Onsen at Långholmen Swedish Bathouse Inspired by Japanese Bathing Culture

Onsen At Långholmen Swedish bathouse inspired by Japanese bathing culture

Petter Holm

Handledare/ Leif Brodersen, Teres Selberg Supervisor Examinator/ Per Franson Examiner

Examensarbete inom arkitektur, avancerad nivå 30 hp Degree Project in Architecture, Second Level 30 credits 8 juni 2017

ONSEN AT LÅNGHOLMEN

SWEDISH BATHHOUSE INSPIRED BY JAPANESE BATHING CULTURE

PETTER HOLM STUDIO #6 SUPERVISORS:

TERES SELBERG LEIF BRODERSEN

IDEA I also noted that these rituals further enhances the concept of the superficial in contrast to the natural by their similarity with an industrial process. The body becomes a product that is processed or cleansed in different ways in dif- The idea for my Thesis project sprung from a trip I made last June around the ferent rooms, not unlike say a car wash or assembly factory. Fordism in a way. Northernmost of the great Japanese islands, Hokkaido. Due to unexpedtedly These conotations to religion and industry were something that later became rough wheather conditions we had to cancel many of the hikes and climbs that quite important in the design process of the final building. we had planned and instead immerse our bodies and senses in the wonderful onsen culture of Japan. These bathing institutions really lured my architectural interest and especially everything surrounding the actual bathing. The connectivity between architecture and nature, the almost profanely directed rituals, and the special relationship between water, space and materiality was just some of TRADITIONAL JAPANESE ARCHITECTURE the aspects that originated this project. To create a contemporary bathhouse in Stockholm using the teachings around the onsen and traditional Japanese architecture. Simultaneously I was getting more and more interested in the ways of construct- ing traditional Japanese architecture, mainly by reading the book “Japanese homes and their surroundings” written in 1886 by American architect Edward S. Morse. In the book Morse thouroughly breaks down and explains all the ele- PROCESS ments and pieces of traditional Japanese architecture, both in text and precise sketches. Even though the book is heavily angled towards residential archite- cure I found many interesting components that I could use in my final design, But the process was never a straight one and in the beginning I was more fo- especially the way Japanese houses consists of very typical boundaries and cused on simply what happens when you add water to spaces of different di- shells that control how open or closed the buildings are, and in that loosens and mensions. I did a series of models to investigate how the expression and sens- controls the boundaries and spaces that usually defines where the natural stops ability changed with rooms of different dimensions. and the built space begins. For example instead of a closed wall with small Another notion I worked on intensively in the beginning was the relation- openings (windows, doors, etc.) that permanently decides how much of the ship between architecture and nature. I designed a series of bathing pavilions outside we experience from the inside, and vice versa, the Japanese have their focusing on different ways to approach this connectivity, and placed them in lo- Shoji walls, thin sliding doors of ricepaper on a light wooden frames that forms a cations of natural beauty around Sweden. I found in this research that what was non-permanent, moveable inner boundary. Then they have their straw blinders probably more valid for my final result would be to angle this research towards that gives a visual protection of the inner space but provides little protections the concepts of natural and superficial, something that also has a valid anchor from wind or noise. The third shell is the Amado wall, or “stormwall”, a more in the case studies I later conducted on the onsens I had been to. protective, but still in our western standards thin, boarded wall that you can add The onsen studies was a case study where I mapped up a handful of the to the utmost exterior of the building, outside the engawa, a strip of boards that more interesting onsens I visited in Japan to see the movement flow, room and envelopes most of the building and acts as a thin verandah, in case of rough pool dimensions, and spacial connectivity. Through these studies I could also wheather. The same kind of “undicisive” approach is adopted within the build- verify the directed route through the onsen, First entrance, undressing, washing ing through the arrangement of the inner shoji walls. This creates the option to in the special washing room with low stools along a bench portruding from the completely close the building, but also completely open it. This concept have wall, moving on to the big pool, generally luke warm to then shift between hot been adapted to the upper floor and the more open areas of the lower floor in and cold pools, both indoor and outdoors. It is a procession that has many sim- my final bathhouse. ilarities with the repetition and thouroughness that permeates the Japanese society in general, but the Japanese way to practice religion especially. Both Shin- toism and Buddhism has similar ways of strictly ruled actions in both prayer and meditation. It also gave me a clearer picture of the onsens role in the society, as a social gathering place, and a place of relaxation and spiritual cleanliness as well as bodily. BATHING PAVILIONS FRAMING NJUPESKÄR

