-entry to outside natural light upon completion Audition: Chanting and drumming (helps participants overcome physical discomfort, build intimacy) Gustation: vapor tastes like dirt; earthy Olfaction: herbs and smoke Tactition: Rubbing of legs between participants; close proximities Nociception: Soreness of being in one position, also getting ‘relief’ from herbs Equilibrioception: Giddiness from heatwaves and humidity; ‘highness’

Motion of entry & traverse (difference between social demographics eg male/female/trans/asexuals vs family groups etc) ‘Central’ foci of circulation, directional guide Tightness between people Use of sound - chanting and storytelling Healing intervention for addiction and traumas Scent of materials or point/lined/plane elements Can we re-define the origins of such features and represent these in a different way that is still respecting the original culture yet appeals to our concept, demographic/other chosen factors.

Proprioception: or lack thereof; feeling elevated and in good spirits

_references Journal Gamble, Lynn. 1995. “Chumash Architecture: Sweatlodges and Houses.” Journal of California and Great Basin Anthropology 17 (1): 54–92. https://www.jstor.org/stable/27825567?seq=1. Garrett, Michael Tlanusta, Edil Torres-Rivera, Michael Brubaker, Tarrell Awe Agahe Portman, Dale Brotherton, Cirecie West-Olatunji, William Conwill, and Lisa Grayshield. 2011. “Crying for a Vision: The Native American Sweat Lodge Ceremony as Therapeutic Intervention.” Journal of Counseling & Development 89 (3): 318–25. https://doi.org/10.1002/j.1556-6678.2011.tb00096.x. Kenttämies, Anu, and Kari Karkola. 2008. “Death in Sauna.” Journal of Forensic Sciences 53 (3): 724–729. https://doi.org/10.1111/j.1556-4029.2008.00703.x. Marsh, Teresa, David Marsh, and Julie Ozawagosh. 2018. “Atikameksheng Anishnawbek First Nation.” https://doi.org/10.18584/iipj.2018.9.2.2. Moghaddam, Jacquelene F., and Sandra L. Momper. 2011. “Integrating Spiritual and Western Treatment Modalities in a Native American Substance User Center: Provider Perspectives.” Substance Use & Misuse 46 (11): 1431–37. https://doi.org/10.3109/10826084.2011.592441. Schiff. 2006. “The Impact of the Sweat Lodge Ceremony on Dimensions of Well-Being.” American Indian and Alaska Native Mental Health Research 13 (3): 48–69. https://doi.org/10.5820/aian.1303.2006.48.

Website Akta Lakota Museum. 2019. “Inipi - The Rite of Purification - Akta Lakota Museum & Cultural Center.” Stjo.Org. 2019. http://aktalakota.stjo.org/site/News2?page=NewsArticle&id=8671. Chary, Michael. 2014. “What It’s Like to Participate in a Native Sweat Lodge Ceremony | Gaia.” Gaia. June 11, 2014. https://www.gaia.com/article/native-american-sweat-lodge-ceremony. Lahti, Craig. n.d. “From Sweat Lodges to Home Saunas: Heat Therapy Around the World.” Www.Finnleo.Com. Accessed March 11, 2020. https://www.finnleo.com/finnleo-blog/heat-therapy-around-the-world. Goodman, Levitt. 2011. “Native Child and Family Services of Toronto / Levitt Goodman Architects.” ArchDaily. March 17, 2011. https://www.archdaily.com/120391/native-child-and-family-services-of-toronto-levitt-goodman-architects. Marcus, Aubrey. 2017. “Temazcal (Sweat Lodge).” Aubrey Marcus. 2017. https://www.aubreymarcus.com/blogs/aubrey-marcus/temazcal-sweat-lodge. Ravitz, Jessica. 2016. “Back to the Beginning: The Sweat Lodge Ceremony, as Intended.” CNN. 2016. https://edition.cnn.com/2016/12/01/us/canada-sweat-lodge/index.html. “Sweat Lodge.” n.d. Www.Warpaths2peacepipes.Com. Accessed March 11, 2020. https://www.warpaths2peacepipes.com/native-american-culture/sweat-lodge.htm.

Defining senses experienced during the ritual and user experience was also insightful as Melissa also offered a different kind of input. Discussions to which part of the ritual best suited a sense and to what extent would affect the user, the research helped us learn the limitations of senses and how much is too much before a bathing scheme becomes dangerous. Precedents as underlying framework and launch points for concept development. There is a lot of potential to look back on this later on as inspiration.

