final harbour submission
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Final including box sheet templates and final imagesTRANSCRIPT
Harbour
To follow are the four sites that are going to inform my bathing architecture and the interior
landscapes and cultures of my Bathhouse.
Site 2 -
Dvina Bay - White Sea - Russia
Dvina Bay is found to the southeast of the White Sea, a tributary to the Barents Sea. It receives wa-ter from the river named Northern Dvina at the major part of the region called Arkhangelsk. The White Sea is a water filled trough in the block of a continental shelf known as the Baltic Shelf. Its bottom is very hollowed and uneven, containing the Kandalasksha Hollows in the northwest, and the Solovetsky Islands int he south. It is a tidal body of water, but the currants are relatively weak. The river brings fresh water to the sea, with the Northern Dvina River contributing up to 171km cubed in some years. About 40% of the freshwater contributed to the sea body, is through the melting snow during May, with minimal contribution through February - March. This decreases the surface salinity of the sea to around 23%, reaching 10-12% in Dvina Bay, as well as increasing Silicon and Silicates in the water (a characteristic of the White Sea). In winter- from October/No-vember to May/June, the sea freezes over, with temperatures reaching -0.5 to -0.7 in the bays.The general climate varies between polar and moderate continental, with frequent fogs and clouds. Winds are predominantly southwestern in winter, with northern areas staying slightly warmer. Arctic anticyclones, however, change winds to the northeast, bringing much colder weather. Sum-mers are cold, cloudy and relatively humid, with winds and rain.The sea hosts more than 700 species of invertibrates, about 60 species of fish, and 5 species of marine animals.
Site 1 -
Gulf of Mexico - Castal Plains
The Gulf coastal plains’ sothern boundary is the Gulf of Mexico in the U.S and the Sierra Mandre de Chiapas in Mexico. It’s western boundary is the drop into the Mississippi embayment in the US, and the Sierra Mandre Oriental in Mexico. On the north it extends to the Ouachita Highlands of the interior Low Plateaus and the southern Appalachian Mountains. To the East, there is an arbitrary break with the South Atlantic coastal plain at the Alabama-Georgia boarder and south along the Apalachicola River, through the Florid Panhandle.The flat to rolling topography is broken by many streams, rivers, and marsh wetland. The northern region uplands are dominated by Pine, originally Longleaf and Slash in the south, and Shortleaf mixed hardwoods in the north. These are wildlife-maintained systems that give way to Loblolly Pine and hardwoods in damper areas and bottomland hardwood forrest in extensive lowland drainages.The southern region has tropical and sub-tropical moist broadleaf forests and western gulf coastal grasslands. They include large habitats of freshwater wetlands, salt marshes, and coastal mangrove swamps. Much of the lower region Gulf Coastal Plains supports wintering waterfowl.
Site 3 -
Tsugam Strait - Honshu/Hokkaido - Japan
The strait connects the Sea of Japan with the Pacific Ocean to the north of Japan. Japan’s territorial waters extend to 3 nautical miles in to the strait either side, instead of the usual 12, to allow for the US armed and nuclear war ships to pass without violating Japan’s prohibition against nuclear weapons in its territory.Thomas Blakiston, an English explorer and naturalist, noticed that animals in the Hokkaido were related to northern Asian species, whereas those on Honshu to the south, were related to those from southern Asia. The Tsuganu Strait was therefore established as a major zoogeographical boundary, and became known as the “Blakiston Line”.Much of the terrain consists of mountains and forests, and the coastal regions are where the ma-jority of it’s people live. Climatically, Japan enjoys a temperate climate, though regional variation is expected from North to South. Despite its breathtaking beauty, Japan’s position on the conver-gence line of 3 tectonic plates, leaves it prone to natural disasters including earthquakes, tsunamis, and volcanic activity.
Site 4 -
Agean Sea - Greece/Turkey - Malian Gulf
The Aegean Sea is an elongated embayment of the Mediterranean Sea located between the South-ern Balkans and Anatolian peninsulas (between the midlands of Greece and Turkey.) The main islands that make up the Archipelago are an extension of the mountains on land. The largest of these clusters being the strand called the Peloponnese and from Crete to Rhodes, dividing the Mediterranean from the Aegean.The origin or its name is said to have come from many different sources from Greek history. After the Greek town of Aegae, after Aegea a Queen of the Amazons who drowned in the sea. Aigaion, the “sea goat”, being another name of Briareus, one of the archaic Hecatonchires. Or, among the Athenians, Aegeus, the father of Theseus, who drowned himself in the sea when he thought his son had died. Plato described the Greeks living around the Aegean “like frogs round a pond”.The Gulf itself is in the region of Phthiotis in Eastern Central Greece. The Gulf is named after the ancient Malians who settled on its shores. Due to the accumulation of silt from the many rivers that feed the sea, the Gulf has been shrinking in size over the many centuries and is very shallow, its maximum depth being 27m. The land that was once covered in water, has now become a vast and fertile coastal plain.
Traditional Russian ice bath Native American Sweat Hut
Traditional Greek Hot Spring Bath
Traditional Japanese Onsen Bath
Harbour - Site 1 - Gulf of MexicoMorgan City
Morgan City sits on the banks of the Atchafalaya River. Morgan City was originally called Tiger Island by surveyors appointed by U.S. Secretary of War John Calhoun because of a particular type of wild cat seen in the area. It was later called Brashear City after Walter Brashear, a prominent Kentucky physician who purchased large tracts of land and acquired numerous sugar mills. It was incorporated in 1860 as Brashear City.
This region, with its rolling topography and extensive areas of forest, provides more than fifty percent of the state’s total wood production. Land use is dominated by the forest industry with timber companies owning large tracts of land, totaling approximately 2.6 million acres in the Coastal Plain alone, with forests occupying seventy per-cent or more of the land area of most counties within the region. More than 120 wood-related industries employ thousands of people and provide a tremendous boost to this region’s economy, though the economic downturn and housing slump that began in 2007 have taken their toll on the timber industry.
The Mississippi lowland valley is a busy thor-oughtfare for migratory birds into and out of the area.
The main species to grow at the north end of the valley are broad leaf deciduous and evergren species.
The annual rainfall is 40 inches, and in some areas up to 60 inches.
UPLAND TRANSITIONAL FORREST
PASTURES
RIVER SWAMP FORREST
Vegetable growing is atempted but poor in winter due to rainfall and wash down the valley, causing nutrients to run off.
The marshland plains nearer the tributaries into the Gulf contain many wet living spe-cies of tree, including Black Ash Willow and Water Ash.
At the shore line, there is a blurring betwee the land and the sea due to sand flats and coral shelves.
Spotted sea trout.
Sothernly winds bring warm and tropically moist air to the south of the valley, frequently manifesting themselves as hurricanes.
Low nutrient soils.
According to the census of 2000, Morgan City has a population of 12,703 people. They are broken down into the following ethnicities:
- 71.28% White- 23.90% African American-0.91% American Indian-1.02% Asian-0.01% Pacific Islander-1.18% Other
Harbour - Site 2 - Dvina BayArchangel
Archangel city (1990 est. 418,000), in NW European Russia, on the Northern Dvina river near its mouth at the White Sea. Although icebound much of the year, it is a leading Russian port and can generally be made usable by icebreakers. Timber and wood products make up the bulk of the exports. The city has factories producing pulp and paper, turpentine, resin, cellulose, building materials, and prefabricated houses. Fishing and shipbuilding are also major indus-tries. It is the terminus of both the Northern Sea Route and the Baltic-White Sea Canal, which was built by slave labor.
Arkhangelsk Oblast is famous for its wooden buildings which include churches, chapels, peasant houses and farms, and city houses. The choice of wood as the construction material is natural for a region almost exclusively covered by taiga and still being one of the biggest timber produc-ers. Some of these buildings date from 17th century. Churches and chapels are considered particularly fine, and almost all of these constructed prior to 1920s have been declared the cultural heritage at the federal or local levels.
Higher up in the hills of the Dvina river valley, the land is mostly comprised of Pine, Spruce and Larch forrest on hilly ground.
Throughout much of the year, the snow falls on most ground, but especially the higher areas in the hills. Snow only melts in summer, from April to August.
Within the forrests, clearings occur where the hills hive way to pastures and swamps.
Below these forrests there are to be found river flood plains. These have valleys either side where local farmers breed the indigi-nous Kholmogory Cattle and where the Me-zen horses do their work.
A lot of potato and crop growing occurs here too, but due to the wet soil conditions, this is hard.
At the base of the valley and at the tributary to the Dvina Bay, and beyond, the White Sea, the shore line is swampy and water logged, slowly giving way to the sea.
Bee keeping is prevelant within this area of Russia.
There are many species of wetland bird in this area.
FORREST
RIVER FLOOD PLAIN
SHORE LINE
In 2012, the population of this town was rated within the top 5 highest. This is due to the large area Russia has for inhabitations, as well as the fact the town sprawls across the Delta.
In 2010 the population was recorded as 348,783 spread across the Delta in the Archangel district.
Harbour - Site 3 - Tsugam Strait - Honshu/Hokkaido - JapanHonshu, Imabetsu, AomoriThe strait connects the Sea of Japan with the Pacific Ocean to the north of Japan. Japan’s territorial waters extend to 3 nautical miles in to the strait either side, instead of the usual 12, to allow for the US armed and nuclear war ships to pass without violating Japan’s prohibition against nuclear weapons in its territory.Thomas Blakiston, an English explorer and naturalist, noticed that animals in the Hokkaido were related to northern Asian species, whereas those on Honshu to the south, were related to those from southern Asia. The Tsuganu Strait was therefore established as a major zoogeographical boundary, and became known as the “Blakiston Line”.Much of the terrain consists of mountains and forests, and the coastal regions are where the majority of it’s people live. Climatically, Japan enjoys a temperate climate, though regional variation is expected from North to South. Despite its breathtaking beauty, Japan’s position on the conver-gence line of 3 tectonic plates, leaves it prone to natural disasters including earthquakes, tsunamis, and volcanic activity.
The cool maritime climate is due to the breeze from the north off the Tsugaru Stait.
The climate is a cool one, and during the winter months, snow covers much of the town. The summers are mild and short, the winters can be cold and long.
It is located within the Amori district, nd the town itself is located wihtin the boundaries of the Tsugaru Quasi-National Park.
Animals on Honshu Island are related to those from South Asia, unlike those on Hok-kaido which are related to those from Norh Asia. This is called the (Blakiston Line).
There are many underground hot springs in the area, lending it to the creation of tradi-tional Japanese Onsen baths.
The land itself is extremely volcanic, with much activity throughout a typical year. With Mount Fuji, leading into the Japanese Alps, fast flowing rivers to teh deltas into the Tsugaru Strait, its a varied landscape.
Fishingis a masive industry both commercial and local. The most common produce are:- Sea Urchin Roe- Roe- Sea Cucumber- Scallops- Abalone- Squid
Oil is a big commercial product out in the Japan Sea.
In April 2012, the population of this small Japanese port town on Hinshu island had 3,040 residents, sandwiched between the sea in the bay and the Japanese rural land-scape behind.
