Book All High Res Images

See What I...controlling vision through the senses

See What I . . .
Controlling Vision through the Senses

Alex Taylor Wilk
Thesis Preperation Fall 2009
Syracuse University: Bachelors of Architecture
Committee Members: Lori Brown & Robert Svetz

Contents

1 CHAPTER
1
PREFACE

Introduction

Contention

2 CHAPTER
7
HYPER IMAGERY IN A TECHNOLOGICAL CULTURE: DISMISSING THE INVISIBLE
Images, Images, Images

Distraction

Effects

3 CHAPTER
21
A CASE STUDY IN RECOGNIZING THE INVISIBLE

Designing the invisible with Decosterd & Rahm

(Technology)(Climatic Condition) + Touch= Hormonorium

(Technology)(Climatic Condition) + Sound= Convective Museum

(Technology)(Climatic Condition) + Smell= Winter House

(Technology)(Climatic Condition) + Taste= Digestible Gulf Stream


4 CHAPTER
53
VISION IN JUXTASPOSITION WITH THE INVISIBLE
See what I Touch (‘Feed Back Space’, COOP HIMMELB(L)AU)

See what I Hear (Hypo-Surface Wall, CeBit Technology)

See what I Smell (“Pesce for Lunch”, Gaestano Pesce)

See what I Taste (Nature Matching System, Tatfoo Tan)

5 CHAPTER
85
DESIGN PROJECT
Program: Fitness Center & Mineral Spa

Site: New York City

6 CHAPTER
125
EPILOGUE

Summary

Bibliography

Terms

7 CHAPTER
132
THESIS PROJECT

Preface

“In memorable experiences of architec-
ture space, matter and time fuse into a
single dimension, into the basic substance
of being, that penetrates consciousness.
We identify ourselves with this space, this
place, this moment, and these dimensions
become ingredients of our very existence.
Architecture is the art of reconciliation be-
tween ourselves and the world, and this
mediation takes place through the senses. “

1
-Juhani Pallasmaa

1


1 2

Preface

The realism of architectural experience is tional engagement. We as a society have
rooted in the occupation of space within a become numb to emotive involvement -
building and the hidden dimension of the we have become mesmerized by imagery
senses. Placing the sense of sight at the top and have forgotten about the capabilities
of the hierarchical scale in comparison to the architecture can employ on experience.
other senses has become a theme in West-
ern architectural approach. The ocular is so Architects like Steven Holl, Peter Zumthor
potent in contemporary society specifically and Glen Murcutt have designed spaces in-
architecture, promoted by technology, which corporating the non-dismissive senses in
has ultimately been influenced through the order to produce multi-phenomena’s ulti-
visual imagery of television and the media. mately enhancing the occupant’s experience.
This technologically oriented imagery has led Recently in architecture there has been a ris-
us to become dismissive of the other senses. ing interest in the invisible, and architects like
Descosterd & Rahm express the “unseen”
By dismissing the other (non visual) senses through an avant-garde minimalist style.
we are encouraging a design approach that
lacks concern for human, physical and emo- Decosterd & Rahm’s architecture distorts ar-

INTRODUCTION
3


tificial environmental and atmospheric con- with its few architectural explorations. So,
ditions such as relative humidity, variations how can we begin to take these invisible phe-
in temperature and light in search for man’s nomena’s and make it less experimental so it
physiological response. They deal with in- can be more commonly incorporated in archi-
visible parameters of interior architectural tectural design instead of an afterthought?
space organized in accordance with thermal
concepts more related to sensuality than Instead of embracing the division of the five
comfort. This is an architecture tied to the senses like western contemporary architec-
senses, a theory of space grounded in the re- ture has, is there a way we can bring sens-
actions of the human body implemented by es together or in contrast to one another?
its immediate surroundings ultimately con- What if we allowed vision, something obvi-
trolled through technological mechanisms. ously comprehensive to control the senses?
Vision will be used in juxtaposition to the
So how do we begin to develop a visual lan- invisible in order to create an enhanced ar-
guage for the unseen? Invisible architecture is chitectural experience of space. Technology
extremely experimental and, although it has will be the mechanism in which we can em-
become a growing interest, it is still limited ploy vision in juxtaposition to the invisible.

4

Preface

By authorizing vision, the most comprehen- with in a spatial experience. This schism is a
sive of the senses to graphically control the reflection on the contemporary condition we
four invisible senses - touch, sound, scent and are embedded within. Living in a hyper imag-
taste - one can provoke an architectural expe- ery society during a technological era has en-
rience that is profound and exploits different hanced our dependence on the ocular - mak-
multi-sensory phenomena’s. ing us ocular-centric.

Technology will be the mechanism for regis- We can alter traditional phenomenological
tering vision in juxtaposition with the other architecture design approach by placing the
senses. Technology can also be used to mod- visual in juxtaposition with the four dismissed
ify invisible space by distorting artificial cli- senses; no longer allowing phenomenology to
mate control, ultimately broadening the field be strictly an afterthought or even a discharged
of invisible architecture by specifically allow- application. By graphically projecting the four
ing vision to graphically project the unseen. invisible senses, we can advance phenomeno-
logical design by making it more visually com-
Contemporary architecture has developed prehensive, ultimately enhancing the human
into an aesthetic requirement, neglecting experience and architectural design of a space.
the sensory conditions and its opportunities 1 Pallasmaa, Juhani. The eyes of the skin: architecture
and the senses. London: Academy Editions, 1996. pg 50.