The waterfall of Njupeskär in northern Dalarna is the tallest free waterfall in Sweden. For this pavil- ilon I choose to approach the site by concept of this waterfall being utterly beutiful and worthy of a nice frame. There are two aqueducts, one at the bottom looking at the spectacular waterfall, and one at the top with an amazing view of the area. They are connected with couloured rocks that are placed in a way so that they connect to eachother in the form of a square if seen from above. The For one part of my research I created a task for idea is strongly inspired by the american landart myself to design a variety of bathing pavilions that art movement in the 60s and 70s and especially were based on some of the aspects that I came the works of Richard long who displaced natural up with during my maping of the connections and irregular elements to form symmetrical composi- differences between the three pillars that the con- tions. cept generation of my project was based on: Ar- chitecture, Body, and Nature. They were all to be The aqueducts themselves are made from two placed in different scenic nature types and the no- metal trusses covered in black concrete, and with tions I choose from my mapping to suit the spe- seating molded into the regular structure. They cific site. stretch wide across both river and pathway. THE TEACUP

In the most southern part of Österlen in Skåne there is a cliff that rises 30 meters from the sea. Upon the cliff there are a flat field where cows graze. Upon this field I have placed a pavilion that opens up towards the sky like a parabol. It has to slits down eah side that forms ramps for entry. In the middle there is a concrete mound that cleans and warms the water. upon it you can lay down, the water is just ten centimeters at this point, which makes the body light and gives a sensation of floating. The mound is warm like the central stone of a ham- am and when you lay down you loose your sense of vertical position. The sky is the only thing that you see. Around you is only the soft curves of the parabol, and all the materiality you sense is that of smooth concrete. The experience is even greater during night when the air is cold but the water hot, and you see all of the stars well. SENSORIC EXPERIENCES OF SPATIALITY AND WATER

To analyze how spaces are affected when the element of water is added I created a simple task for my self. From a foam that represents no real material I created a series of models that are supposed to analyze how the body is affected by different levels of water in these basic rooms with different dimensions. It is strongly angled to portray what kind of bodily sensoric experience you re- cieve. What dimensions are comfortable and what are not when you add different amounts of water.

By having converstions with my classmates I came to the conclusion that there are obvious similarities as to what kind of spaces and what amount of water would be discomfortable, but there were some discrepancies.

The next step is to see how this is affected if I add other aspects. Materiality, Wood, concrete, tiles? does any of these Change the way we experience the water and the spatiality. Lighting and windows are also a very important aspect that needs to be studied, and analyzed. Con- nectivity is another aspects. How do these spaces work together and how do I connect them?

THE ONSEN my idea was originally formulated from the concept of the Onsen. The traditional Japanese bathhouses that has such a deep part in japanese culture and religion. Stemming from simple hot springs in the rawness of the japanese nature, then evolved through history into cultural institutions, social gathering places, and sometimes central points for entire villages and cities. It is a house of cleansing through a number of rituals, but also a house of relaxing, socializing and contemplation. The onsen unlike the sento (onsen in a city, that is not built around a proper hotspring) has a close link to nature. Shintoism (the old traditional religion of the Japanese islands) is a nature religion where everything is animated. trees, flowers, rocks and animals have souls and spirits, and interact with humans. The Nature is therefore a central part also within Japanese architecture and especially in onsens. Japan is also one of the most geo-thermal countries in the world, and many onsens use the hot water that springs out of the ground. This makes the water rich in minerals which is consid- ered very healthy, and therefore many onsen have the same role as the spa in central Europe. The onsen is also a cultural institution. Many of them have adjacent accomodation, restaurants or iza- kaya (Japanese pub) and rooms for massage and other kinds of bodily treatments. It is not only a temple for bodily purification but also for spiritual relaxation and a social meeting place. Some onsen is completely outdoors and open to nature, whilst others (especially sento) are completely private and indoors. Some even have private rooms that you can book for a closed party. But most natural onsen have both indoor and outdoor pools, sometimes these concepts are even connected depending on temperature and topography. They also have multiple pools with varying temperature and much of the enjoyment comes from exchanging between the cold water (15-20 degrees) and the hot water (35-40 degrees). Some onsen have gained national cultural status for different reasons. Historically by being used by the upper classes, some by extraordinary scenic beuaty, and some by popular culture such as the Kanaguya Onsen in Nagano that is said to be the main inspiration for the onsen in Hayao Miyazaki´s classic film, Spirited away. LEARNING FROM ONSEN

As soon as I defined the endgame of my project in deciding to design a bathhouse inspired by Japanese bathing culture, I decided to map up some of the more interesting onsens I visited when I lived in Japan. I chose a handful of, very different versions, of the traditional onsen, with the goal to get a better understanding of how the rituals and direction works, and how the spaces and materials contribute to this. The mapping was made from mem- ory, which of cause makes it less accu- rate, but on the other hand gives a more personal and emotional interpretation. I was actively looking for differenses and similarities, and choosing onsen waith a wide array of size, class, dirtyness, geog- raphy, and cultural status helped me de- fine this.