A tunnel connects Honshu with south Hok-kaido at the point of Imbetsu.
Harbour - Site 4 - Agean Sea, Malian GulfThermopylae
The Aegean Sea is an elongated embayment of the Mediterranean Sea located between the Southern Balkans and Anatolian peninsulas (between the midlands of Greece and Turkey.) The main islands that make up the Archipelago are an extension of the mountains on land. The largest of these clusters being the strand called the Peloponnese and from Crete to Rhodes, dividing the Mediterranean from the Aegean.The origin or its name is said to have come from many different sources from Greek history. After the Greek town of Aegae, after Aegea a Queen of the Amazons who drowned in the sea. Aigaion, the “sea goat”, being another name of Briareus, one of the archaic Hecatonchires. Or, among the Athenians, Aegeus, the father of Theseus, who drowned himself in the sea when he thought his son had died. Plato described the Greeks living around the Aegean “like frogs round a pond”.The Gulf itself is in the region of Phthiotis in Eastern Central Greece. The Gulf is named after the ancient Malians who settled on its shores. Due to the accumulation of silt from the many rivers that feed the sea, the Gulf has been shrinking in size over the many centuries and is very shallow, its maximum depth being 27m. The land that was once covered in water, has now become a vast and fertile coastal plain.Thermopylae (“hot gateways”) is a location in Greece where a narrow coastal passage existed in antiquity. It derives its name from its hot sulphur springs. “Hot gates” is also “the place of hot springs and cavernous entrances to Hades”.
There is a horse-shoe configuration of limestone mountains, densely forrested and steep.
To the West there is the Gulf of Corinth.
The thin valley is now a mile from the sea due to sedimentary deposits, but the shore line used to reach to the foot of the moun-tains.
The Phoenix river runs from these moun-tains to the mouth of the bay into the Malian Gulf.
The receeded waters have left a large flood plain and dusty hot fertile land. Here, olive trees are planted.
One of the hills at the base of the mountains have famous and healing sulphorous hot springs, where the name ‘hot gates’ was born from. In history, Emperors have utilised these springs, by building bath houses along its length.
A temple remains in ruin situated near the new road, which is considdered one of the most dangerous passes in Greece.
The population of the small town situated just to teh West of Thermopylae in Greece is so small it is not documented as far as I can see. It is however a popular pilgrimage site for loads of people to the hot sulphorous spas and site of the famous battle between the Spartans and the Persians.
The weather is hot and dry, where ony crops that thrive can survive.
Site 2 -
The Russian Bania
The Russian Bania in Russia is not just a public bath, it is a way of life and a cultural and social tradition. The space is small but the intructions on how to carry it out, are exacting.
A Russian banya has a special room, where a large amount of hot steam is created with the help of water and hot air. A classic Russian banya is heated with firewood, but modern versions might use electric heat as well. Inside the banya, which is usually built of wood, there are wide wooden benches along the walls. They are built up one above the other like steps. You can sit or lay on the benches. The higher up the bench the hotter the air is. Once someone has warmed up well enough, he or she leaves the steam room, and dips into a pool of cold water. You can also pour water over yourself from a tub, while in Siberia it’s common to walk right out of the steam room and jump into the snow.
Friends go to the banya with a special purpose in mind. It’s considered that the banya atmosphere brings people closer together, and allows them to communicate and interact on a more common level. Russians don’t spend all their time in the parnaya (hot steamy room). During a break they walk out to another room which is called predbannik. Usually, that room has a large long table and a few benches. In the predbannik, people take a break from the hot temperature and relax, drink aroma tea or special herbal tea, have conversations about life and share their ideas or beliefs to each other.
Site 1 -
The Sweat Lodge
The sweat lodge or sweat house (also called purification ceremony, ceremonial sauna, or simply sweat) is a ceremonial or ritual event in some cultures, particularly among some North American First Nations, Native American, Scandinavian, Baltic and Eastern European cultures. There are several styles of structures used in dif-ferent cultures; these include a domed or oblong hut similar to a wickiup, a permanent structure made of wood or stone, or even a simple hole dug into the ground and covered with planks or tree trunks. Stones are typically heated and then water poured over them to create steam. In ceremonial usage, these ritual actions are accompa-nied by traditional prayers and songs.
Rituals and traditions vary from region to region and from tribe to tribe. They often include prayers, drumming, and offerings to the spirit world. In some cultures a sweat-lodge ceremony may be a part of another, longer cer-emony such as a Sun Dance. Some common practices and key elements associated with sweat lodges include:• Orientation–Thedoorusuallyfacesasacredfire.ThecardinaldirectionsusuallyhavesymbolisminNative American cultures. The lodge may be oriented within its environment for a specific purpose. Placement and orientation of the lodge within its environment are often considered to facilitate the ceremony’s connection with the spirit world, as well as practical considerations of usage.• Construction–Thelodgeisgenerallybuiltwithgreatcare,andwithrespectfortheenvironmentandfor the materials being used. Many traditions construct the lodge in complete silence, some have a drum playing while they build, other traditions have the builders fast during construction.• Clothing–InNativeAmericanlodgesparticipantsusuallywearasimplegarmentsuchasshortsoraloose dress.• Offerings–Varioustypesofplantmedicinesareoftenusedtomakeprayers,givethanksormakeoffer-ings.• Support–Inmanytraditions,oneormorepersonswillremainoutsidethesweatlodgetoprotecttheceremony, and assist the participants. Sometimes they will tend the fire and place the hot stones, though usually this is done by a designated firekeeper. Darkness - Many traditions consider it important that sweats be done in complete darkness.
Site 3 -
The Onsen Bath
An onsen is a term for hot springs in the Japanese language, though the term is often used to describe the bathing facilities and inns around the hot springs. As a volcanically active country, Ja-pan has thousands of onsen scattered along its length and breadth. Onsen were traditionally used as public bathing places and today play a central role in directing Japanese domestic tourism.
Onsen by definition use naturally hot water from geothermally heated springs. Onsen should be differentiated from sentō, indoor public bath houses where the baths are filled with heated tap water. The legal definition of an onsen includes that its water must contain at least one of 19 designated chemical elements, including radon and metabolic acid and be 25 °C or warmer before being reheated.
Onsen water is believed to have healing powers derived from its mineral content. A particular on-sen may feature several different baths, each with water with a different mineral composition. The outdoor bath tubs are most often made from Japanese cypress, marble or granite, while indoor tubs may be made with tile, acrylic glass or stainless steel. Different onsen also boast about their different waters or mineral compositions, plus what healing properties these may contain. Other services like massages may be offered.
People often travel to onsen with work colleagues, friends, couples or their families.
Sentō is another type of Japanese communal bath house where customers pay for entrance. Tradi-tionally these bath houses have been quite utilitarian. Both baths, though, have a lot of rules and traditions
Site 4 -
Thermae - Greek Baths
Most Roman cities had at least one, if not many, such buildings, which were centres not only for bathing, but socializing. Roman bath-houses were also provided for private villas, town houses, and forts. They were supplied with water from an adjacent river or stream, or more normally, by an aqueduct. The water could be heated by a log fire before being channelled into the hot bathing rooms.
A public bath was built around three principal rooms: the caldarium (hot bath), the tepidarium (warm bath) and the frigidarium (cold bath). Some thermae also featured steam baths: the sudato-rium, a moist steam bath, and the laconicum, a dry steam bath much like a modern sauna.
The whole building comprises a double set of baths, one for men and the other for women. It has six different entrances from the street, one of which gives admission to the smaller women’s set only. Five other entrances lead to the men’s department, of which two, communicate directly with the furnaces, and the other three with the bathing apartments.
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. There were libraries, rooms for poetry readings, and places to buy and eat food. The mod-ern equivalent would be a combination of a library, art gallery, mall, restaurant, gym, and spa.
Existing Social and Cultural Practices of Bathing
Pop-Up Book
Experimentation with the Concept of Inside-Out
Within the brief for the Harbour project, I would like to explore the concept of ecology and of inside out within the design and construction of the bathhouses on each site. By incorporating the local environment and ecology as a main aspect within design, I hope that the normal function of building and enclosure
will be questionned and maybe re-defined. Also, I hope, due to the fact that the spaces are meant to provide different and new communal spaces for the local residents, and in some cases linked with private functions, that education of the importance of preservation and intimacy with the local landscpae is key for
the continuous harmonious relationship humans have with the smal piece of planet we interract with.
I hope that by keeping this notion of inside out, and however that may manifest within my designs, in mind, not only the capture and re-interpretation of na-ture indoors (as people are doing today for art - for example ‘Rain Room’ - but still moan when it rains naturally), something spectacular will be created, that
will draw people to experience the culture of the bathhouse, as well as embrace a new way of socialising in 2013.
Harbour Site 4
Imabetsu - Aomori Prefecture - Tsugaru Strait - Japan
Harbour Site 2
Archangel - Dvina Bay - Rusia
Harbour
Next is the site I have chosen for my bathhouse. This building will use the 4 reference sites, with a history and culture of different bathing practices, to inform a bathhouse that
will become a social experiment and prototype for similar social interventions within other less economically well off London bouroughs, or even across seas. Not only will the building become a cultural handbook for bathing, but will stand out as a social and com-munity experience that is unrivalled within England today. London especially has a well documented history of public bathing that came over with the Romans, and they were
situated mainly along the Thames, but today, other than spas or commercially run pools, few bathhouse experiences are still in opperation.
I want to create a new social space that allows people to meet and socialise within 2013 London.
Social engagement and community interraction are key to producing my cultural, sensual and special experience, within the heart of East London.
Harbour - Site - London, Bow CreekBoundary between Tower Hamlets and Newham
Bow Creek is a 2.25mile long estury of the River Lea, and is part of the Bow Back Rivers, and forms the boundary between the London borough of Tower Hamlets and Newham in East London. Where the Lea meets the Thames is named Leamouth, but these last few miles where it meandres to the Thames, is Bow Creek. The low lying land it cuts through was formerly called Bromley Marsh, but now is occupied by gas works and trading estates, and probably just as well, as it is succeptable to flooding at high tide.
The use of this stretch of river is recorded as far back as 1190, with a long and varied history, bargemen during the Great Plague of 1665 continued to use the tax-less waterway to supply London with food. Ships historically were built at the Orchard House Yard in the Southern reaches of Leamouth, where they could be launched in the Creek at high tide (as too shallow at low) to travel North along the Lea, or South to the Thames. This ship building tradition has since been lost in the area.
The Bow Creek Ecology Park is located below and next to the DLR near to Canning Town station and the Peninsula. It includes small streams and ponds, outdoor classrooms, footpaths (leading to other green spaces in London), observation points and seating. It is important for local education, with many unidentified and rare plant species being found there, a legacy in itself from the old shipping industry.
The Great British weather is one of a change-able nature, ranging from snow in the winter to warm sun in the summer (if we are lucky for prolonged periods).