CONTENTION
5


“A NEW WORLD SENSATIONS”

WERBEGRAFIK

ILLUSTRATIONS FOR AN ADVERTISEMENT

2008

Hyper Imagery in a Technological Culture: Dismissing The Invisible

“From Television to newspapers, from adver-
tising, to all sorts of mercantile epiphanies,
our society is characterized by a cancerous
growth of vision, measuring everything by its
ability to show or be shown, and transmut-
ing communication into a visual journey.“

2
-David Harvey

7


2 8


We are currently living in a hyper-imagery, call I just received. It is hard not to believe
technologically oriented society. Our genera- that my multi-tasking self isn’t a reflection on
tion is in complete contrast to my 90-year-old our current society induced by technology.
grandfather’s life experiences.
Times have changed. What once was per-
While walking one day next to my grandfather sonal to many has now become the imper-
at a nearby shopping center, he states like sonal. “We are living in a new space, a world
most grandparents’ who grew up in a more of information.”3A single moment command-
conjoint (interactive) culture, “I don’t under- ing our attention is fading away; we are vic-
stand you kids these days, how you all walk tims of a mass society diagnosis of Atten-
and chew gum at the same time.” Through tion Deficit Disorder. We are surrounded by
2 this archaic quote, I never took a step back to arrays of multiple, simultaneous imagery, in
realize what I was doing that day at the shop- the streets, airports, stores, supermarkets
ping center. While walking I was browsing the malls but more importantly on our comput-
store fronts while eating my hot pretzel and ers and televisions. The computer and televi-
sipping on my soda and answering the phone sion serve as a new form of distraction, it de-

IMAGES, IMAGES, IMAGES
9


MULTI-MEDIA EXHIBITION

CHARLES AND RAY EAMES

MOSCOW, RUSSIA

1959


ands our attention. “Rather than wondering pendency when we are constantly confronted
cinematically through the city, we now look visually.
in one direction and see many juxtaposed
moving images, more than we can possibly
synthesize or reduce to a single impression.
We sit in front of our computers on our er-
gonomically perfected chairs staring with a
fixed gaze at the many simultaneously open
‘windows’ through which different finds of in-
formation stream toward us. We hardly even
notice it. It seems natural as if we were simply
breathing in information.” 4

The ocular sense is so potent in our way of
life and our understanding of architecture;
however it is hard to realize our ocular de-

IMAGES, IMAGES, IMAGES
11


FILM: PLAYTIME

JACQUES TATI

PARIS, FRANCE

1967


The film Play Time directed by Jacques Tati is fire, the couple watches him torch the des-
a complex visual comedy that takes place in a sert but they do not flinch in excitement or
futuristic Paris. Modern industrial technology express any emotional response because
is accepted as a necessity by society yet it is they’re too involved in their conversation, lis-
represented as obstructions to daily life and tening to the band, there are to many distrac-
interferences to natural human interaction. tions to even concentrate, especially what is
going on right in front of them.
Play Time contains limited dialogues’ ex-
cept for background sounds which makes This movie embodies the diagnosis of At-
us aware of the numerous distractions that tention Deficit Disorder in which the future
occur in daily life. During a restaurant scene (contemporary society) has been embedded
the maitre d’s, waiters and musicians are within. It is considered normal to multi-task,
constantly scrambling in a crowded room which ultimately leads us to be less precise
of conversation, eating, drinking dancing, in our actions. This multi tasking is a direct
each trying to serve their customer. At one descendent of technology induced by the si-
point, a waiter brings a couple their dessert multaneous imagery.
where he then lights the bananas foster on

13
DISTRACTION


Customer Employee View Direction Movement Talking

DISTRACTION
15


DIAGRAM: FILM PLAYTIME

LEFT: PLAN

RIGHT: SECTION

RESTURANT SCENE


All too often our bodies remains remote an object, where we can look but cannot en-
and disengaged within in a building/ con- gage with its potential experience.
structed space. For some time now in ar-
chitecture, aesthetics have taken prece- Society values sight as the utmost important
dence, giving far more importance to form, aspect of comprehension and understanding
idea and appearance than to the occu- in comparison to the other senses - induced
pant’s needs and embodied experiences. by technology oriented imagery this has be-
Contemporary works in architecture have come consistent in western and international
been perceived as autonomous objects architectural application. We are living in a
which are clearly represented in books, society where technology has evoked a domi-
magazines and visually oriented mediums. nant ocular presence with attractive aes-
Through these visually concentrated medi- thetics and performances yet in due course
ums you can’t smell the building, you can detaching itself from its environment. David
sense the volume of space, and you can’t Michael Levin critiques the dominance of the
feel the air move nor the warmth of the sun- eye when he states: “I think it is appropriate
shine. Architects are creating the building as to challenge the hegemony of vision - the

EFFECTS
17


ocularcentrism of our culture. And I think we become an organic prototype for modernist
need to examine very critically the charac- architects. A lot of architects today are more
ter of vision that predominates today in our interested in creating visual effects rather
world. We urgently need a diagnosis of the than exploring the buildings tactile, acoustic,
psychosocial pathology of everyday seeing- scent and taste capabilities.
and a critical understanding of ourselves, as
2
visionary beings .” 5
David Harvey, The Condition of Postmodernity, Blackwell
(Cambridge), 1992, pg 293

