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Ancient Linkages Within Phenomenological Architecture Ruben Wills (13945330)

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Ancient Linkages Within Phenomenological Architecture Ruben Wills (13945330) Ancient linkages within phenomenological architecture Ruben Wills (13945330) “Every touching experience of architecture is multi-sensory; qualities of space, matter and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle. Architecture strengthens the existential experience, one’s sense of being in the world, and this is essentially a strengthened experience of self” (Pallasmaa 2005, 41). The most enticing aspect in studying architecture is the enormous power afforded to us as designers. Architects have the power to guide people through a space, allow people to experience smell, texture, taste, and evoke these strong memories from exact circumstances that memory was planted. They can make people elated or melancholy, chilly or comfortable, inspired or insipid. It is in the innate nature of a place that which the experience creates and evokes memory. Every architectural piece evokes the experiential nature of space and its interaction with the senses in some manner, however to many different degrees based on the intricacies and underlying concept. There is undoubtedly one piece in particular that captures the true essence of architectural phenomenology; capturing the senses we as humans process. Peter Zumthor’s thermal baths, Therme in Vals, Switzerland is an iconic example of the ability an architect has to allow humans to fully experience sensation through a structure. Not only does the interior cater for perhaps never before encountered experiences; the exterior creates a modernistic statement through the juxtaposition of mountainous meadow against Therme’s dark, tall stone façade. In an attempt to understand some of the underlying historical influences of Therme is to appreciate the era of its development as a stark contrast to the discovery of the chrome and jet pumping technologies and other enhanced forms of private luxury of the late 20th century by reaching back in time through the baths of Roman, Islamic and Japanese traditions of public bathing and treat it as a quiet, sensual public work; rather than a public playground. Lacking baths or running water at home, previous societies embraced the public bath, which evolved from pre-recorded time into not only a place to cleanse the body and nurture the soul, but became a social destination. Zumthor captured this essence in his Swiss “remodel” of Therme. Before delving deeply into the specific aspects which makes Therme such a significant structure, it is important to examine the origins of public bathing as a social construct in an era when public bathing was synonymous with exchange of information and news, relaxation, cleansing and general social activity. Romans embraced the concept of large local baths as a personal hygiene and social activity device. Without the extensive thought and dedication required to devise the massive engineering famously recognised as the aqueducts, there would not exist a method to transport water to these public baths. Further to the engineering marvels required to achieve passage of water, the interiors of the baths themselves were an astonishing display of beauty, elegance and unwavering passion for beautiful space through intricate mosaics and towering marble columns. These feats, coupled with the known desire for the ancients to communally bathe, clearly represents the importance of the baths in the ancient Roman culture. Taking into consideration planning, the baths were “habitually designed to Ruben Wills (13945330) Architecture & Culture 202 Page 1 accommodate more than one bather” (Fagan 2002, 1). Even baths identified as ‘private’ in common domestic settings would be considered by the standards of today to be far from it (Fagan, 1), further emphasising the cultural desires of the period. Many modern cultures continue to engage in the traditions in which the ancients participated; the Japanese sentō was, and still is regarded as bearing significance to practices typically conducted by ancient Romans. For centuries Japan was, and continues to be known for its bathing customs and its enthusiasm for hygiene. Japanese culture embraced the spiritual purity and quest for cleanliness involved with such bathing customs, and communal bathing rituals were not concerned with dividing the sexes (Jenkins n.d.). Nudity is considered a sensual entity above all, and despite the popularization of personal baths within one’s own dwelling, occasional visits to communal sentōs are still on the agenda of a proportion of the Japanese public. When Japanese public baths flourished, they were considered the social centres that played an active role in conversation and relationship (Fagan, 3) and “reinforcing a sense of community” (Clark 1994, 66). Additionally, they are convinced as to the medical benefit that hot spring water, temperature and steam posses in a remedial and preventative nature (Fagan, 3). But perhaps the closest linkage to ancient Roman bathing rituals is the Islamic/Turkish bath, or hammam which employs the use of several distinct rooms with specific purposes to achieve processes involving sweating, washing and massage. The procedure involved in bathing within a hammam is one of strict progression; deviation from the predetermined order of the ritual invites criticism from other bathers (Fagan, 3). Hammams were prevalent in many Moslem cultures including Egypt at the time, as they complimented the morning ritualistic bathing associated with their worship (Fathy 1973, 88). They erected these bathhouses conveniently in the same streets, or adjacent to the mosques to aid their custom to cleanse at a public bath prior to worship. Again, the medicinal aspect of these baths was not overlooked. It was contemplated that illness was simply a lack of perspiration, and that the sweat induced from the baths was so inherently healthy that patients were not considered to be fully recovered until they participated in the ‘bath of health’. Additionally, general feelings of malaise or the prediction of the onset of illness would be countered by a visit to the hammam (Fathy, 88). ................................................................................................... Figure 1 Plan and section of a traditional hammam Ruben Wills (13945330) Architecture & Culture 202 Page 2 One of the greatest historical Turkish baths still in existence today was developed by the great architect Mimar Sinan (1490-1588) in Istanbul. Çemberlitas exhibits beautiful and extravagant ‘cupolas’ extended as domes above the change rooms of the complex. They contain numerous punctures and are referred to as lanterns, owing to their behaviour in the presence of sunlight. These cupolas, in addition to the large Figure 2 central dome, generously allow the ‘Cupola lantern’ penetration of light to illuminate the space spectacularly. Typical of traditional hammams, the internal space features both warm and cool areas with several bathing stations. Between these spaces, short blandly decorated pathways exist, accentuating the arrival to a bathing area. Over a long career, Sinan developed his renowned style; indicated by awarding little merit to ornamentation or decoration, which has been maintained in the Çemberlitas baths. Sinan did however effectively combine aspects of tranquillity, function and social interaction into an appealing piece of architecture that identifies in some ways with modern works discussed later (Yalçin and Dereli 2011). It is evident that public bathing played an integral role in ancient Roman and Moslem cultures, and there is no doubt that similar rituals continue today in various cultures throughout the world. Its effects culturally, societally, medically and spiritually appear to be mutually important not to just ancient Romans, but modern cultures too (Fagan, 4). But what does this history mean for Peter Zumthor at Vals? Many of the ideas implemented in Therme are embedded in the history of public bathing itself. The ritualistic approach surrounding the entire structure can be referenced back to the individual processes encompassed within the hammam. The compartmented stages experienced by the senses in isolation in Therme can be interpreted simply as a reference to the individual procedures required by the hammam. And as quoted below, the medicinal aspects are still recognised. In a social capacity, Therme is meant to be experienced on an individual level; a raw connection of a human with the building and landscape. But the fundamental aspect of public baths is their ability to emit a distinct sense of community, and the baths at Vals are no different. Although the large attendance may be attributed to the architectural marvel itself, there is no doubt in my mind that the ritualistic history behind Figure 3 public bathing is enough to be the driving force for many to visit. Therme lighting detail Ruben Wills (13945330) Architecture & Culture 202 Page 3 Evidence suggests that the nature of Vals’ natural springs was known from 1500-1300BC, and use of the springs as a bath became available in 1893 after water tests revealed the soothing qualities demonstrated through seemingly soapy texture owed to the precipitation of fine clay and limestone (History of the baths n.d.). The baths, used in a method similar to its ancient counterparts, and indeed modern relatives, celebrate “the benefits of the water for tuberculosis, anaemia, chronic inflammation, muscle wastage, joint pain and rheumatism” (History of the baths n.d.). At the end of the 1960s, Rudolf Berger was commissioned with the construction of the "first high alpine
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