Star Lane Park
Silvertown Way / Manor Road
Blackwall Trading Estate
Glacus Works
Tower Hamlets
London Under-ground and DLR
Lower Lea Crossing
London City Airport
Newham Way
Newham
The Thames
Limmo Peninsula Ecological Park
To either side of the site, there are patches of greenery and on the opposing peninsular there is located the Limmo Peninsurar Eco-logical Park. The park features small streams, interlinked ponds and meadows, with the tidal River Lea always nearby. The site in linked by a riverside walkway to the nearby East India Dock Basin Nature Reserve.
To the SOUTH is the Thames, where the River Lea meets the Thames just after Bow Creek.
To the NORTH is Stratford and Essex. The Olympic site of 2013 is found here and so is an area of economic and community reju-venation, with mixed results and oppinions amongst residents.
To the WEST is the London borough of Tower Hamlets, a historical area of the East of London, with a real mix of economics and residents.
To the SOUTH EAST there is London City Airport, whic is a buisy airport bringing visitors to London for leisure, pleasure and business.
To the EAST is the London borough of Ne-wham (formerly part of Essex). It is the poor-est borough in England, and has the largest diversity of ethnicities also.
Canary Wharf
NEWHAM:The 2011 census states that 310,500 people live in Newham, it has the highest young popuation and lowest White british population in the country. It has the 2nd highest percentage of Muslims in the country, as well as the highest fertility rates in the country, along with some below th epoverty line, and in cramped living conditions, the borough is packed full.
Largest cultural diversity in London:- 32.6%White British- 1.1% British Irish- 5.4% Other White- 1.2% White and Black Caribbean- 0.8% White and Black African- 0.8% White and Asian- 0.9% Other Mixed- 12.1% Indian- 8.7% Pakistani- 9.0% Bangladeshi- 12.7% Other Asian- 6.7% Black African- 12.7% Black African- 1.1% Other Black-1.4% Chinese- 2.4% Other
LONDON CITY AIRPORT:In 2011 the number of people logged as flying into London City Airport, from many countries across Europe and America, reached:
2,992,847 passengers.
TOWER HAMLETS:The 2011 census found that the total population of the borough was 256,000. It is noted as one of the most deprived boroughs in London, with high child poverty, crime and unemployment compared to the rest of England.
Large cultural diversity:- 46.9% White British- 1.4% White Irish- 8.0% Other White- 0.8% White and Black Caribbean- 0.4% White and Black African- 0.9% White and Asian- 0.7% Other Mixed- 3.3% Indian- 1.5% Pakistani- 22.1% Bangladeshi- 4.5% Other Asian- 2.3% Black Caribbean- 3.6% Black African- 0.5% Other Black- 1.6% Chinese- 1.5% Other
CANARY WHARF:There is no housing to be found within Canary Wharf, but many upper class homes in the wharfs surrounding. 90,000 people work there, and more than 7,000 people from Tower Hamlets work there.
Stratford
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g,
the
user
then
m
oves
on
to
plun
ge in
to a
fr
ozen
poo
l for
10
seco
nds t
o 1
min
ute.
Use
r can
repe
at
the
expe
rienc
e as
m
any
times
as h
e/sh
e lik
es.
Use
r exi
ts in
to
the
com
mun
al
spac
e to
rela
x.
Exit
thro
ugh
chan
ging
room
s.
Use
r
Japa
nese
O
nsen
PROMENADE
Use
r ent
ers
the
publ
ic
bath
s.
Use
r cho
ses t
o pa
y de
pend
ing
on b
ath
cho-
sen,
incl
udin
g or
exc
ludi
ng
any
trea
tmen
ts
Use
r can
then
ch
ose
to re
lax
in
the
com
mun
al
spac
e on
ent
ry,
or p
rogr
ess
thro
ugh
to th
e ch
angi
ng a
rea
and
show
ers.
Choi
ce b
etw
een
mal
e and
fe
mal
e as w
ell a
s se
greg
atio
n fo
r m
uslim
s.
Mal
e
Fem
ale
Choi
ce b
etw
een
mal
e and
fe
mal
e as w
ell a
s se
greg
atio
n fo
r m
uslim
s.Re
gula
r cha
ngin
g
Mus
lim ch
angi
ng
Regu
lar c
hang
ing
Mus
lim ch
angi
ng
Thos
e no
t usin
g th
e fa
cilit
ies c
an re
lax
in th
is co
mm
unal
ar
ea w
here
ther
e is
a ca
fe a
nd v
iew
s ac
ross
the
com
plex
.
Use
rs th
en m
ove
into
ano
ther
com
-m
unal
spac
e w
here
th
ey m
ove
thro
ugh
into
the
Japa
nese
O
nsen
pro
cess
.
Use
r
Gre
ek
Baln
ea
PROMENADE
Use
r ent
ers
the
publ
ic
bath
s.
Use
r cho
ses t
o pa
y de
pend
ing
on b
ath
cho-
sen,
incl
udin
g or
exc
ludi
ng
any
trea
tmen
ts
Use
r can
then
ch
ose
to re
lax
in
the
com
mun
al
spac
e on
ent
ry,
or p
rogr
ess
thro
ugh
to th
e ch
angi
ng a
rea
and
show
ers.
Choi
ce b
etw
een
mal
e and
fe
mal
e as w
ell a
s se
greg
atio
n fo
r m
uslim
s.
Mal
e
Fem
ale
Choi
ce b
etw
een
mal
e and
fe
mal
e as w
ell a
s se
greg
atio
n fo
r m
uslim
s.Re
gula
r cha
ngin
g
Mus
lim ch
angi
ng
Regu
lar c
hang
ing
Mus
lim ch
angi
ng
Thos
e no
t usin
g th
e fa
cilit
ies c
an re
lax
in th
is co
mm
unal
ar
ea w
here
ther
e is
a ca
fe a
nd v
iew
s ac
ross
the
com
plex
.
Use
rs th
en m
ove
into
ano
ther
com
-m
unal
spac
e w
here
th
ey m
ove
thro
ugh
into
the
Gre
ek
Baln
ea p
roce
ss.
Use
r
Am
eric
an
Swea
t
PROMENADE
Use
r ent
ers
the
publ
ic
bath
s.
Use
r cho
ses t
o pa
y de
pend
ing
on b
ath
cho-
sen,
incl
udin
g or
exc
ludi
ng
any
trea
tmen
ts
Use
r can
then
ch
ose
to re
lax
in
the
com
mun
al
spac
e on
ent
ry,
or p
rogr
ess
thro
ugh
to th
e ch
angi
ng a
rea
and
show
ers.
Choi
ce b
etw
een
mal
e and
fe
mal
e as w
ell a
s se
greg
atio
n fo
r m
uslim
s.
Mal
e
Fem
ale
Choi
ce b
etw
een
mal
e and
fe
mal
e as w
ell a
s se
greg
atio
n fo
r m
uslim
s.Re
gula
r cha
ngin
g
Mus
lim ch
angi
ng
Regu
lar c
hang
ing
Mus
lim ch
angi
ng
Thos
e no
t usin
g th
e fa
cilit
ies c
an re
lax
in th
is co
mm
unal
ar
ea w
here
ther
e is
a ca
fe a
nd v
iew
s ac
ross
the
com
plex
.
Use
rs th
en m
ove
into
ano
ther
com
-m
unal
spac
e w
here
th
ey m
ove
thro
ugh
into
the
Am
eric
an
Swea
t pro
cess
.
They
then
mov
e th
roug
h in
to a
ro
om w
here
smal
l to
wel
s to
pres
erve
m
odes
ty a
re
give
n ou
t, al
ong
with
a b
ucke
t. Th
is is
whe
re
peop
le le
ave
thei
r sh
oes b
efor
e m
ovin
g on
.
Use
r mov
es in
to a
ro
om w
here
they
m
ust w
ash
at a
fa
ucet
as e
nter
ing
the
bath
s dirt
y is
seen
as d
isre-
spec
tful.
Afte
r was
hing
th
e us
er m
oves
th
roug
h in
to th
e ba
thin
g ro
om,
whe
re p
ools
of
diffe
ring
tem
-pe
ratu
res a
re
prov
ided
.
Use
r can
chos
e to
prog
ress
ont
o a
saun
a.
Use
r the
n pl
unge
s in
to a
cold
bat
h to
co
ol o
ff.
Use
r can
chos
e to
ha
ve a
trad
ition
al
Japa
nese
Anm
a m
assa
ge in
top
of th
eir b
athi
ng
expe
rienc
e.
Use
r exi
ts in
to
the
com
mun
al
spac
e to
rela
x.
Exit
thro
ugh
chan
ging
room
s.
Use
r firs
t ent
ers
the
‘Frig
idar
ium
’ or
cold
bat
h,
whe
re th
ey
plun
ge in
ord
er to
st
art t
he p
roce
ss.
Use
r the
n en
ters
th
e ‘T
apid
ariu
m’,
whe
re w
arm
air
from
the
adjo
inin
g ho
t roo
m h
eats
the
air a
s war
m-u
p fo
r th
e ho
t roo
ms.
Use
r can
chos
e ha
ve a
mas
sage
us
ing o
ils a
t thi
s sta
ge.
Use
r the
n en
ters
th
e ‘C
alda
rium
’, w
here
hot
sur-
roun
ding
air
as
wel
l as a
hot
wat
er
pool
crea
tes a
ver
y ho
t env
ironm
ent.
Use
r exi
ts in
to
the
com
mun
al
spac
e to
rela
x.
Exit
thro
ugh
chan
ging
room
s.
They
then
pas
s in
to a
room
whe
re
coto
n t-
shirt
s to
cove
r mod
esty
are
gi
ven
out t
o th
e us
ers.
Any
non
-na
tura
l ite
ms a
re
not a
llow
ed in
.
Swea
t env
iron-
men
t is c
hose
n fr
om:
- tur
f- s
wee
tgra
ss- c
edar
bow
s- s
age
leav
es
Ente
ring
the
swea
t env
iron-
men
t, pe
ople
sm
udge
them
-se
lves
with
sage
or
swet
gras
s.
Use
rs m
ust p
ass
into
the
lodg
e in
a cl
ockw
ise
dire
ctio
n to
take
th
eir p
lace
in th
e ci
rcle
sitti
ng cr
oss
legg
ed.
The
door
ope
ning
is
clos
ed a
nd th
e hu
t plu
nged
into
da
rkne
ss, w
here
on
e pe
rson
is
in ch
arge
of t
he
wat
er, w
here
it is
po
ured
ove
r hot
st
ones
to cr
eate
st
eam
.
Use
r can
chos
e to
st
ay o
r lea
ve d
e-pe
ndin
g on
thei
r to
llere
nce.
Whe
n th
e us
er le
aves
th
ey c
an si
t in
the
surr
ound
ing
land
scpa
e to
cool
off
. Coo
l sho
wer
s ar
e pr
ovid
ed.
Use
r exi
ts in
to
the
com
mun
al
spac
e to
rela
x.
Exit
thro
ugh
chan
ging
room
s.
Use
r
Russ
ian
Bany
a
PROMENADEU
ser e
nter
s th
e pu
blic
ba
ths.