3 Colomina, Beatriz. “Enclosed by Images: The Eameses’ Multi-
media Architecture.” Grey Room 02 (2001): pg 7.
Modernists have designed structures to
4 Colomina, Beatriz. Privacy and publicity: modern architecture
please the eye yet they have left the rest of as mass media. Cambridge, Mass: MIT, 1994., pg 27. Colomina
explores simultaneous imagery.
the senses, body, and recollection behind. 5 David Michael Levin, “Decline and Fall- Ocularcentrism in
Heidegger’s Reading of the History of Metaphysics’, in Levin
The only sense that can keep up with the 1993, pg 205

pace of the technology is vision. Le Corbusier 6 Zumthor, Peter. Thinking Architecture. Trans. Maureen Oberli-
Turner and Catherine Schelbert. Boston: Basel, 2006 pg. 17.
Zumthor uses his design to explain phenomenological design.
states: “I exist in life only on the condition
that I see; I am and I remain (and impenitent)
visual-everything is in the visual”. 6 The eyes

EFFECTS
19


UN CHIEN ANDALOU (ANDALUSIAN DOG)

LUIS BUNUEL AND SALVADOR DALI

FRANCE

1929

A Case Study in Recognizing the Invisible

“The world is full of signs and information,
which stand for things that no one fully un-
derstands because they, too, turn out to be
more signs for other things. The real thing
remains hidden. No one gets to see it.”

-Peter Zumthor 7

21


3 22


Induced by hyper imagery and technology, kinds of meteorology; renewing the idea of
society has been devoted to the visible. We form and use between sensation and phe-
are in a period where the slippage of the real/ nomenon, between the neurological and me-
visible towards the invisible is taking place, a teorologically, between the physiological and
shift of architecture towards the atmospheric the atmospheric. These become spaces with
and the biological as well as the meteorologi- no meaning, no narrative; interpretable spac-
cal. The considerable progress in life sciences es in which margins disappear, structures dis-
resonates with today’s study of the climate solve and limits vanish.” 8 Architecture must
and concerns of global warming. The fields of build unlimited sensual exchanges between
the visible are overly saturated with symbols, the body and space, the senses, skin, climate
images and stories that only deal with an aes- temperature and variations in humidity.
thetic condition.
Architects of these spaces, specifically De-
“The tools of architecture must become in- costerd & Rahm, aim to re-establish the lan-
visible and light, producing places like free, guage of architecture with the knowledge of
open landscapes, a new geography, different the invisible and stretch between the physiol-

DESIGNING THE INVISIBLE WITH DECOSTERD & RAHM
23


LATITUDINAL DISTORTION

DECOSTERD & RAHM

BOOK: DISTORTIONS

2000-2005


ogy and meteorology. In Descosterd & Rahm’s one invisible sense is being explored.
manifesto Form and Function Follow Climate,
the conditions of temperature, humidity and
light are deployed as new instruments for
determining architectural space keyed to: hu-
man comfort and behavior, energy efficiency
and a single sensory experience. The inten-
tion is to alter the essence of the elements
of architecture in order to disintegrate the
visible. The architectural tools in Decosterd &
Rahms’ works are invisible. It is something we
perceive, feel, hear, smell and taste.

Descosterd & Rahm have deployed a formula
to their projects and exhibitions - their belief
in climatic distortion remains constant where

DESIGNING THE INVISIBLE WITH DECOSTERD & RAHM
25


LATITUDINAL DISTORTION ii

DECOSTERD & RAHM

BOOK: DISTORTIONS

2000-2005


Decosterd & Rahm designed the “Hormono- felt slightly disorientated and confused. Ulti-
rium,” an installation for the Swiss Pavilion mately this “alpine-like climate” was meant
in 2002 at the Architectural Biennale. The to allow visitors to experience - a decrease
project explored the relationship between in fatigue, an increase in sexual desire and a
architecture and the human metabolism, regulation in moods. As the visitors began
between space, light and the neurological to feel “dopey” due to the physic-chemical
systems of the body via 528 florescent tubes parameter of the room, the occupants ex-
set under the floor simultaneously reduc- hibited bizarre behavior, but also slight
ing the oxygen levels from 21 to 14.5 per- euphoria due to endorphin production.
cent. This mimicked a high altitude climatic
condition like the mountains of the Swiss Decosterd & Rahm deal with the environ-
Alps. A high intensity light produced an ment as if it were a living thing undergoing
increase in the nitrogen level and marked a constant change. Rahm imposes a continu-
decrease of breathing air in this luminous and ous monitoring system which implies the
mesmerizingly sonorous space. Some visitors intent to exercise a considerable degree
began to feel sexual exhilaration, while some of what takes place in the spaces he de-

(TECHNOLOGY)(CLIMATE CONDITION) + TOUCH= HORMONORIUM
27


HORMONORIUM

DECOSTERD & RAHM

SWISS ARCHITECTURAL BIENALLE

2002


signs. He concentrates his attention on the field of activity which is tied to an original
problem of atmospheric conditions inside aesthetic value registered in the physiological
the building through detailed analysis and dimension of a buildings performance. The
manipulations of larger environmental is- new invisible elements measure the environ-
sues. Due to the manipulation of atmo- ment by means of technology establishing a
spheric levels, after ten minutes of being in climate which will define new behaviors and
the “Hormonorium” installation physiolo- determine the production of space to contain
gists can scientifically conclude that the ef- them.
fects of being in this space will improve the
body’s physical capabilities up to 10 percent.