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

_MATERIAL RESEARCH

_materials - fr. Therme Vals

_materials - local Melbourne source

structure - exterior - interiors

structure - interiors - local material

Valser Quartzite - exterior/interior Type of stone, ﬁreproof and weatherproof. Naturally compacted from the earth’s tectonic movement

Red brick & cement render mouldings Edwardian Baroque styled, to suit neighbourhood proﬁle in the 1860s. Melbourne Local materials Recycled Cast Aluminium screens, Endicott’s facing brick sourced in local Melbourne Studco in Monash University, teaching and learning building ● Metal stud framing - structure ● Can undertake pressure of curved brick wall facades, support its load ● Increased labour eﬃciency ● Curved and planar structural support available ● Geometric skylights and concealed curvatures ● Supports a variety of facades as structural element

Homogenous concrete - structure Artificial emulation of natural stone materials Compact, heavy, dense. Precast for smooth finishes. Structure - compression Withstand moisture, radiation blockage withstand rising sea levels Sound absorption Large surface coverage with unrestricted joint fixture Sintered stone - flooring/walls For interior and exterior surfaces susceptible to moisture Lightweight, temperature resistant, UV resistant Low maintenance; scratch resistance, Recyclable Slab (3200x1500mm) or tile format (1500x1500, 1500x750, 750x750mm); thickness 6, 12, 20mm. Neolith: natural sintered stone// Calatorao: fine-grain limestone Combined together, neolith is a dark stone showcasing fine-line ‘cracks’ of gold calatorao, giving a contrasting lustre Polished terrazzo - flooring Polished concrete with vast colour combos available in Melbourne Design impact, durable flooring with low maintenance-- longevity and low energy usage for maintenance. Does not support microbial growth Consists of natural aggregates/recycled glass/plastic and processed cement or epoxy binders(25-30%) of the volume of terrazzo floors; the remainder is of aggregates/pigments/fillers.

_materials - other

_references

structure - facade - interiors Tessellate by Hoberman Associates + Buro Happold Modular-framed + glazed screen kinetic system Steel perforated panels glide past each other, regulating light, airflow and privacy Can be integrated into existing systems and over pre-installed glass elements. Suitable for any climate type and for visual comfort, acoustic comfort Aesthetic quality suitable for all building geometries; customizable to building Trigger input: electromagnetic (solar radiation) with mechanical output System response time ranges from seconds to hours; gradual degree of adaptivity Visibility: surface change, yearly system maintenance frequency Shikkui Plaster Japanese lime plaster with high calcium purity 5 smooth plaster surface input with varied added natural materials such as seaweed, kelp extract, egg shell powder Absorbs CO2, VOC gas and bad odors. Microbial growth resistance due to high alkalinity Prevents dust accumulation, fire resistance, humidity regulating Absorbs and reflects light evenly Less labor intensive for high-polish finish Lazure Paints Thin & transparent; water+binder+pigment Varied colours over multiple layers which reflect back different tones and hues Reduce visual boredom and make a space more vibrant depending on application

Books & Journal articles Aelenei, Laura, and Daniel Aelenei. Case Studies - Adaptive Facade Network. 1st ed., vol. 1, Europe, TU Delft Open, 2018, pp. 64–68. Dévant, Laetitia. “Environmental Properties of Concrete Structures.” Theconcreteinitiative.Eu, 2007, www.theconcreteinitiative.eu/images/ECP_Documents/SustainableBenefitsConcreteStructures_EN.pdf.

Websites & video documentaries Tobius Becker’s Breathing Skins Project

John Wardle Architects. “Studco in Monash University – Learning and Teaching Building from Studco.” ArchDaily, 2018, www.archdaily.com/catalog/us/products/16216/studco-in-monash-university-learning-and-teaching-building-studco?ad_source=search&ad_medium=search_result_products . Accessed 25 Mar. 2020. Neolith. Sintered Stone - Calatorao from Neolith. 2008, www.archdaily.com/catalog/us/products/13279/calatorao-sintered-stone-neolith?ad_source=search&ad_medium=search_result_all. “The Many Benefits of Using Terrazzo Flooring.” Terrazzo Australian Marble Blog, 3 Mar. 2016, terrazzo.net.au/blog/many-benefits-using-terrazzo-flooring-systems-going-beyond-aesthetics/. Accessed 25 Mar. 2020.

Precedent “Melbourne City Baths History - City of Melbourne.” 2020. Vic.Gov.Au. 2020. https://www.melbourne.vic.gov.au/community/sports-recreation/melbourne-city-baths/about-mcb/Pages/our-history.aspx. Zumthor, Peter. 2009. “The Therme Vals / Peter Zumthor.” ArchDaily. February 11, 2009. https://www.archdaily.com/13358/the-therme-vals.