Use
r cho
ses t
o pa
y de
pend
ing
on b
ath
cho-
sen,
incl
udin
g or
exc
ludi
ng
any
trea
tmen
ts
Use
r can
then
ch
ose
to re
lax
in
the
com
mun
al
spac
e on
ent
ry,
or p
rogr
ess
thro
ugh
to th
e ch
angi
ng a
rea
and
show
ers.
Choi
ce b
etw
een
mal
e and
fe
mal
e as w
ell a
s se
greg
atio
n fo
r m
uslim
s.
Mal
e
Fem
ale
Choi
ce b
etw
een
mal
e and
fe
mal
e as w
ell a
s se
greg
atio
n fo
r m
uslim
s.Re
gula
r cha
ngin
g
Mus
lim ch
angi
ng
Regu
lar c
hang
ing
Mus
lim ch
angi
ng
Thos
e no
t usin
g th
e fa
cilit
ies c
an re
lax
in th
is co
mm
unal
ar
ea w
here
ther
e is
a ca
fe a
nd v
iew
s ac
ross
the
com
plex
.
Use
rs th
en m
ove
into
ano
ther
com
-m
unal
spac
e w
here
th
ey m
ove
thro
ugh
into
the
Russ
ian
Bany
a pr
oces
s.
They
then
pas
s in
to a
room
w
here
felt
hats
ar
e al
loca
ted,
as
wel
l as t
he ch
oice
of
atte
ndan
t m
assa
ge, a
tten-
dant
birc
h tw
ig
mas
sage
, or s
elf
ther
apy
is m
ade.
Use
r rela
xes i
n th
e ste
am ro
om w
hilst
fr
iend
s hit
each
ot
her w
ith b
irch
leave
s dip
ped
in
cold
wat
er.
Use
r rela
xes i
n th
e ste
am ro
om w
hilst
th
e atte
ndan
t us
es b
irch
leave
s to
mas
sage
and
in
vigo
rate
.
Use
r rela
xes i
n th
e ste
am ro
om w
hilst
th
e atte
ndan
t car
-rie
s out
a re
gula
r m
assa
ge.
A w
arm
-up
sess
ion
in th
e sa
una
is ca
rrie
d ou
t.
Use
r exi
ts in
to a
ro
om w
here
tea
can
be o
rder
ed in
or
der t
o co
ol o
ff a
little
.
Use
r re-
ente
rs
stea
m ro
om a
nd
carr
ied
out t
heir
chos
en p
refe
r-en
ce.
Afte
r sw
eatin
g,
the
user
then
m
oves
on
to
plun
ge in
to a
fr
ozen
poo
l for
10
seco
nds t
o 1
min
ute.
Use
r can
repe
at
the
expe
rienc
e as
m
any
times
as h
e/sh
e lik
es.
Use
r exi
ts in
to
the
com
mun
al
spac
e to
rela
x.
Exit
thro
ugh
chan
ging
room
s.SPATIAL QUALITIES
Ope
n fil
led
with
nat
ural
lig
ht.
Ope
n fil
led
with
na
tura
l lig
ht,
land
scap
e an
d ec
olog
y fr
om th
e su
rrou
ndin
g ar
ea.
Clo
sed
area
, pr
ivat
e w
ith
light
ing
to
suit.
Ope
n fil
led
with
na
tura
l lig
ht,
land
scap
e an
d ec
olog
y fr
om th
e su
rrou
ndin
g ar
ea.
Rele
tivel
y sm
all
and
dark
room
.
INTERIOR CONDITIONS
Rele
tivel
y da
rk
room
, clo
sed
room
w
ith st
eam
. Tim
-be
r int
erio
r with
a
map
of g
row
th
from
the
dam
p.
Ope
n ai
r or a
s ne
ar to
nat
ural
as
poss
ible
. A sh
ared
op
en ro
om fo
r the
us
ers o
f all
bath
s?
Rele
tivel
y da
rk
room
, clo
sed
room
w
ith st
eam
. Tim
-be
r int
erio
r with
a
map
of g
row
th
from
the
dam
p.
A fr
ozen
and
cold
en
viro
nmen
t. In
vigo
ratin
g an
d lig
ht, u
sing
natu
ral
light
and
ven
tila-
tion.
Sem
i-Pub
licPu
blic
Priv
ate
Sem
i-Pub
licPr
ivat
eSe
mi-P
ublic
Sem
i-Pri
vate
Sem
i-Pub
licPu
blic
16° e
xter
ior
22° i
nter
ior
5-10
% h
umid
ity10
0° te
mpe
ratu
re18
° int
erio
r/ex
terio
r5-
10%
hum
idity
100°
tem
pera
ture
0° w
ater
tem
pera
ture
27° t
empe
ratu
re22
° tem
pera
ture
22° i
nter
ior
21° i
nter
ior
Nat
ure
Tiles
Gla
ssTi
mbe
rTi
lesG
lass
Nat
ure
Tim
ber
Stea
mG
lass
Nat
ure
Stea
mTi
mbe
rBi
rch
Leav
esG
lass
Priv
ate
Sem
i-Pub
lic
Use
r
Japa
nese
O
nsen
PROMENADEU
ser e
nter
s th
e pu
blic
ba
ths.
Use
r cho
ses t
o pa
y de
pend
ing
on b
ath
cho-
sen,
incl
udin
g or
exc
ludi
ng
any
trea
tmen
ts
Use
r can
then
ch
ose
to re
lax
in
the
com
mun
al
spac
e on
ent
ry,
or p
rogr
ess
thro
ugh
to th
e ch
angi
ng a
rea
and
show
ers.
Choi
ce b
etw
een
mal
e and
fe
mal
e as w
ell a
s se
greg
atio
n fo
r m
uslim
s.
Mal
e
Fem
ale
Choi
ce b
etw
een
mal
e and
fe
mal
e as w
ell a
s se
greg
atio
n fo
r m
uslim
s.Re
gula
r cha
ngin
g
Mus
lim ch
angi
ng
Regu
lar c
hang
ing
Mus
lim ch
angi
ng
Thos
e no
t usin
g th
e fa
cilit
ies c
an re
lax
in th
is co
mm
unal
ar
ea w
here
ther
e is
a ca
fe a
nd v
iew
s ac
ross
the
com
plex
.
Use
rs th
en m
ove
into
ano
ther
com
-m
unal
spac
e w
here
th
ey m
ove
thro
ugh
into
the
Japa
nese
O
nsen
pro
cess
.
They
then
mov
e th
roug
h in
to a
ro
om w
here
smal
l to
wel
s to
pres
erve
m
odes
ty a
re
give
n ou
t, al
ong
with
a b
ucke
t. Th
is is
whe
re
peop
le le
ave
thei
r sh
oes b
efor
e m
ovin
g on
.
Use
r mov
es in
to a
ro
om w
here
they
m
ust w
ash
at a
fa
ucet
as e
nter
ing
the
bath
s dirt
y is
seen
as d
isre-
spec
tful.
Afte
r was
hing
th
e us
er m
oves
th
roug
h in
to th
e ba
thin
g ro
om,
whe
re p
ools
of
diffe
ring
tem
-pe
ratu
res a
re
prov
ided
.
Use
r can
chos
e to
prog
ress
ont
o a
saun
a.
Use
r the
n pl
unge
s in
to a
cold
bat
h to
co
ol o
ff.
Use
r can
chos
e to
ha
ve a
trad
ition
al
Japa
nese
Anm
a m
assa
ge in
top
of th
eir b
athi
ng
expe
rienc
e.
Use
r exi
ts in
to
the
com
mun
al
spac
e to
rela
x.
Exit
thro
ugh
chan
ging
room
s.SPATIAL QUALITIES
Ope
n fil
led
with
nat
ural
lig
ht.
Ope
n fil
led
with
na
tura
l lig
ht,
land
scap
e an
d ec
olog
y fr
om th
e su
rrou
ndin
g ar
ea.
Clo
sed
area
, pr
ivat
e w
ith
light
ing
to
suit.
Ope
n fil
led
with
na
tura
l lig
ht,
land
scap
e an
d ec
olog
y fr
om th
e su
rrou
ndin
g ar
ea.
Rele
tivel
y sm
all
and
dark
room
.
INTERIOR CONDITIONS
Nat
ural
ligh
t and
ba
riers
to si
ght
path
s so
peop
le
feel
secl
uded
and
no
t pry
ed u
pon.
Encl
osed
but
w
ith v
iew
s out
, so
whi
lst th
e us
er is
re
laxi
ng, t
hey
can
look
out
acr
oss t
he
Lond
on sk
ylin
e.
Nat
ural
ligh
t pen
-et
rate
s the
spac
e at
on
e en
d w
here
the
saun
a tu
bs m
eet
the
edge
of B
ow
Cre
ek.
Bow
Cre
k its
elf
coul
d be
use
d fo
r th
is ac
tivity
, as t
he
tem
pera
ture
of
the
wat
er d
oes n
ot
reac
h m
uch
abov
e 12
°C
Sem
i-Pub
licPu
blic
Priv
ate
Sem
i-Pub
licPr
ivat
eSe
mi-P
ublic
Sem
i-Pri
vate
Sem
i-Pub
licPu
blic
16° e
xter
ior
22° i
nter
ior
27° s
urro
undi
ngs
From
38-
42°C
in
wat
er te
mpe
ratu
re5-
10%
hum
idity
70°-
90° t
empe
ratu
re10
° (m
ax) w
ater
te
mpe
ratu
re27
° tem
pera
ture
22° t
empe
ratu
re22
° int
erio
r21
° int
erio
r
A re
laxi
ng ro
om
with
the
soun
ds
and
smel
ls of
na
ture
. Dim
use
of
nat
ural
ligh
t an
d lo
w ta
bles
for
mas
sage
to ta
ke
plac
e on
.
Priv
ate
Nat
ure
Tiles
Gla
ssTi
mbe
rTi
lesG
lass
Nat
ure
Bam
boo
Nat
ure
Stea
mW
ood
Land
scap
eRe
ed M
atSt
one
Use
r
Gre
ek
Baln
ea
PROMENADEU
ser e
nter
s th
e pu
blic
ba
ths.
Use
r cho
ses t
o pa
y de
pend
ing
on b
ath
cho-
sen,
incl
udin
g or
exc
ludi
ng
any
trea
tmen
ts
Use
r can
then
ch
ose
to re
lax
in
the
com
mun
al
spac
e on
ent
ry,
or p
rogr
ess
thro
ugh
to th
e ch
angi
ng a
rea
and
show
ers.
Choi
ce b
etw
een
mal
e and
fe
mal
e as w
ell a
s se
greg
atio
n fo
r m
uslim
s.
Mal
e
Fem
ale
Choi
ce b
etw
een
mal
e and
fe
mal
e as w
ell a
s se
greg
atio
n fo
r m
uslim
s.Re
gula
r cha
ngin
g
Mus
lim ch
angi
ng
Regu
lar c
hang
ing
Mus
lim ch
angi
ng
Thos
e no
t usin
g th
e fa
cilit
ies c
an re
lax
in th
is co
mm
unal
ar
ea w
here
ther
e is
a ca
fe a
nd v
iew
s ac
ross
the
com
plex
.