Reyner Banham wrote that “in freeing archi-
tecture from local climatic constraints, me-
chanical environmental management’s tech-
niques have given carte blanche for formal
experimentation”. 9 Rahm exploits this new

29


31


22-25% O 2 14.5% O2

DIAGRAM: HORMONORIUM

LEFT: PLAN

RIGHT: SECTION OXYGEN CHANGE

DESIGNED ATMOSPHERE


BEHAVIOURAL EMULATION

33


FOOT STEP

PLEXI GLASS

UV TUBES
SMART FLOOR

DIAGRAM: HORMONORIUM

LEFT: SECTION, BEHAVIOURAL EMULATION OF SWISS ALPS

RIGHT: PERSPECTIVE AND FLOOR SECTION

DESIGNED ATMOSPHERE


Philippe Rahm’s competition entry in 2009 They thus generate the entire museum at-
for the contemporary art museum in Wro- mosphere, composed of multitudes of cli-
claw, Poland is defined by the introduction mates and flow ranging between 16-22 de-
of two of heat sources (similar to radiators), grees Celsius. These heat sources generate a
where one is registered at 16 degrees Celsius, sound as well as the natural convection flow.
while the other indicates 22 degrees Celsius.
These two temperatures were chosen be- Almost nothing in this volume is fully en-
cause they set the low and high temperature closed - the surfaces (ceiling, floor plates and
limits required for a museum in Poland (16 walls) throughout the space are transparent
degrees Celsius corresponding to a storage and contain open slots, so air can move from
space and 22 degrees Celsius corresponding space to space. One can recognize the invis-
to the maximum temperatures in an office.) ible air movement not just by the tempera-
These two heat sources in plan and section ture registration on ones skin but also by the
are placed opposing one another, the cold- sound of the air and its interaction amongst
er pole is placed higher than the warmer the walls, transparencies and slots. One can
pole to create a thermodynamic imbalance. notice a different acoustic quality in the ex-

(TECHNOLOGY)(CLIMATE CONDITION) + SOUND= CONVECTIVE MUSEUM
35


‘CONVECTION MUSEUM’ MUSEE KANTOR: COMPETITION

DECOSTERD & RAHM

CRACOW, POLAND

2006


hibition rooms because the slats are closed Museum deals with notions of tempera-
and sound is being monitored by the insu- ture and convection flow, yet Rahm brings
lation placed in the thickness of the beams. his notions of meteorology to the next level
The air flow manipulates the entire volume by engaging ones auditory sensory nodes.
of the building as well as different climates, He does this through the materiality of sur-
environments and qualities of space for vari- faces, opening and closing of walls and the
ous activities. The sound of the air move- application of two different heat sources.
ment is in contrast to pedestrian movement,
therefore creating two different sounds:
First, when a person is walking with the air
flow and, second, when someone is walk-
ing in the opposing direction of the air flow.

The outer envelope of the building is iso-
lated yet it contains the interior climate.
This competition entry for the Convective

37


39


INFILTRATION

REFLECTION

ABSORPTION

DIAGRAM: CONVECTION MUSEUM

LEFT: MODEL OF TRANSPARENT LAYERS

RIGHT: 3SURFACE TYPES, TEMPERATURE OF FLOOR PLATES

VERTICAL DESIGNED ATMOSPHERE


In winter, when a person feels a chill, they im- as the primary determinates of the design.
mediately walk over to the thermostat/radia-
tor and turn the dial to heat the space. This Here Descosterd & Rahm propose an “artifi-
notion of turning a dial is in stark contrast to De- cial reproduction of a geographically localized,
costerd & Rahms architecture. It is not about chemically determined climate,” specifically
turning a dial to get a resultant. It is about localized, chemically determined climate,” 10
in this case Tahiti. Creating this tropical zone
creating distortions in latitude, bringing a cli- in a harsh winter climate at the choice of the
mate that exists somewhere else in the world. occupant (Tahiti), the architecture becomes
the air - invisible but physically modified. The
The winter house is located on the coun- heating system becomes a space for the pro-
tryside of Vendee (outside of Paris) near a duction of this air, and contains not just the
small river. The house needs to protect its technical apparatus but also exotic plants,
occupants against the cold and harsh win- microorganisms and mineral substances from
ter, therefore dealing with the technical en- Tahiti, a region where the temperature is ac-
gineering aspects of heating and ventilation tually 20 degrees Celsius with 50 percent hu-
systems not as secondary conditions but midity. These plants, through photosynthesis

(TECHNOLOGY)(CLIMATE CONDITION) + SMELL= WINTER HOUSE
41


FABRICE HYBERT WINTER HOUSE: TAHITI

DECOSTERD & RAHM

VENDEE, FRANCE

2002-2005


and their emanations, determine the chemi-
cal quality of the air that will infiltrate into the
living space through the heating system. The
space, due to the exotic plants and microor-
ganisms, do not just help us visually relate to
a warmer climate but also change the aura
through the olfactory. The exotic plants take
over the house metonymically connecting the
warm climate of Tahiti through scent.