The first conclusion is that the way the rooms follow from the entry to the tatami room is very important. Almost all of them follow the same room order, wich con- firmes my idea about the directed procession, and the strict way to go about your YUKOMANSU ONSEN, business in the onsen. The second one has to do with symmetry, and how many ASAHIDAKE of the onsens try to reach it through the layout of the building to create a similar This is a very famous and old onsen, located in experience for men and women, since the tiny village of Asahidake, on the slopes of the GRAND HOTEL SOUNKAKU ONSEN, SOUNKYO all onsens are gender separated. Some mountain with the same name. It is located on follow a strict mirroring, something I´ve 2200 meters in the heart of Hokkaido. The oldest The Grand Hotel Sounkaku is a relatively high end, especially to be locat- come to associate with my own stereo- and most special pool is located in a cave around ed in the isolated village of Sounkyo, that is beautifully placed in a dra- typical image of the onsen, and those who which a hotel has been built. Unfortunately the matic valley in northern Hokkaido. 14 floors up at the top floor with nice cannot due to spacial restrictions general- cave was closed when we visited, but instead we views accross the valley is a small onsen placed. The indoor area is quite ly instead strive to reach symmetry by giv- got to bath in a new modern annex where we small, with a triangular pool (Only time I witnessed one that wasn´t orthog- ing similar views or creating similar land- could experience how Japanese architects still onal or organic shaped), and a small washing area. The outside area is scapes within the outdoor pools. The third draw onsens in a traditional style, but with a mod- much bigger with a artificially made rock garden in which two big pools conclusion is that of the traditional onsen ern twist and more modern material. The build- are squeezed in. The upper one is protected by a roof and semi-hot. The aestethics and how Japanese seem to al- ing is completely mirrored and the outer walls are lower one is in a more natural shape and extremely hot. A fake waterfall ways prefer something that tries to usurp high, mush higher then the dividing wall in the supports it with water and there are many rocks to climb, and especially an image of authenticity, even if it is ob- middle which makes it possible to hear the other placed is a big round rock in the middle, upon which you can lie and rest, viously failing. This is something I saw in people on the other side. There are two big pools half sunken in the warm water. It is a special felling as you lay in the midst many places of the Japanese society. It in the main room that is in the same room as the of the treetops and observe the steep cliffs rise above you. It desolves your doesn´t really matter if is old and rustic, as washing space, and a small one just outside a awareness of your vertical position and gives a sense of flowing in the air long as it looks that way. big window at the end of the building FUJIKAWAGUCHI-KO SAKURA ONSEN, SUGAMO, TOKYO ONSENKYO, Sakura Onsen in Sugamo, northern Tokyo is technically not an on- FUJIKAWAGUCHI-KO sen. but a Sento (onsen located in a city that does not use water from hotsprings but that heats it mechanically). It´s one of Tokyo´s more luxurous bathing institutions and the biggest onsen I ever visited. The large bathing facilities are mirrored with one section each for men and women. Adjoing the Tatami room is a restaurant that serves fresh and expensive food. They have all the pools you want with different temperatures both inside and in a japanese garden like outdoor area plus the biggest sauna i´ve ever been in, with 8 levels of seating This was the first Onsen I ever visited, on the slope of a mountain neighboring Mt. Fuji. It has two sections of pools for men and women on each side of the building that both portrude into the forrest. The setting is artificially created to mimic the surrounding forrest, but still has a artificial vibe about it. There is a small restaurant with simple noo- dle soups by the entrance and the tatami room was the largest I ever visited. It has books that you can borrow and futons for napping. SANSUI ONSEN, TOCHIGI

The smallest and dirtiest onsen I bathed in but also one of the charmiest. Located in the small town of Tochigi close to Nikko, so it probably is full during tourist season, but of season when we went there it was completely desolate, just like the rest of the city. You enter through a special gateway where you leave your shoes to move on and pay and get your yukata and towel from an super old man at the counter. The bat is on the second floor, and there is only one indoor and one outdoor pool, both quite varm. the indoor pool is in the same room as the traditional washing room which is very common in smaller onsens. The outdoor pool is adjacent with a balcony overlooking a bautiful lake. UKIYO-E

The classic Japanes artform of Ukiyo-e has been a huge inspiration for this project. The artform is thouht to originate from Chinese stone prints and took it´s shape in the 1600s but has since evolved and become more elaborate and precise. You create a graphic print by carving out blocks in wooden boards for differnt colours and then combining them into a full colour image in the printing process. The more popular images usually portraits geishas or sumowrestlers, not to mention Hokusai´s famous 36 views of Mount Fuji. But many of them also portraits architectural scenarios, and these have been a huge source of both conceptual and representa- tive inspiration. In a project that aims at research- ing the boundaries between the natural and the superficial, and especially that aims it towards a Japanese direction, the aestethics felt good to try to copy or reinterpret, and I felt that it enforced the sense of exotism that I am dangerously close to in many parts of this project.