Use
rs th
en m
ove
into
ano
ther
com
-m
unal
spac
e w
here
th
ey m
ove
thro
ugh
into
the
Gre
ek
Baln
ea p
roce
ss.
Use
r firs
t ent
ers
the
‘Frig
idar
ium
’ or
cold
bat
h,
whe
re th
ey
plun
ge in
ord
er to
st
art t
he p
roce
ss.
Use
r the
n en
ters
th
e ‘T
apid
ariu
m’,
whe
re w
arm
air
from
the
adjo
inin
g ho
t roo
m h
eats
the
air a
s war
m-u
p fo
r th
e ho
t roo
ms.
Use
r can
chos
e ha
ve a
mas
sage
us
ing o
ils a
t thi
s sta
ge.
Use
r the
n en
ters
th
e ‘C
alda
rium
’, w
here
hot
sur-
roun
ding
air
as
wel
l as a
hot
wat
er
pool
crea
tes a
ver
y ho
t env
ironm
ent.
Use
r exi
ts in
to
the
com
mun
al
spac
e to
rela
x.
Exit
thro
ugh
chan
ging
room
s.SPATIAL QUALITIES
Ope
n fil
led
with
nat
ural
lig
ht.
Ope
n fil
led
with
na
tura
l lig
ht,
land
scap
e an
d ec
olog
y fr
om th
e su
rrou
ndin
g ar
ea.
Clo
sed
area
, pr
ivat
e w
ith
light
ing
to
suit.
Ope
n fil
led
with
na
tura
l lig
ht,
land
scap
e an
d ec
olog
y fr
om th
e su
rrou
ndin
g ar
ea.
Nat
ural
ligh
t filte
rs
in th
roug
h w
in-
dow
s or o
peni
ngs
with
in th
e w
alls
to cr
eate
qui
te n
ou
tdoo
rs e
nviro
n-m
ent.
INTERIOR CONDITIONS
A d
arke
r roo
m
whe
re th
e te
mpe
ra-
ture
rise
s. C
oppe
r be
nche
s and
righ
ca
rvin
gs a
re u
sual
ly
foun
d he
re a
nd is
a
plac
e fo
r rel
axat
ion.
Encl
osed
for t
he
stea
m, b
ut w
ith h
igh
leve
l nat
ural
ligh
ting
to
incr
ease
atm
osph
ere.
Mos
aics
wer
e oft
en
foun
d in
her
e.
Sem
i-Pub
licPu
blic
Sem
i-Pri
vate
Priv
ate
Sem
i-Pri
vate
Sem
i-Pub
licPu
blic
16° e
xter
ior
22° i
nter
ior
10-1
7° te
mpe
ratu
re25
-35°
C te
mpe
ratu
re70
°-90
° tem
pera
ture
22° t
empe
ratu
re22
° int
erio
r21
° int
erio
r
A co
rrid
oor a
cts
as a
spin
e be
twee
n ro
oms.
Sem
i-Pub
lic
22° t
empe
ratu
re
Nat
ure
Tiles
Gla
ssTi
mbe
rTi
lesG
lass
Nat
ure
Lim
esto
neM
arbl
eSt
eam
Land
scap
eSt
one
Tim
ber
Priv
ate
Sem
i-Pri
vate
SPATIAL QUALITIES
Ope
n fil
led
with
nat
ural
lig
ht.
Ope
n fil
led
with
na
tura
l lig
ht,
land
scap
e an
d ec
olog
y fr
om th
e su
rrou
ndin
g ar
ea.
Clo
sed
area
, pr
ivat
e w
ith
light
ing
to
suit.
Ope
n fil
led
with
na
tura
l lig
ht,
land
scap
e an
d ec
olog
y fr
om th
e su
rrou
ndin
g ar
ea.
A ro
om la
ckin
g na
tura
l lig
ht,m
aybe
slits
at
high
leve
l with
low
na
tura
l lig
htin
g, a
s thi
s is
a tr
ansit
ion
betw
een
the
soci
alsp
ace
and
the
cont
empl
ativ
e sp
ace
of
the
swea
t lod
ges.
INTERIOR CONDITIONS
Room
star
ts to
ope
n up
in o
rder
for t
he u
ser
to se
e th
e su
roun
d-in
g la
ndsc
ape
and
the
swea
t lod
ge e
nviro
n-m
ent.
Beco
mes
bat
hed
in n
atur
al li
ght
Sem
i-Pub
licPu
blic
Priv
ate
Sem
i-Pub
licSe
mi-P
riva
teSe
mi-P
riva
teSe
mi-P
riva
teSe
mi-P
ublic
Publ
ic
16° e
xter
ior
22° i
nter
ior
10-1
7° te
mpe
ratu
re25
-35°
C te
mpe
ratu
re70
°-90
° tem
pera
ture
22° t
empe
ratu
re22
° int
erio
r21
° int
erio
r
The
user
wal
ks th
roug
h th
e ex
terio
r env
ironm
ent
of th
e sit
e, ke
epin
g in
m
ind
the
prot
ocal
ls of
the
swea
t lod
ge p
roce
dure
.
Sem
i-Pub
lic
22° t
empe
ratu
re
Use
r
Am
eric
an
Swea
t
PROMENADEU
ser e
nter
s th
e pu
blic
ba
ths.
Use
r cho
ses t
o pa
y de
pend
ing
on b
ath
cho-
sen,
incl
udin
g or
exc
ludi
ng
any
trea
tmen
ts
Use
r can
then
ch
ose
to re
lax
in
the
com
mun
al
spac
e on
ent
ry,
or p
rogr
ess
thro
ugh
to th
e ch
angi
ng a
rea
and
show
ers.
Choi
ce b
etw
een
mal
e and
fe
mal
e as w
ell a
s se
greg
atio
n fo
r m
uslim
s.
Mal
e
Fem
ale
Choi
ce b
etw
een
mal
e and
fe
mal
e as w
ell a
s se
greg
atio
n fo
r m
uslim
s.Re
gula
r cha
ngin
g
Mus
lim ch
angi
ng
Regu
lar c
hang
ing
Mus
lim ch
angi
ng
Thos
e no
t usin
g th
e fa
cilit
ies c
an re
lax
in th
is co
mm
unal
ar
ea w
here
ther
e is
a ca
fe a
nd v
iew
s ac
ross
the
com
plex
.
Use
rs th
en m
ove
into
ano
ther
com
-m
unal
spac
e w
here
th
ey m
ove
thro
ugh
into
the
Am
eric
an
Swea
t pro
cess
.
They
then
pas
s in
to a
room
whe
re
coto
n t-
shirt
s to
cove
r mod
esty
are
gi
ven
out t
o th
e us
ers.
Any
non
-na
tura
l ite
ms a
re
not a
llow
ed in
.
Swea
t env
iron-
men
t is c
hose
n fr
om:
- tur
f- s
wee
tgra
ss- c
edar
bow
s- s
age
leav
es
Ente
ring
the
swea
t env
iron-
men
t, pe
ople
sm
udge
them
-se
lves
with
sage
or
swet
gras
s.
Use
rs m
ust p
ass
into
the
lodg
e in
a cl
ockw
ise
dire
ctio
n to
take
th
eir p
lace
in th
e ci
rcle
sitti
ng cr
oss
legg
ed.
The
door
ope
ning
is
clos
ed a
nd th
e hu
t plu
nged
into
da
rkne
ss, w
here
on
e pe
rson
is
in ch
arge
of t
he
wat
er, w
here
it is
po
ured
ove
r hot
st
ones
to cr
eate
st
eam
.
Use
r can
chos
e to
st
ay o
r lea
ve d
e-pe
ndin
g on
thei
r to
llere
nce.
Whe
n th
e us
er le
aves
th
ey c
an si
t in
the
surr
ound
ing
land
scpa
e to
cool
off
. Coo
l sho
wer
s ar
e pr
ovid
ed.
Use
r exi
ts in
to
the
com
mun
al
spac
e to
rela
x.
Exit
thro
ugh
chan
ging
room
s.
The
user
is w
ithin
the
swea
t lod
ge e
nviro
n-m
ent,
dark
, hot
and
st
eam
y, w
ith a
dire
ct
conn
ectio
n to
the
eart
h be
low
thei
r fee
t. Th
e sm
ell o
f the
cho-
sen
linin
g fil
ls th
e ai
r.
Nat
ure
Tiles
Gla
ssTi
mbe
rTi
lesG
lass
Nat
ure
Blac
k Ti
lesN
atur
eSw
eetg
rass
Stea
mEa
rth
Land
scap
eTi
mbe
r
Hoto Fudo by Takeshi Hosaka Architects
A noodle bar located at the base of Mount Fuji, its form resembles an igloo or bubble.
As the name suggests, the Fudo part of the design allows the air to circulate through the building, entering and ex-iting through large spaces in the shell. Only in the winter or the coldest seasons are the acrylic sliding doors closed, creating some thermal quality.
The design allws for rain to fall at the point the interior starts, fog penetrates the interior as it sweeps along the surface of the earth, and wind can circulate through the large openings. The building becomes part of the land-scape and part of the environment, not a bubble closed off from it.
The openings for the building face both main roads that pass, and faces the base of Mount Fuji, and so is in con-tact with, and understnds its surroundings. That is why, perhaps, the form takes on one of a mountain or ‘cloud’, with soft natural geometries formed from its reinforced concrete. The shell creates large open spaces; 530 sqm of seating, 140 sqm of kitchens, 50 sqm of restrooms, in such a way it ccreates enclosure and privacy, but main-tains the main ideas behind Fudo, those of oppenness and a continuation of the natural landscape.
The fact the building has no artificial heating or cool-ing, menas that the landscape influences directly the interior environment, as well as preserving the quality of the architecture for longer than it would last if the space continually got hot and cold. Lighting is also specially designed so that minimal difference between day and night is noted, and in order to prevent the accumilation of insects around the lights.
Photographs are by Koji Fujii
Japanese Fudo
From The Kojiki:
“When the land was still young and as a piece of floating greace, drifting about as does a jel-lyfish, there came into existence a god, issuing from what grew up like a reed bud.”
FUDO:
Fudo means; “ Wind and earth / the natural environment of a given land” (Watsuji 1961).
“When we add to our sense of climate as including not only the natural geographic setting of a people and the region’s weather patterns, but also the social environment of family, community,
society at large, lifestyle, and even the technological apparatus that supports community sur-vival and interraction, then we begin to glimpse what Watsuji had in mind by climate, and how there exists a mutuality of influence from human to environment, and environment to human
being which allows for the continued evolution of both.”
AUGUSTIN BERQUE:
Augustin has introduced a new theory called ‘trajective’, which means the interraction and relationship between culture and nature, between the collective and the individual, and between
subjectivity and objectivity, in actual societies in Europe and Japan.
Through a profound reading of ‘Fudo’ (1935) by Tesuro Watsuji (1889-1960); he presents a theory about ethnicity and trajective by combining Geography and Onthology: the exisitance of humanity in Japan is chiselled into the country’s nature, and the interractive coexistance of the
two is indeed Japanese Fudo. (Environmental milieu).