43


LATITUDE DISTORTION

45


DIAGRAM: WINTER HOUSE

LEFT: SECTION, LATITUDE DISTORTION

RIGHT: AXON , ENHANCING SCENT

EXOTIC RELOCATION IN A COLD CLIMATE


The “Digestible Gulf Stream” exhibition was duced a set of drawings for this exhibition. Its
a micro-climate that related to temperature location, however, was now in a removed for-
and gastronomy in order to create a spatial ex- est clearing. The drawings portray the same
perience at the 2008 Architecture Biennale in distinct air of laziness as the exhibition did.
Venice. The exhibition consists of two glossy The drawings depict the inhabitants in this
white platforms connected by two horizontal forest clearing, rubbing warming/ cooling
metal planes which are extended at different ointments onto each other’s backs, while they
heights. These platforms provide a setting for read, sleep and bath in the sun. This lotion re-
the performance - the space is inhabited by a lates architecture as gastronomy. Rahm uses
lethargic, intermittently-dressed group, who culinary/pharmaceutical applications to the
could seek out the ideal climatic conditions two glossy white plates that directly stimulate
for their current activities. These activities in- the sensory receptors. The hot plate contains
cluded typing on a keyboard, sleeping, play- chili peppers and cold accommodates mint,
ing cards and chatting in a circle. thus stimulating the salivary glands. The lo-
tion can be eaten or applied to the body and
An artist by the name of Piero Macola pro- in the exhibition, specifically the white plates.

(TECHNOLOGY)(CLIMATE CONDITION) + TASTE= DIGESTIBLE GULF STREAM
47


DIGESTIBLE GULF STREAM

PHILLIPE RAHM

VENETIAN ARCHITECTURAL BIENALLE

2008


“The first preparation, on the upper cold Like a miniature Gulf Stream, the plate’s posi-
plate, which contains mint, has molecules tion generates air movement using the natu-
of crystalline origin known as menthol that ral phenomenon of convection, thus creating
cause the same sensation in the brain as the a constant thermal flow, akin to an invisible
coolness perceptible at a temperature of 12 landscape. In this case the architecture is lit-
degrees Celsius. The menthol activates the erally structured on air current, where the
Transient Receptor Potential (TRPM8) molec- taste of the hot chili and cool mint affects
ular sensory receptors on the skin and in the the occupant’s experience of that space.
mouth that stimulate the group of peripheral
7 Le Corbusier, Precisions, MIT Press (Cambridge, MA) 1991, pg 7
sensorial neurons known as cold-sensitive
8 Lally, Sean. “Meteorological Architecture (Philippe Rahm.” Ed.
units. The second composition, on the lower Helen Castle. Energies: New Material Boundaries: Architectural
Design (2009): pg 32.

hot plate, which contains chili, has one of the 9 Banham, Reyner. Architecture of the Well-Tempered Environ-
ment. 2nd ed. Chicago: University of Chicago, 1984.
molecules, capsaicin, activates the neuro-re- 10 Rahm, Philippe, Marie-Ange Brayer, Nott Caviezel, Pedro Gadan-
ho, Christopher Kaltenbach, Marieke Rooy, Marco Michelis, and
ceptor TRPV1, which is sensitive to tempera- Béatrice Josse. Distortions. Orléans, France: HYX, 2004,pg 1.1

11 Rahm, Philippe. "Digestible Gulf Stream." Philippe Rahm. Web.
tures of 28°C .” 11 Fall 2009.

49


80 F

72 F

64 F

57 F

50 F

SURFACE TEMPERATURE [ F ]

0 10 20 25 28 30 40 44 50 60
TRPA1 TRPV1
TRPM8
TRPV4
TRPV3 TRPV2

CINNAMON GARLIC MINT CAMPHOR CHILLI

TRPA1 transient receptor potential ankrin transmembrane protein
TRPM8 transient receptor potential melastatine 8
TRPV4 transient receptor potential vanilloide 4

51


DIAGRAM: DIGESTIBLE GULF STREAM

LEFT: CONECTIONCURRENT, EAU DE CHALEUR CREAM QUALITIES

RIGHT: ILLUSTRATIONS BY PIERO MACOLA

EXOTIC RELOCATION IN A COLD CLIMATE

Vision in Juxtaposition with the Invisible

“The technology expanded and strengthened
eye today penetrates deep into matter and
space, and enables man to cast a simultane-
ous looks on the opposite side of the globe”.

- David Harvey 1 2

53


4 54


“The eye collaborates with the body and design. In general, perhaps temperature is like
the other senses . One’s sense of reality is sound, smell, taste and touch - it is not apart
strengthened and articulated by this constant of the standard architects’ toolkit of space,
interaction. Architecture is essentially an ex- light and form, yet so it is easily ignored. This
tension of nature into the man- made realm, eventually leads to architects passing off de-
providing the ground for perception and the sign controlled elements to other people, like
horizon of experiencing and understanding engineers or, even worse, to chance. These
the world. The eye needs to collaborate with elements become a part of an “after the fact”
the senses. “ 13 architectural design.

Invisible architecture is hard to draw (except, However, the invisible can be incorporated
for example, when drawing music notes to into a primary design element, yet most ar-
implicate sound). The non-dismissive senses chitects don’t want to get involved with this
are rarely considered or communicated in scope of phenomenological design. This is ul-
architectural drawings and for the most part timately hindering architectural potential be-
do not play a role in mainstream architectural cause the invisible conditions are what make

JUXTAPOSITION
55


MARGRITTE POSING IN FRON OF HIS PAINTING

RENE MARGRITTE

BRUSSLES

1961-1967


up our experience of space.

