ABSTRACT A NUDIST RESORT by Phillip Edward Buchy An architecture thesis focused on designing a project to suit the particular needs and wants of a specialized client group, in this case, nudists. Literary research coupled with years of personal experience and interviews, revealed nudism to be mostly an act of self-discovery. The focus of the project thus became designing a resort that would facilitate the process of discovery and ideally correlate the spiritual nature of the experience of nudism with the architectural environment. Design decisions to accomplish this were primarily based on people’s environmental preferences and our predispositions for natural settings as well as material quality. This thesis is experiential and process oriented, not empirical. Conclusions of the successfulness of the finished design are at the discretion of the reader. A NUDIST RESORT A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Architecture Department of Architecture by Phillip Edward Buchy Miami University Oxford, Ohio 2005 Advisor_______________________ Sergio Sanabria Reader_______________________ Robert Benson TABLE OF CONTENTS INTRODUCTION ……………………………………………………………………………………… 1 PART I: NUDIST HISTORY, CUSTOMS, & PHILOSOPHY Clothing & Philosophy ………………………………………………………………….. 8 The Purposes of Clothing ………………………………………………………… 9 Clothing and the Body ………………………………………………………… 10 Clothing and the Mind ………………………………………………………… 16 Clothing and Behavior ………………………………………………………… 21 History & Customs ………………………………………………………………….. 27 The Modern Movement ………………………………………………………… 27 The Athletic Period ………………………………………………………………….. 30 The Social Period ………………………………………………………………….. 36 The First Time ……………………………………………………………………………. 42 Trepidation ……………………………………………………………………………. 42 Acclimation ……………………………………………………………………………. 45 Liberation ……………………………………………………………………………. 47 Today’s Experience ………………………………………………………………….. 49 The Spiritual Period ………………………………………………………………….. 49 New Challenges ………………………………………………………………….. 51 Design Approach ………………………………………………………………….. 53 PART II: CLOTHING-OPTIONAL NEEDS Artistic Predispositions ………………………………………………………………….. 56 Scene Preference ………………………………………………………………….. 57 Symmetry, Flow, & Fittingness ………………………………………………. 61 Design Attributes ………………………………………………………………….. 64 Refuge, Prospect, & Exploring ………………………………………………. 68 Refuge & Prospect ………………………………………………………………….. 68 Exploring ……………………………………………………………………………. 73 Edges ……………………………………………………………………………………… 82 Around the Edge ………………………………………………………………….. 83 Character of the Edge ………………………………………………………… 85 Touching the Edge ………………………………………………………………….. 86 Precedents ……………………………………………………………………………………… 89 Program ……………………………………………………………………………………… 92 PART III: JUVENATION Juvenation ……………………………………………………………………………………… 96 Site ……………………………………………………………………………………… 96 Circulation ……………………………………………………………………………. 97 Adjacencies ……………………………………………………………………………. 101 Massing ……………………………………………………………………………. 102 ii Elements of Refuge & Prospect …………………………………………….. 104 Program Area Details ………………………………………………………. 105 Seasonal Use ………………………………………………………………… 109 Materials & Treatment ………………………………………………………. 111 Continuity ………………………………………………………………………….. 113 CONCLUSION ……………………………………………………………………………………. 116 DRAWINGS & MODEL ………………………………………………………………………….. 117 BIBLIOGRAPHY ……………………………………………………………………………………. 123 iii LIST OF FIGURES 1 Resort buildings (AANR 18th ed., 132) 2 Welcome image (AANR 18th ed., 8) 3 Mountain air (AANR 18th ed., 23) 4 Sauna ritual (Viherjuuri, 38) 5 Cultural differences of modesty (Rudofsky, 28) 6 Bathing fashion (Langner, 77), French empire fashion (Ableman, 32) 7 Communal Shower (AANR 18th ed., 121) 8 Hot Tub Spacing (AANR 18th ed., 157) 9 Social growth (Lange, 85) 10 Nude Beach (Baxandall, 31) 11 Nudist pastime (Baxandall, 98) 12 Nude cruise (AANR 18th ed., 190) 13 Nude in nature (AANR Bulletin, inside cover) 14 Clothing-optional dining (AANR 18th ed., 63) 15 Water Volleyball (AANR 19th ed., 9) 16 Savanna (biomes.com) 17 Savanna, rainforest, desert (biomes.com) 18 Landscape with focal point (McHarg, 167) 19 Landscape creating focal point (Walker, 8) 20 Napes Needle (Hildebrand, 68) 21 Villa Savoye (Hildebrand, 40) 22 Cuba National School of Ballet (Loomis, 101) 23 Cave view (Hildebrand, 22) 24 Clearing along the path (Kaplan, Kaplan, & Ryan, 47) 25 Taliesin (Hildebrand, 28) 26 Ward Willits house (Trachtenberg & Hyman, 507) 27 Wright interior (Lind, 8) 28 Sense of space sketch 29 Japanese garden (Walker, 105) 30 Coherence (Kaplan, Kaplan, & Ryan, 14) 31 Complexity (Kaplan, Kaplan, & Ryan, 15) 32 Mystery (Walker, front cover) 33 Hanna House (Hildebrand, 58) 34 Corner diagram 35 Corner diagrams 36 Bank of China Building (NGS, 145) 37 Paradise Lakes aerial (Paradise Lakes) 38 Caliente pool area (Caliente) 39 Tree of Light section 40 Project site aerial (USGS) 41 Moon Bridge sketch iv 42 Juvenation conceptual diagram 43 Quad column 44 Lobby section sketch 45 Seymour residence (Mead, 7) v DEDICATION to the memory of my friend and mentor, Ann Cline It always astonished me how effortlessly Ann could enable a student to see more in themselves than they knew was there. She knew the value of patience, …the value of compassion, …the value of ‘simpleness.’ Ann once told me that she believed that God was by committee, and that when she died, she wanted to be put on the committee of minor miracles. …Those curious moments that make you pause, …tilt your head, …and say ‘Huh’. As I go forth, I will keep a corner of my eye on the lookout for those moments. And when I come across them, I will pause, …tilt my head, …and simply say… …‘Thank you Ann, …Thank you.’ vi ACKNOWLEDGEMENTS There are a lot of people that I owe thanks for this thesis. A big kudos to my thesis committee chair, Sergio Sanabria. Your patience throughout this epic saga as well as your layered sarcasm has been richly appreciated. A special thanks to Bob Benson whose enthusiasm alone inspires so many students, myself included, to push new boundaries. Craig Hinrichs deserves credit, not just for being a friend, mentor, and one of my favorite professors, but also because he was the one who came up with the idea to use cork for the floors. To all of the wonderful people at the American Association for Nude Recreation, and the many people, managers and guests alike, that I’ve met over the years at resorts such as Bluebonnet, Vista Grande, Paradise Gardens, Sunshower Country Club, Paradise Lakes, and Caliente, thank you so much. Your resiliency to live life as you choose has served to motivate me. And a special nod goes out to Bill Baldwin and Jack DePree for the time they took out of their schedules to meet with me to share design insights. Gini Maddocks deserves a lot of credit. Not only did her healing hands and heart keep me relaxed and centered, her knowledge of holistic massage inspired and shaped the spiritual nature of Juvenation’s design. Also thanks to my drifting advisor, Bill Ream. Wherever you are, thanks for spending those late and surreal nights evaluating, …and coloring, this project with me. David Schmidt and Evan Eagle deserve notice too. It seems hardly a week at work went by without one of them asking me how my thesis was coming. A friendly nagging that helped to keep me on track. Jamie Schwartz has been a huge support for me. One could not ask for a more dedicated friend. Dennis Mann gets credit for dedicating his expertise towards the literary construction of this document. There are a lot of supportive people at Life Success Seminars who believe in me as well, and I appreciate all of them, none more so than Mike and Nancy Monahan. I would be remiss if I didn’t single out Steve Haber. The commitment to my growth that you’ve displayed through your friendship and guidance has been instrumental. No one has ever taken so much time and effort to calmly and kindly allow me to see the parts of me I didn’t want to see. You’re right, the biggest thing I’ve needed to breakthrough is my fear of success. My family deserves a ton of credit too, for unwaveringly enduring this seemingly unending Master’s degree. Thanks Doug, Liz, Erica, and Dan for all the unconditional vii love. I suppose my parents played a part in all of this as well, …thirty-three years ago for sure. …Actually they have been there every step of the way seeing that I had everything I could possibly need. I suppose of everyone in the family, finishing this Master’s degree means the most to Mamaw. Thank you so very much for your love and support, …this degree means an whole lot to me too. viii Introduction It all began on an unusually stifling late-September morning in 1992. I, like most of my classmates, was in a semi-conscious haze, attempting to recapture an hours rest from the night before. Scott Johnston was giving a lecture on mechanical systems and their relationship to human physiology. This of course did not help anyone to stay awake. The material wasn’t boring mind you; it was Scott’s delivery. It isn’t really his fault; his voice just has a grandfatherly reassuring tone to it. The effect is not unlike the drone of a fan on a hot summer night. So there I was, blurrily staring out the window thinking of fans, when Scott began talking about the insulating effect of clothing, or clo values.1 He went on to point out that at an ambient air temperature of 84°F. with no breeze, like that day, the human body is most comfortable without any clothing. This caught everyone’s immediate attention. He added something