Fudo is not simply the natural envirnment but constitutes the foundation of the societies within which people live; and through interraction between nature, space and history. Changes in
these conditions will occur, and Fudo will be firther transformed.
He points out the social characteristics throughout Japan in the spiritual, social and physical spaces which compose the overall order which is maintained by society. Watsuji’s Fudo theory
is understood in connection with the German philosopher Martin Heidegger’s (1888-1976) phenomenology, taking a comparative approach to European and Japanese thought. As his theoretical framework evolved, he developed a critique of Lene Descartes (1596-1650) and
so established an independant field of ‘Fudo Studies’, through which he has been re-assessing Japan’s place in social history. He tackles such issues as landscape, environment and community (communality), applying his profound knowledge and coherent logic, and the message implicit
in his universally relevant padigram has earnt much respect.
Experimentation into Japanese Fudo: As Japanese Fudo is the relationship between ones self and the landscape, elements and society, and the impact these have again on the individual, (as I understand), an interesting method of experimenting with creating an architecture from this theory, as well as a materiality for this archtiecture from the idea of Fudo, is to look at a method of how to create an imprint of nature or environment, and how this can be used to form a metaphor for Fudo architec-ture.
There are many different materials that can be used to create this sort of an imprint, that can to some extent show in an abstract way the ideas and theory of Fudo, where history, geography, society and climate come together to create, for example, the lines on our face, the imprint we have on the natural environment, as well as that of the built environment as an imprint on the earth. Nature, space and history effect us all and our surroundings, and our sur-roundings effect us, so a cycle of Fudo is set up, where person and environment almost become a continuous circle and therefore one.
Megan
Amy
Sally
Stephen
Experimentation into Japanese Fudo:
Due to Japanese Fudo being the closed circle relationship between the ever changing elements of nature, environment and history, and the individual, I wanted to experiment in creating an initial architecture that responds to these Fudo ‘rules’. I started working with the premise that:
Fudo means the connection between the elements, the site’s history, nature and ecology, as well as the awareness and placement of oneself within these connections.
Therefore I started playing with the idea of layering the site, without losing any of the site’s own history and definition, creating a multi-fasceted structure that allowed the user, within enclosed spaces, to view the elements of Fudo, some spaces would acively support these elements, and some would utilise them in order to create an effect or environment within the building, and to the largest extent possible, become the ingredients for the cultural bathing experiences themselves.
Model:
1:100 model showing first ideas of a Fudo canopy.
Experience from user’s perspective from below.Showing initial structure with gaps and pathways.Water collector structure for use as steam. Water has magnifying effect on surroundings.
View from above, showing the inter-linking biospheres.These are responsible for creating the atmospheres for the cultural
bathing experiences.
The water collectors create a distortion of the environment. (Inside and Out) The biospheres create a clear membrane between nature and the individual.
CONDITIONS:
The tests I carried out on this side with my Fudo roof structure are concerned with the resul-tant effects the form creates when natural light enters through the formed plastic (mimicking
glass), as well as the defraction and intensification of the light through the water collectors. The roof acts as a structural layer, but allowes for an ephemeral feeling to the atmosohere within
the building.
These set of experiments are dealing with a lower level of light at dusk and at night. With re-duced light entry to the building, and with a lower angle of the sun, the light plays more tricks with the bent forms of the plastic and the water. A whole atmosphere is created, but without the user losing touch with the night sky. The light also swithches with night use to eminating
out of the building, creating wide reaching shadows.
ABOVE: This image is taken in full sunlight and emphasises the effect light has on the domed biosphere from within the build-ing. The reflaction and slight warping of the tree creates a feeling
of being enclosed by the glass.
FAR LEFT: Natural light pours through the water catcher. The light is refracted as it passes through the water, not only creating a mirroring and distorting effect on the surrounding landscape, but casting a swirling and light flecked soft light within the build-
ing.
LEFT: This is a view of thte model as though entering and seeing a clear view down the path of the building. Natural light bathes the interior landscape with soft muted light, with the water catchers becoming light wells, looking like orbs of light, drawing
light deeper into the building.
ABOVE: This image, (following the top image which dem-onstrates how a shaft of strong light can create spectural light flecks), demonstrates how light can be used at night in order
to create a projected light show, detailing all the textures of the Fudo roof.
FAR LEFT: As the light in the day fades, the soft light that falls on the building creates big contrasts between light and
shaddow, withthe water becoming an important media when transferring light deeper into the building.
LEFT ABOVE: Soft light before dusk casting shaddos and desaturating the interior environment. The key with this image is that the Fudo roof allowes a feeling of standing within nature,
it does not inhibit any natural effect.
LEFT BELOW: At night artificial lighting techniques could cre-ate the water light effect in order to use less lighting throughout.
The above experiments are still focused on water and light and the effects that could be cre-ated naturally within and around the Fudo roofing system design. Instead of the smooth and artificial mouldings that have been used within the model, I have used more natural moulds,
created from such things as; ginger, twigs, sticks, chillies, (beans, shells - above). These create a completely different effect, with the light and shadow cast becoming much more fascited and with much more depth due to a greater level of refraction. As water catchers, these become
pieces of natural sculpture and fascinating to think of at a human scale.
Moving forward I will be playing with these moulds more, finding out how I can use them in a more structural fashion to create a Fudo roof that not only allows connections with history,
culture, ecology and landscape, but is constructed from these aspects directly.
TOP: shellsBOTTOM: beans
Beans Twigs
DAY Vs NIGHTnatural vs artificial
The below experiments were a means to work out, in reality, how the ‘positive gravity’ biodomes could be constructed.
In an ideal world a singular mould without interruption would be ideal, allowing for a full range of view out, and maximising the user’s connection with the surroundings. In order, though, to actually contruct this type of glass roof, whilst keeping the idea of Fudo at the forefront of my mind, the closest way to achieve this is to
pixelate the dome into smaller structural elements.
Each face of an ARCHEMEDIAN SOLID becomes a structural module, transferring the load and stresses of these biodomes through the structure, down through the suporting roof structure, through the supporting
collumns and to the ground.
I am going to modify the archemedian solids’ nets in order to create a form that can be used to create a similar form as the moulded biodomes but using the shape’s structure. (Far right column.)
4 Triangles
4 Hexagons
Edges: 18
Verticies: 12
Vertex Configuration: 3.6.6.
Point Group: Td
6 Squares
8 Hexagons
Edges: 36
Verticies: 24
Vertex Configuration: 4.6.6.
Point Group: Oh
20 Triangles
12 Pentagons
Edges: 60
Verticies: 30
Vertex Configuration: 3.5.3.5.
Point Group: Ih
20 Triangles
12 Decagons
Edges: 90
Verticies: 60
Vertex Configuration: 12.10.10.
Point Group: Ih
MOULDED Vs STRUCTUREsmooth vs pixelated
TRUNCATED TETRAHEDRON
TRUNCATED OCTAHEDRON
ICOSIDODECAHEDRON
TRUNCATED DODECAHEDRON
In geometry an Archimedean solid is a highly symmetric, semi-regular convex polyhedron composed of two or more types of regular polygons meeting in identical vertices. They are distinct from the Platonic solids, which are composed of only one type of polygon meeting in identical verti-
ces, and from the Johnson solids, whose regular polygonal faces do not meet in identical vertices.
“Identical vertices” are usually taken to mean that for any two vertices, there must be an isometry of the entire solid that takes one vertex to the other. Sometimes it is instead only required that the faces that meet at one vertex are related isometrically to the faces that meet at the other. This
difference in definitions controls whether the Elongated square gyrobicupola is considered an Archimedean solid or a Johnson solid.
Prisms and antiprisms, whose symmetry groups are the dihedral groups, are generally not considered to be Archimedean solids, despite meeting the above definition. With this restriction, there are only finitely many Archimedean solids. They can all be made via Wythoff constructions from
the Platonic solids with tetrahedral, octahedral and icosahedral symmetry.
Modified TRUNCATED OCTAHEDRON net which now incorporates:
2 squares
8 Hexagons
4 Rectangles
4 Stretched Hexagons
Modified ICOSIDODECAHEDRON net which now incorporates:
20 Triangles
12 Pentagons
10 Rectangles
CAN NOT BE MODIFIED
CAN NOT BE MODIFIED
The above experiments were a means to work out, in reality, how the ‘positive gravity’ biodomes could be constructed.
In an ideal world a singular mould without interruption would be ideal, allowing for a full range of view out, and maximising the user’s connection with the surroundings. In order, though, to actually contruct this type of glass roof, whilst keeping the idea of Fudo at the forefront of my mind, the closest way to achieve this is to
pixelate the dome into smaller structural elements.
Each face of an ARCHEMEDIAN SOLID becomes a structural module, transferring the load and stresses of these biodomes through the structure, down through the suporting roof structure, through the supporting
collumns and to the ground.
REFERENCESABOVE:
‘The curvaceous exterior and steamy interior of Kew’s Palm House have long made it an icon of the Gardens. Designed by Decimus Burton and expertly engineered
by Richard Turner, it was constructed between 1844 and 1848.’
‘The project was pioneering, as it was the first time engi-neers had used wrought iron to span such large widths
without supporting columns. This technique was borrowed from the shipbuilding industry; from a distance the glass-
house resembles an upturned hull.’
BELOW:Wholeo Dome - ‘The Wholeo Dome is an artistic expres-sion of colored light that everyone can experience simply by stepping inside. Completed in 1974, Wholeo Dome is a 14-foot-in-diameter, 7-foot-tall geodesic dome covered
with curved, stained glass panels.
The glass was pieced together with lead. The lead joints and copper-wire ties are soldered with tin. Then putty
is forced under the lead to strengthen the panel and wa-terproof it. Sometimes the glass is overlapped or layered. The semi-rigid panels are attached to a metal framework that holds them in place. For Wholeo, the framework is a geodesic dome and the glass panels are tied to it with cop-per wires. The glass panels themselves are fit together into a larger shape, a hemisphere, with wide leading between
them.
The image to the right shows the next stage of the design for the building’s roof, and more pecifically the biodomes,
or ‘positive gravity’ structures.
These domes serve the purpose of creating the interior environment and proliferating the effects that then define
the space as, for example, a Japanese bathing room.
By keeping the idea and thery of Japanese Fudo at the forefront of my deign thinking, I need to maintain the connections between the users and landscape, weather,
ecology, history and culture, and vice versa. The perfectly moulded and formed domes previously proposed carry
out these connections perfectly, so how could I keep this transparency and the Fudo qualities I have chosen,
within a more structural design.
RIGHT shows a pair of these more structural domes. Using the theory behind the Archemedian solids and nets previously experimented with, I manipulated the net (far
right) so that it fulfilled the structural form chosen.
I then, instead of using the moulds of the naural materials directly, (although these were beautiful and
functional forms at the scale I madde them and for the model - 1:100, but not for human scale), I pixelated the forms by cutting them up and placing them within the
appetures of the modified net. Therefore, I dont only get the moulded natural forms, but I have them in manage-
able sized pieces fitting within a structural frame, that can then be placed into my wider structural strategy, creating a more distorted but achieveable form that is not disimi-lar, and that does not distance itself too far from my ideas
of Japanese Fudo that this roof is meant to encapsulate.