By making the invisible visible through graph-
ic projection we can perhaps alter the way
architectural space is experienced by allow-
ing architects to explore this path, thus alter-
ing traditional phenomenology and making it
less experimental.

JUXTAPOSITION
57


MAP OF THE INTERNET

NOVEMBER 23, 2003


Touch is the most tangible of the senses invented at the 2008 architecture biennale
which, therefore, has a more obvious effect in Venice by COOP HIMMELB(L)AU entitled
on our experience and understanding of “Feedback Space.” This interactive installa-
space. The very essence of lived experience tion uses the participants’ heartbeat, which
is molded by hapticity. is detected by hand sensors to read their
heart beat. This all occurs in a futuristic clear
The sense of the tactile can also be some- bubble environment. This bubble membrane
thing intangible, perhaps of a more percep- is contains four LED Screens where the partic-
tive and invisible quality. The skin is capable ipants heart beat is visually displayed. The re-
of distinguishing texture, weight, density sulting installation is a cloud-like, semi-trans-
and temperature of an object or matter, so parent floating internal space which uses the
through this invisible sensation we can be- human heartbeat in real time.
gin to experience a space without physically
touching an obvious object. Wolf D. Prix, one of the three founders of
COOP HIMMELB(L)AU, explains this proj-
For example, the Astro Balloon 1969 was re- ect while at the architectural Bienalle in

SEE WHAT I TOUCH
59


ASTRO BALLON

EXPERIMENT

EUROPE

1969


2008: ture looks like architecture smells like
architecture but it is not architecture
it is just a building because it is not
“The theoretical background of our coffee.” 14
work is that we say not that architec-
Therefore, through the technology of the joy
ture is changing the human being but
stick mechanism, this project expresses the
the human is able to change architec-
invisible which is the displayed graphically on
ture. This mean that it is a theoretical
the LED screens. Vision is in juxtaposition to
contribution, your body is changing
touch.
the space. If an arch doesn’t want to
change the world or the society with
his building he stays a builder, this is
then not architecture, it is just a build-
ing. When thinking isn’t the mentor
of his project its like a decaf espresso;
decaf architecture looks like architec-

SEE WHAT I TOUCH
61


ASTRO BALLON 1969 REVISITED- ‘FEEDBACK SPACE’

COOP HIMMELB(L)AU

VENETIAN ARCHITECTURAL BIENALLE

2008


SEE WHAT I TOUCH
63


DIAGRAM: ‘FEEDBACK SPACE’

LEFT: PLAN

RIGHT: SECTION

TOUCH VISUALLY PROJECTED


SEE WHAT I TOUCH
65


DIAGRAM: ‘FEEDBACK SPACE’

LEFT: JOYSTICK MECHANISM

RIGHT: PLAN OF CONNECTION OFJOYSTICK AND LED SCREEN

TOUCH VISUALLY PROJECTED


In architecture, seeing a building is a visual of a space. For example, throughout the film
experience that can capture a gaze however Play Time there is little to no dialogue, sound
the building can also incorporate the expe- is a clear exploration of a background experi-
rience of sounds. A space should be under- ence, however it helps the overall theme of
stood and appreciated by its visual shape, the movie, visual distraction, be portrayed
but also, perhaps, through its echo upon its through the constant background noises of
numerous surfaces which can help us employ the loud city.
experience.
Some designers have rejected this con-
Sounds incorporate its surroundings where as ventional notion of sound being a part of a
the eye sees what is in front of it. The inte- background experience. For instance, Mark
rior of the mind can vividly sculpt an image Goulthrope’s Hyposurface sound wall was
of a dripping faucet, due to the sound of wa- first exhibited at the Venetian Architectural
ter hitting a hard surface. Acoustics usually Biennale in 2000. The Hyposurface wall by
remain an unconscious background experi- nature is interactive. It is a digital system
ence which ultimately affects our experience where sensors pick up any digital input such

SEE WHAT I HEAR
67


HYPO-SURFACE WALL

MARK GOULTHROPE

BIO WEEK IN BOSTON

2007


as movement, or in this case sound, and in
return produce an output. Here, three mi-
crophones register sound quality and volume
which is translated to concentric waves on a
three-dimensional surface. The surface be-
haves like controlled liquid: waves, patterns,
logos, even text emerge continually within its
dynamic surface. The human eye is drawn to
physical movement based on sound. Technol-
ogy has evolved the theory of architecture
that vision can juxtapose sound to become
apart of a primary interactive experience.