24/03. In Material research, I took inspiration from previous precedents based on their versatility to act as both form and structural components. The ‘other’ research was most insightful with possibly determining the type of facade system that could be used. To inform the concept and engage users from outside-in. Concrete for tonal and textural relief, could be used in smaller spaces of a less major program or activity, to provide a rest transition when traversing from one area to another. 60

29/03. I need the materials to narrate for themselves. These suit my vision of the bath house by acting as both function and form-based structures. They are versatile in application and changing perforations are also available so the relationship with natural light is that these can filter for solar regulation and is always dynamic with the daylight. It corresponds with the dynamic language of techtonics that is currently pursued; it seems it best complements the concept although there may be more additions for secondary materials later, to ensure everything is tied together and acts as a coherent piece. JOO LIEW 831400 TUTOR HELLA WIGGE STUDIO BATHING 2.0

29/03. To explore the ‘remains’ of an Australian sea cryptid, an unknown entity. The closest example in this day are seashells, essentially hints of prehistoric and legendary life. Observing from real life- an abalone shell, the insides look like ripples of water or scales (hence the narrative of a leviathan represent) and the colour study was based on the colours visible when light reflects into the inner side of the shell. I find observing objects in real life helped understand the direction of my project more succinctly and this informed material research. Sighting the colour and texture was important, but to also have the tactile sense to feel the shell filled me with respect for its existence. In this sense, this discovery can inform the experiential forms and plans to enrich the project further.

Shikkui plaster and lazure paint finishes could present as the sheen of the ‘scales’ similar to observation from the shell. This is ultimately a bath house with the narrative of housing an unknown entity, for people to discover. Material decisions should be made accordingly so that the narrative and experiences don’t get lost (eg if materials were primarily dull concrete with standard brown pine, this may not fully inform desired spatial experiences). I am striving for a meaningful project, both implicit and explicitly, so every integration must have purpose; As a process some parts of research may be scrapped or changed as result. Stone is richly textured and is chosen not only for the texture and depth, but also its link to the ideology of nature being present in bathing areas (historically natural bodies of water are surrounded by stone, rocks or sand). It is also structurally sound and capable of giving an echoing acoustic. With these in mind, I hope to instill resonance or ‘low vibration’ in the user of that space containing this stone. This is to give the user a sense of comfort, whilst being in an unfamiliar place or act (especially if it is their first visit to a bath house). A substitute for a local material choice is Victorian bluestone, ultimately this would be chosen since it is a local source, can support the economy and also reflect that the project is of old Australian origin. The reason for going with a more mixed colour scheme yet being muted is so it can house and embrace the new and old typologies together. The narrative of the sea cryptid’s influence on Aboriginal history remains even amidst modern times, so as to have both building and its concept mutually exist in timelessness. 61

JOO LIEW

831400 TUTOR HELLA WIGGE

STUDIO BATHING 2.0

SITE ANALYSIS 129 ELGIN STREET, CARLTON 3053 ESD RESEARCH

_PLANNING & REGULATIONS

FOCUSED AERIAL

SITE PLAN

NTS

Commercial Zone C1Z Develop area for high pedestrian amenity along Lygon and Faraday St, with abundant access to natural light and sky views.

COMPLIANCE

COMPLIANCE Easement Guidelines

Area: 793 sqm Perimeter: 119 m DDO48. Frontage at Ground level cannot exceed 2m. Objectives / standards / decision guidelines adhere to Clause 54 & 55 ○

Streetscape conflict frontage: Maintain low-scale nature of buildings within the zone. Should support high frequencies and amenities to pedestrian scale.

○

Overshadowing: Must consider avoiding overshadowing a General Residential Zone, Neighbourhood Residential Zone, Residential Growth Zone or Township Zone upon completion of works.Must not overshadow existing rooftop solar energy systems on adjoining lots in Mixed Use Zone and listed above.

○

Wind Effects: Must not cause unsafe wind conditions in public access areas. Can achieve comfortable wind conditions of 3 m/s for sitting, 4 m/s for standing areas and 5 m/s for walking areas.

20.4

○ ○ ○

.4m

.6 m

○

Noise Attenuation: noise attenuation measures and achieve maximum noise level of 45 dB in habitable rooms with windows closed, have external glazing, doors and air-conditioning or ventilation system designed by recognized acoustic consultant

○

City West Water, the official water retailer of our site provided guidelines on Easements. They require 24 hour access to all sewer and water assets. The unrestricted access is needed to shut off, repair and/or maintain the pipe. A water main burst can cause serious damage to property, hence City West Water does not permit a structure over a water main.

○ City West Waters - Guidelines for proposed works build over guide April 2016

Proposal for new building 129-135 Elgin St. **Site frontage

COMPLIANCE

Easements

○

Easements

Damage towards property is reduced and prevented when main sewer is allocated outside of the range of structural presence. ○

Structure over Water Main is not allowed to prevent leakage and difficulties for maintenance work.

(*Concept research and precedents. Please read top left to right bottom.) Site Analysis: Building, Planning Regulations research by Joo & Lauren for 129-135 Elgin St, Carlton 3053