ABOVE: Above are images of the experiments I carried out using natural materials in order to produce a plastic mould of the object itself, showing up every small facet and bump. The top row show the ma-terial used, and the image directly underneath shows the mould produced from them. These can then be used to form the positive and negative domes that form the basis of my roof design.
BUT
The only issue with these moulds are the BUILDABILITY of them. In order to mould these pieces at 1:1 scale, technology would have to be created that otherwise does not yet exist. Therefore I have proposed a more structura solution (top image) in order to propose these biodomes in a more cost-effective and structurally achieveable way.
GINGER TWIGS CHILLIES MINNI HARICOT BEANS SHELLS BRANCHES
POSITIVE GRAVITY
PIXELATED STRUCTUREarchemedian solid frame + moulded pixels
ABOVE: Images of the manipulated net from the Archamedian study I carried out previously. Using the Truncated Octahedron
I have shanged the formation of faces to:2 squares
8 hexagons4 rectangles
4 stretched hexagons
ABOVE: photo of biodome models from above showing the difference in ‘glass’ pieces. On the left are the mini
haricot beans and the right are the shells.
Modified TRUNCATED OCTAHEDRON
NEGATIVE GRAVITY
PIXELATED STRUCTUREPaco Rabbane + moulded pixels
The above experiments were a means to work out, in reality, how the ‘negative gravity’ water collectors could be con-structed.
Within my model, I would prefer that a smoothly moulded pice of glass be constructed in order to maintain the idea of Fudo and the connection between the arhitecture, the user and the natural environment, in this case the water that
in turn creates the effect within the interior environment, (for example steam for the sauna). In reality, this would probably not be a constructuon technique that is structurally sound for the forces being inflicted on it. In this sense I
looked at the fabrics of Paco Rabanne and the other above precidents to see how I could create a flexible structure that could be incorporated with glass to create a flexible yet transparent structure.
The ‘FABRIC’ is hung, with a metal structure being used as its main structural ‘ribs’, secondarily fxed to the main roof structure, and further more, anchored by tension cables to the ground.
The image to the right shows the next stage of the design for the building’s roof, and more pecifically the negative gravity water collectors that are part of the Fudo roof.
These structures, anchored to the ground, collect the rainwater directly and run off from the roof, in order to
create visual storage tanks for water use within the build-ing.
By keeping the idea and thery of Japanese Fudo at the forefront of my deign thinking, I need to maintain the connections between the users and landscape, weather,
ecology, history and culture, and vice versa. The perfectly moulded and formed domes previously proposed carry
out these connections perfectly, so how could I keep this transparency and the Fudo qualities I have chosen,
within a more structural design.
RIGHT is a photograph of my model showing the more structural proposal for the water collecting domes. The metal frame surrounding them acts as a cradle to sup-
port the water’s weight, with this frame then secondarily anchored to the ground.
I ahve then, similarly to the positive gravity forms of the biodomes, used a natural material to create texture and a link to nature. This is also a way of creating impres-
sive and diverse light experiences and effects within the building, using refraction through the water, then further
distortion with the curved glass. In reality these glass moulds could probably not be as complete, but construct-ed of several joined together to form the overall shape of
the catcher.
This part of the roof structure would punctuate the roof structure below holing it up, again not losing the connec-
tions I have forged with the theories of Japanee Fudo I want to use within the design.
ABOVE: is an image from human perspective of the water collectors, showing the distorting effect the water and the differet moulds have on the view out of the building. This effect will be ever changing dependant on the amount of
water and type of moulded glass.
ABOVE: A test model at 1:50, looking at a Paco Rabanne fabric style structure. A tessilation of circles forms a kind of
chainmail. Each metal frame then has a piece of moulded glass inserted into it, in the style of an intricate stained glass window. This then forms an detailed metal and glass ‘fabric’ that can be draped through the roof structure to form a the water catchers. The water can then be tapped off of the fabric be slightly perme-
able in order to collect the water for creating the atmospheres within the bathing experiences.
LEFT:
Paco Rabanne metal disc dress from the 80s and top from the 90s.His architectural background led
him to use disks cut from metal or plastic, linked with wire and other
interesting techniques when he created his fashions.
In his hi-tech period, he produced tiny metal, vinyl and plastic link
dresses. These fashion experiments were important in pushing the
boundaries of acceptable clothing to wear on the street.
Rabanne created his clothing by laying a woman on a table and
shaping the metal parts directly on her body. This prompted Coco Chanel to remark that he was not so much a couturier but a metal-
worker.
LEFT:
‘Moroccan lanterns are distinc-tive from other lanterns in that
although they are made of stained glass, they are deeply tinted and
come with decorative textures. The stained glass is actually held by a metal framework in a filigree or lattice pattern which casts lovely,
elaborate shadows and patterns in a room when the lantern is lit. This
really imparts a special feel and ambience to the whole room.’
LEFT:
‘The Air 1 Aquarium is a glass, zep-pelin-shaped aquarium supported
by a steel frame with simplistic design and combination of simple
elements that are part of everything yet autonomous’.
‘The designer have exploring structures construction and their
limits through experiences in furniture design. The goal was to elevate this glass shape and create
a link between two materials. Glass is highlighted and in danger by the
minimal steel legs. Several tries were necessary to find the solution of a glass tube to slide steel legs in.
This object is a construction, an assembling, a simple accumulation of elements, alive or not. The slim steel legs are the only support of this glass tube making this struc-ture look delicate and beautiful.’
ABOVE: Jig used to create mould.In this case it was a wooden base to create the form with ridges for the structure
to sit, and then on top were the mini haricot beans. This could be done with other natural materials as well.
ABOVE: The mould created.This is the plastic mould that was created from the jig (left). The ridges from the natural mouldings and the wooden form combine to make a water catcher that can have a metal structure to hold it yet not become too intrusive to the overall
effect.
ABOVE: Structure holding water.This is the structure I finally came to combining the Paco Rabanne metal tessala-tions and the plastic moulding experiments. When water is added to the already
textured surfaces, another dimension is added.
STRUCTURE
CULTURAL PATTERNSThe building as a cultural manual for process
I have been looking into the main structure of the building as a concept to enable the user to read the building as a manual for navigation and understanding of the processes within each of the promenades (bathing experiences). If the structure deviates from experience to experience, across the cultures’ bathing rooms, the user will navigate the building using the structure as subliminal directional signage, but allowing for deviation from the path to discover
viewpoints into the neighbouring cutlural experiences, and parts of the building that if otherwise overly too prescript-abe about the path, the user would miss.
‘This space was designed for visitors to luxuriate and rediscover the ancient benefits of bathing. The combinations of light and shade, open and enclosed spaces and linear elements make for a highly sensuous and restorative experience. The underlying informal layout of the internal space is a carefully modelled path of circulation which leads bathers to certain predetermined points but lets them explore other areas for themselves. The perspective is always controlled. It
either ensures or denies a view.’ Peter Zumthor - Therme Vals - http://www.archdaily.com
LEFT:
This pattern is taken from the traditional Ancient Greek urthenware pots and mosaic patterns of the age. These pots and mosaics were also found within the private and public bathhouses also.
The structure is proposed as square timber frames, with thinner interior structure, breaking the main structure up into smaller squares. The triangles represent the location of columns within the structure, I have placed one in the centre of each of the structural modules, but in reality, there would be gaps left
for the secondary structures to fit within and above. (Shown).
LEFT:
This Japanese structural pattern uses tricngles, the god of structure, on order to naturally spread over larger spans, using smaller modules. The structural columns can hopefully be reduced, due to the shape
and size of the smaller triangular modules.
The Fudo roof can easily be fitted in between the structure, creating gaps to accomodate the water catch-ers as well as creating clear spaces above head to allow for clear views up through the biodome struc-
tures.
LEFT:
This pattern utilises native north American carpet pattern to be found on many ceremonial pieces. Within this pattern I have adapted the boarder usually found to incorporate structure that could be in the form of trusses. The square structure itself could be further divided, or larger structural columns
incorporated into teh design in order to give strenth to the structure where more is needed, for example, when the water catchers permeate the roof structure and reach towards the ground.
LEFT:
This traditional Russian fabric pattern can be used in order to create strength in the triangular forms to reinforce the square structures. The interlocking ‘turrets’ around the edge of the modules are a version
of a traditional timber joint in furniture construction, and can be used to create a flexible roof structure, allowing for different configurations and gaps for the Fudo roof.
TRADITIONAL GREEK
TRADITIONAL JAPANESE
TRADITIONAL NORTH AMERICAN
TRADITIONAL RUSSIAN
STRUCTURAL BIOMES WITH PIXELATIONS FROM NATURE
1:100(See accompanying photos)
These structural biomes, using inspiration from Archemedian Polygons and their subsequent wire frame nets, become bubbles of nature within the roof and interior environment. The steel structure presents itself as pixels, that are then filled in with pieces of moulded glass. The texture of these pieces are taken from nature, causing the light to be defracted through the nature contained
within creating a wonderful experience with nature and ecology at its heart. Sitting within the cultural roof structures, these biomes create a controlled interior environment within, cultivating specific natures that are informed by the bathing experience
located beneath.
1 - Chillis 2 - Beans 3 - Shells
NEGATIVE GRAVITY AND BREAKS IN THE CULTURAL PATTERN
1:50 detail(See accompanying images)
Alongside the biomes that are the creation of an ecology and environment by engulfing nature, are the dips in the undulating roof-scape that also effect the environment and experience below. These water catchers appear at a break in the roof structure
above, reaching down to the floor or aboe head height of the users within the building alike. Thse structures catch water, and uti-lise this, through pressure valve releases, to allow for interraction within the building. For example, If located within the hot room of the Japanese bath, the tap may be turned on, allowing the water to drip onto hot stones, releasing steam. Similarly, if found in
an area of planting, the water may be used to help water the plants.
Pixelation
ARCHEMEDIAN POLLIGONS AS INSPIRATION FOR STRUCTURE
(See accompanying images)
The Archemedian pollygons started off as a theory for structural pixelation, but became not only nets and boxes but a wire frame strategy for creating a pixelated structure for the biomes, water harvesters as well as a strategy for the entire glass roof struc-
ture. This not only reflected nature in its design, but the rich dockland heritage of the site also, almost all of which has been lost through modern industrialisation and subsequent demolition of modern industrial temporary construction.
The island within the River Lea and the subsequent design of a building that acts as an island and headland keeps three strategies in mind:
1 - Structural pixelation2 - Creation of a secondary landscape
3 - CUltural patterns as a means of navigation
MOULDING TECHNIQUES FOR A FUDO ROOF
1:500(See accompanying images)
The roof, based on the theory of Japanese Fudo, must provide a continuous layer over the whole of the building. A membrane which acts not only as a participant of the building and it’s processes, but also a metaphorical Fudo layer, maintaining the links
between the user, landscape, weather, history and site. In this sense, I experimented with moulding techniques to create an impre-sion of what the roof should represent. I started by using smooth moulds to create a continuous undulating surface, and natural
materials to produce texture, to come to the conclusion that the most relevant for the building is
A COMBINATION OF BOTH TO PRODUCE UNDULATIONS FROM NATURE.