SEE WHAT I HEAR
69


LOUD

180 lbs
SOFT

55 lbs

SEE WHAT I HEAR
71


DIAGRAM: HYPO-SURFACE WALL

LEFT: PLAN, FOOTSTEP AFFECTING WALL

RIGHT: WALL MOVEMENT DETAIL

SOUND VISUALLY PROJECTED


Odors are associated with day-to-day expe- Keller was able to recognize an old fashion
rience, subconsciously reminding us of the country house because it had several levels
olfactory structure which are mainly invisible of odors left by families, plants, perfumes and
even though they are almost always active and draperies.” 16
meaningful in the way we experience a place.
In Oliver Sack’s book The Man who Mistook The increasing attention dedicated to odors
His Wife for a Hat states “You smell people, in recent years has been driven practically by
you smell books, you smell the city, you smell the possibilities offered by new technologies
the spring-maybe not consciously, but as rich in defining architectural and urban spaces.
15
unconscious background to everything else”. This might have been driven by the 1981 John
Odors are not only profoundly inherent com- Waters comedy film Polyester (inspired by
ponents of place, but at times are actually the William Castle film in 1960 Scent of Mys-
essential in defining them. Odor is a power- tery) where the audience received scratch
ful vehicle for memory which penetrates into and sniff cards and the viewers could smell
our deepest recollections. “The persistent what they saw on screen with its correspond-
memory of any space is often odors. Helen ing numbers. The scratch and sniff cards were

SEE WHAT I SMELL
73


EXHIBITION ‘PESCE FOR LUNCH’

GAETANO PESCE

NEW YORK CITY

2005


a gimmick to place you spatially in the film. tured oceans of olive oil and seas of balsamic
One becomes more emotionally engaged vinegar, overhung by parmesan cliffs and for-
with the film and can comprehend on a multi- ests of basil, rosemary and broccoli. He cat-
sensorial level. Communications media have egorized his physical landscape where moun-
lead to two different behaviors regarding the tains were made of dairy, acres of herbs, sea
olfactory perception; solely concentrated on of liquids and sky’s meat, like one would find
developing technologies of the visible and in an Italian hill town. “Pesce for Lunch” is an
audible. imaginary landscape where food has become
the basic element that induces memory of a
The connection of the visual and audible are place. It is hard to wonder through this exhib-
apparent the exhibition “Pesce for Lunch,” in it without the smell of Italy eradicating your
New York in 2005 designed by Gaetano Pesce. taste buds and inflowing images or even per-
This exhibit was made with actual food which sonal memories of Italy.
evoked the style, fragrance, flavor and color
of Italy. Recognized for his use of color, func-
tionality and warmth, Pesce’s creation fea-

SEE WHAT I SMELL
75


LANDSCAPE PROGRAM INGREDIENT ELEMENTS

Tree Plant

Mountain

Ocean Lake

Ground Texture

Sky Hangings

SEE WHAT I SMELL
77


LANDSCAPE + VISUAL = SMELL OF ITALY
[ program ] [ food ]

+ Vegetable =

+ =

+ Liquid =

+ Herbs =

+ Meat =

DIAGRAM: ‘PESCE FOR LUNCH’

LEFT: CATEGORIZING SMELL

RIGHT: LANDSCAPE CATEGORIES

SMELL VISUALLY PROJECTED


Vision is transferred through the expe- ing habits. The colors of the NMS visu-
rience of taste. One example of the vi- ally evoke oral sensations, where color is
sual transference through taste is Tatfoo visually associated with healthy eating.
Fans Nature Matching which serves as a
reminder to consume your daily recom- Junichiro Tanizaki states through his works
mended doses of color. The shades of The Tea Ceremony “With lacquerware
color displayed at the farmers markets there is a beauty in that moment between
are more than skin deep, reflecting the removing the lid and lifting the bowl to
inner potential of every fruit and vegeta- the mouth when one gazes at the still, si-
ble - intense colors might even be called lent liquid in the dark depths of the bowl.
nature’s nutrition labels. Color is a de- What lies within the darkness one cannot
vice that can be deceptive (for example, distinguish, but the palm senses the gentle
Gushers junk food is marketed in bright movements of the liquid, vapor rises from
colors its flavors are simulated artificial within forming droplets on the rim, and a
fruit extract), however, Tatfoo’s Fans NMS fragrance carried upon the vapor brings a
ensures the decrease of unhealthy eat- delicate anticipation... A moment of mys-

SEE WHAT I TASTE
79


NMS- NATURE MATCHING SYSTEM

TATFOO TAN

DUMBO BROOKLYN

2008


tery, it might almost be called, a mo-
ment of trance.” 17 Through this quote,
Tanizaki explains that in order to receive
a full satisfaction we must visually con-
nect with the “bowl of soup” before tast-
ing it. Just like the Tatfoo Tan does in the
NMS, one must juxtapose the visual with
taste in order to gratify an experience.
12 Harvey., 261-307

13 Lally., 24

14 Prix, Wolf D. “Up in the clouds with COOP HIMMELBLAU.” Web.
Fall 2009. <http://www.youtube.com/watch?v=sriiUgxwi1s>.
15 As quoted in Barbara, Anna, and Anthony Perliss. Invisible ar-
chitecture : experiencing places through the sense of smell.
1st ed. Milano: Skira, 2006 pg 125
16 Diane Ackerman, A Natural of the Senses, Vintage Books (New
York), 2005, p 45

17 Kakuzo, Okakura. The book of tea. Trans. Liza Dalbury. Boston:
Tuttle Pub., 2000, pg 15

SEE WHAT I TASTE
81


SEE WHAT I TASTE
83

Vision in Juxtaposition with the Invisible See What I...controlling vision through the senses

COLOR + FOOD = FOOD PROCESS CLR PATONE MS BEHR PAINT

DIAGRAM: NMS- NATURE MATCHING SYSTEM

LEFT: GENERAL COLOR CORRELATION TO FOOD

RIGHT: DETAIL COLOR CORRELATION TO VISUAL

TASTE VISUALLY PROJECTED

Design Project

“Physical fitness is not only one of the most
important keys to a healthy body, it is the
basis of dynamic and creative intellectual
activity”.