THE SITE

The site is located on the northern shore of Långhol- men in central Stockholm. A forresty island famous for its many outdoor baths. The site is in the form of a almost square plinth with beautiful old stonewalls holding up a big area of filling compound. The East and North view offers exquisite views over the water and to central Stockholm. To the south is a big forresty hill. An old mansion turned conferrance center lies to the west. THE BUILDING

The building lies on the edge of a terraced plinth with beautiful old stonewalls cov- ering the edges of the terraces. I have used 3 major methods of design to adapt to the site. The first is subtraction since the plinth is made up of filling compound. The biggest part of the building interior is therefore located in a basement level subtracted 3 meters down into the ground just behind the stone wall. A big area is turned into a subtracted garden including some pools and trees and bushes. The second site related aspect I wanted to embrace was the great view to the East and North. Therefore there is a box portruding upwards and clinging over the edge of the stone wall. This box´s facades are completely removable in three layers, from within the shoji walls, the straw blinders, and then the outer amado walls. The third aspect is interaction with the existing stone wall. This is done by a big ramp with a wooden strip cover that exentuates the old with the new, and confirms design ideals connected with the wabi-sabi idea and the concept of the relationship with the natural and the artificial. The ramp enters underneath the box and connects with a entry hall in the west part of the building. This is yet another design ideal that comes around in many places within the building. On the second terracing below the ramp is a long pond that acts as a public foot bath and water garden since it is covered in big coloured rocks. Somewhere here you have to face the unavoidable appearence of overinterpretation, and maybe even the case of kitsch in some peo- ples minds. I have aimed to rather embrace these factors than tried to hide them. There is also a monumental stairway entering the box from underneath, if you approach the building from the other side. The third entrance comes from an existing parking space west of the building. The fourth and most official entrance is down a set of stairs and under a simple archway from the south, the most direct route from the city. These 4 entrances converge in a reception room, from which you can get down to the basement by stairs or elevator. The changing rooms that are connected to the washing rooms are entered from here. From the washing room you come out into a big poolroom with a visual connection to the top floor. You can also access a hot and a cold pool located under the ramp from here, as well as a series of small pools which are possible to rent privately for smaller companies, but are protected only by movable shoji walls, which makes them adjustible for different situations. The same concept is applied for the smaller pools of the upper floor as well, actually the entire upper floor is possible to open up, like a Japanese summer house. The orientation and placement of the different shoji walls are decided by tracks in the ceiling and floor following a certain grid based upon the supporting pil- lar grid of the buiding. So the same principle is used to adjust the sizes of the tatami room for resting after the bath, and the café that are located on the upper floor next to the entrance. The subtracted Japanese garden also contains a pair of pools in a more natural environment, plus a thin long shallow pool on the far side of the big wall that protects the bathhouse from external vision. PLAN BASEMENT LEVEL

0 5 10 15 20

SCALE BAR 1:100 PLAN GROUND LEVEL

0 5 10 15 20

SCALE BAR 1:100 PLAN SAUNA 1:50 SECTIONS 1:200 SECTIONS 1:200 ELEVATIONS 1:200

WEST

EAST DETAIL

NORTH

ELEVATIONS 1:300

SOUTH AXONOMETRIC BUILDING PARTS SUBTRAKTION TAK AMADO WALL SCENARIO 1 AMADO WALL SCENARIO 2 AMADO WALL SCENARIO 3 GROUND LEVEL SCENARIO 1 GROUND LEVEL SCENARIO 2 GROUND LEVEL SCENARIO 3 GROUND LEVEL SCENARIO 4 GROUND LEVEL SCENARIO 5 SYSTEM OF JOISTS STAIRS, WALLS, AND PLATFORMS SUB LEVEL SCENARIO 1 SUB LEVEL SCENARIO 2 SUB LEVEL SCENARIO 3 SUB LEVEL SCENARIO 4 SAUNA SAUNA RAMP RAMP CONCRETE FUNDAMENT FOR RAMP WOOD COVER FOR FUNDAMENT FOOTBATH