1 - Natural 1 - Natural
BOW CREEK PENINSULA - SITE AND CONTEXT
METAPHORICAL FUDO CONNECTION WITH SITE AND BASEMENT LEVEL
PIXELATED GLASS FUDO ROOF
SECONDARY LANDSCAPE AND INTERIOR GEOGRAPHY
1 -
I started by using Google Earth in order to measure as acurately as
possible, the peninsula and its scars and markings. I then created a card imprint in the negative of the site, making sure that the positive and
negative markings were created deep or shallow enough.
2 -
Once I had this, I made walls to the mould as deep as I needed the outcrop to be. I covered the whole of the impression in a shiny fabric
tape and vaseline in order to ensure easy release as well as water-proo!ng
it from the moisture in the plaster. I also had to re-enforce the walls
due to the pressure exerted by this volume of plaster.
3 -
I then poured the plaster, which amounted to 8 pints of water plus plaster and had to leave it for 36
hours until it was integeral enough for me to remov it from the mould. It then took a further 24 hours to sweat
o" and 5 days until it was dry.
4 -
Once turned out and dry, site context including the motorway (Lower Lea Crossing), access road, car park and
train lines were added.
THE BOW CREEK CULTURAL BATH HOUSEMAKING OF THE MODEL
Step by step guide of the construction process of the 1:500 model that represents the overall scheme.
1 -
Above is the equipment used. I made the mould the same way as the plaster mould, , but due to the planter feet, not the mirror image. In order to represent this connec-
tion with the ground I chose to use organic soap base which can be easily melted down in the microwave and
poured in.
2 -
Once melted I poured it into the mould and placed the lid with its
imprints on top. (As you can see, due to the soap being the consistency of water when melted I had quite a bit of leakage.) I then placed weights on top of the mould lid so as it set the
imprint would make an indent.
3 -
When the soap was dry, which took around 3 hours in the fridge and a further few out with the lid o"
for excess moisture to evaporate, I removed it from the mould. #is was a tricky operation due to the delicate
feet.
4 -
Once cleaned up by shaving small pieces of the mould that had stuck,
o", and cleaning the surface up with a damp cloth, the soap was taking
on the form of the basement level of the bath house. #is took a further 2
days to dry fully.
1 -
#e roof mould was the most !dly and complex part of the model to
make. Not necessarily in its making, but more its planning. #e biomes had to match up with the location
needed below, as well as the negative water catchers, in order to pierce the
roof structure.
2 -
Due to the need of the roof to be represented at this scale as a continu-
ous skin to demonstrate the idea behind the whole scheme, the peaks and troughs had to be a continuous
mould to be vacum formed. #e peaks were cra$ed from dowel of di"ering diameters, as well as for
some of the larger domes, some old wooden door knobs to give the nice
rounded tops. #e troughs were holes in the board, elevated with feet
to allow suction down.
3 -
When vacum forming many went wrong, but by getting the vacum right, and the plastic heated to a
higher temperature, the plastic was sucked successfully through the holes in the jig to form the water catchers.
1 -
Again, the starting point was to cre-ate the mould which is the mirror
image and inverse of the !nal imprint I wanted. #is one was more complex as I wanted a hole in the middle for the full height atrium housing the
large biome and ecology island.#e imprint on the surface I wanted was the same as the area on site that
the building sits on. #eoretically cutting out and elevating a section of the ground, it becoming part of the
interior geography.
2 -
Extra reinforcement was needed due to the holes in the mould. A stronger plaster mix was made up using only
1 pint of water and plaster and so this layer dried quickly, within the hour,
and so could be turned out and let to dry for a day to dry completely.
3 -
Once turned out and placed onto the soap layer and site to complete the
buildup of the bathhouse minus the roof structure and roof itself. With the slow addition of the nature and
division of cultural paths containing the bathing experiences, the building starts to make sense and come to life.
4 -
#e height of the biomes also difered in relation to the below experience,
and a successful and interesting land-scape was created, that also, happily,
!t with the structure below.
4 -
#is plaster layer, which is the bath house level, sits on top of the meta-
phorical Fudo soap layer which is the basement level housing the other af-!liated programmes such as the Cafe,
shop and local history centre.
PLASTER
GLYCERIN SOAP PLASTER
PLASTIC
FOOTPRINT AND SITE CAFE, SHOP AND LOCAL HISTORY CENTRE
PIXELATED GLASS ROOF BATH HOUSE LEVEL
LEFT:
Location of the model pieces within the building.
LEFT:
Location of the model pieces within the building.
Faster Path of Movement
Slower Path of Movement
Entrance, Exit and Li$s
Interior Greenery and Planters
Pools
Russia
Greece
North America
JapanSpectators
Changing Rooms
Storage
Cafe
O%ces
Shop
Reception
AtriumIndoor Garden
Local History CentreChildren’s Area
Landscape and Building Footprint
Tree planters and building foundation ‘feet’
Upper Ground Floor
First Floor
Roof Structure
Transparent Fudo Roof
OVERALL MAIN ACCESS ROUTES ON AND OFF SITE1 - Bus Station 2 - Canning Town DLR Station 3 - Canning Town Tube Station 4 - Footpath through Limmo Peninsula Ecology Park 5 - By Car A1020 Lower Lea Crossing 6 - By Boat
5
4
3
2
1
MOVEMENT OF PEOPLE THROUGH THE LANDSCAPED SITE1 - Pedestrian Access From Car Park 2 - Slow Movement Viewpoints 3 - Bridge Access From Train Stations 4 - Bridge Access From Ecology Park 5 - Access from Port 6 - Access to building
6
1
2
3
4
5
6
6
Faster Pathsways of Movement
Points of Slow Movement and Accumilation
DESIGN STRATEGY FOR LANDSCAPED SURROUNDINGS DESIGN STRATEGY FOR BUILDING INTERIOR
CLOSE UP ROOF STUDY
MODEL
TOP: Overall roofscape viewed from railway line towards the peninsular across Bow Creek. #e bio-domes form the fudo membrane between landscape and the interior creation of ecology.
MIDDLE: Visible layers are created within the building, not only due to the layered construction, but also due to the layering of bathing programmes and environments.
BOTTOM: #e roof becomes an overlapping edge, supported by the structure but allowing a seemingly seamles edge between it and the transparent breaks in the walls of the building
POSITION OF ISLAND ON THE PENINSULA
MODEL
Taken to celebrate the performative nature of the building at low light, the translucent and transparent aspects of the building glow as Fudo connections with landscape and geography. People access the site and are drawn up into the building through intrigue and the need to experience something new and unique
to London.
AN ALTERNATIVE GEOGRAPHY GROWN FROM THE EXISTING LANDSCAPE
MODEL
#e bathing level of the building is an undulating landscape in itself, as a secondary imprint taken from the landscape below, creating natural indents and gradients to create the pools and hills the user navigates indside. By using this idea of a secondary interior geography, creates a connection with local history
and place, between the site and the design of the building and between people and their importance in the use and existence of the building.
CREATING AN ALTERNATIVE PROFILE, LANDSCAPE AND GEOGRAPHY IN EAST LONDON
MODEL
As the roofscape shows, this building o"ers an interest and alternative model for a public building within London. As an island atop an island, the roofscape will hopefully act as a beacon for the areas surrounding as somewhere the community will hopefully gravitate towards to share in the unfamiliar experiences
within.
ACCESS AND FUTURE GROWTH
MODEL
#e building is accessed through either long ramps via the cafe, stairs straight into reception, or li$ access also into the reception area. #ere are also li$s straight to the changing rooms under the underbelly of the building, for those who own monthly or yearly membership access cards.
#e surrounding area will become an extension of the peninsula ecology park next door, with community projects to plant and garden in the landscape bordering the building. THe building also allows for spaces underneath, between the planter footings of the building, that in future could be utilised as a
spontaneous market space or summer retreat from the sun.
STRUCTURAL PROMENADES AS PATHFINDERS
MODEL
Showing an image of the building with a sectional version of the roof, allows for the structure that supports the glass roof to be seen. Verical columns sup-port the structure at the perimiter and within the large atrium in the centre. #ese columns are coveres with copper, so over time the record of people and
their contact with the building is recorded on the building’s skin.#e building will have no signage or directional information, but the &ow of the building allows for the user to wander through the building seemingly being
driven by free will, but the building’s design, as Zumthor did at Vals, allowes people to explore but also unknowingly be on a !xed path. #e roof structure itself and the cultural patterns expressed above each cultural bathing experience, further aid in denoting the users location within the building.
SUN AND SHADING AT 10am
MODEL
An image to demonstrate the ability of the cultural structure patterns to act as a secondary shading device during morning and a$ernoon sun. #is shades when the laminate dots on the pixelated glass roof doesn’t provide as much shading from the sun at a lower angle in the sky.
#is will also aid in navigation through the building, as the shadow will create a pattern on the &oor and walls.
THE BOW CREEK CULTURAL BATH HOUSEthe island peninsula
A WALK THROUGH THE BATH HOUSE
ENTERING THE AMERICAN SWEAT LODGE
Hand drawn views taken at the entrance to each cultural bathing experience as well as at a chosen point within the
atrium.
ENTERING THE JAPANESE ONSEN WITHIN THE GREEK COLD ROOM
WITHIN THE RUSSIAN STEAM ROOM
VIEW IN THE ATRIUM
THE BOW CREEK CULTURAL BATH HOUSE
STRATEGY FOR SOCIAL AND CULTURAL PARTICIPATION
A diagram to show how the Bow Creek Bath House can become a strategy in itself for social, community and cultural amalgamation for the local area and beyond. As those in the past did, but for many di"erent reasons other than for socialising, this itself becoming a bi-product of the necessity of washing, could a new form bath house for experiencing new and unfamiliar cultural experiences be a means to ‘knowing your neighbour’?
NEWHAM
TOWER HAMLETS
STRATFORD
CANARY WARF
RIVER LEA
CITY AIRPORT
Individuals from the local and surrounding area, as well ass curious day trippers visit
the site.
#ey each take their own paths through the bath house a$er visiting the cafe, shop or local history centre. Some may decide to
visit these a$er.
Each pathway leads back to a communal area. #e central circulation surrounding the interior ecology atrium, or on visiting
the changing rooms, or through chosing to visit the other programmes.
#e ultimate result is that these individuals come together to leave the building as a
society that have shared a new and unusual experience together, forming bonds and
interest to re-visit, and hopefully persuade others too. If nothing else, these people
may talk to others about the building and what it contains.
1
2
3
4
NEWHAM
TOWER HAMLETS
STRATFORD CANARY WARF
RIVER LEA
CITY AIRPORT
Japan Russia Greece North America
#e baath house used to be a place of gath-ering and socialising. Although once neces-
sary, why can’t baths of today encapsulate the community feeling these establishments
used to have.
0
Shop Local History Centre Cafe Landscape and future ecology park
1
3 DWELLINGS
2
PAVILLION
3