18
–John F. Kennedy

85

5

86

Design Project

Contemporary Fitness Centers and Spas ment and the taste of our energy drinks all
are all about image; where numerous be- heighten our senses. Within a Spa all senses
ings within the same space are checking are amplified due to the temperature of wa-
one another out, enviously comparing bod- ters and other tranquil effects. However, de-
ies and then reflecting on their own. The signing these spaces where the senses are
plastering of mirrors within the fitness cen- graphically projected through technological
ter only adds to this narcissistic behavior. means will allow the client to become aware
The original spas were arranged around no- of their heightened sensory experience and
tions of relaxation and serenity, yet now also educate them on their body and fitness.
they have transformed into a beautifica-
tion process. These spaces are described
by its influx of hyper-imagery which is ulti-
mately a reflection on contemporary society

Within a fitness center the odors amongst
sweaty bodies, the sounds of the equip-

FITNESS CENTER AND MINERAL SPA
87


‘MAN WORKING OUTR’

QUIT SMOKING BULLETIN

CHICAGO

2006

Design Project: Program

The Downtown Athletic Club creates a spec- obtain their high social status. The NYAC
trum of experiences through its multiple floors 1-15 were only for men, this build-
themed floor plans. “The club represents ing is considered a multi story bachelor pad.
the complete conquest- floor by floor- of
the skyscraper by social activity; with the The notion of multi-functions undefined by
Downtown Athletic Club the American way ay exterior composition was a unique qual-
of life, know-how and initiative definitively ity in a skyscraper for the time it was built
overtake the theoretical lifestyle modifica- and even today. The skyscraper suggests
tions that the various 20th century Europe- that like the metropolis no single specific
an avant gardes have been insistently pro- function can be matched with a single space
posing, without ever managing to impose or envelope. This building emulates soci-
them.” 19 ety’s needs for multiple functions on an in-
dividual platform which can be ceaselessly
The New York Athletic club is not just a fit- adapted not affecting the overall framework.
ness center it’s about social interaction
amongst business men who were trying to

FITNESS CENTER: SOCIAL ASPECT
89

SeeSee Whatcontrolling vision through the senses
What I... I... controlling vision through the senses

NEW YORK ATHLETIC CLUB

STARRETT & VAN VLECK

WASHINGTON ST, MANHATTAN

1931


NEW YORK ATHLETIC CLUB PROGRAM

ROOF
FLOOR 36 UTILITY
FLOOR 20-35 BEDROOMS
FLOOR 19 PRIVATE DINING

FLOOR 18 LOUNGE
FLOOR 17 ROOF GARDEN
FLOOR 16 UTILITY

FLOOR 15 KITCHEN
FLOOR 14 GRILL
FLOOR 13 POOL BALCONY

FLOOR 12 SWIMMING POOL
FLOOR 11 LOCKER
FLOOR 10 MEDICAL BATH
FLOOR 9 LOCKER

FLOOR 8 GYMNASIUM
FLOOR 7 GOLF
FLOOR 6 SQUASH
FLOOR 5 LOCKER

FLOOR 4 HANDBALL
FLOOR 3 BILLARDS
FLOOR 2 ADMINISTRATION
FLOOR 1 LOBBY

FITNESS CENTER: SOCIAL ASPECT
91


Downtown Athletic Club
North of Battery Park

Dense Vertical Program

DIAGRAM: NEW YORK ATHLETIC CLUB

LEFT: SECTIONAL PROGRAM

RIGHT: SITE PLAN

FITNESS CENTER: AESTHETIC QUALITY
93


WELLNESS SKY FITNESS CENTER

4 OF 7

BELGRADE, SERBIA

2009


Gymbox is an original type of fitness cen- and transforming the style of and old tra-
ter known for its unique program. It is con- ditional gym to something a bit more up-
sidered a ‘gym with a new attitude’. There beat that attracts the fast past city goers.
are three locations within the London area.
18 “The Federal Government Takes on Physical Fitness.” John
F. Kennedy Public Library & Museum. Multimedia. Web. Fall
2009.<http://www.jfklibrary.org/JFK+in+History/The+Federal
This trendy gym has DJ’s for every class of- +Government+Takes+on+Physical+Fitness>htm>. as quoted in
Kennedy, John F. U.S Official Physical Fitness Program. Ed. Bud
Wilkinson.
fered thus resembling a high end frantic 19 Koolhaas, Rem. Delirious New York: A Retroactive Manifesto for
Manhattan. New ed. New York: Monacelli, 1994. pg 152
night club. Kangoo (sneakers that act like
pogo sticks), hip hop, Rave-laser-lit dance
studio’s are some of the names of classes
offered. These spaces offer neon lighting,
film projections, split level flooring and a
‘floating’ dance studio (this is the space
that turns into a night club at the flip of a
switch). Gymbox is on the cutting edge

FITNESS CENTER: UNIQUE PROGRAM
95


GYMBOX, CONVENT GARDEN BRANCH

BEN KELLY ARCHITECTS

ST. MARTINS LANE, LONDON

2007


Les Bains Des Docks aquatic center/ bath- by the Roman Empire thermal baths and
house is located in the historic city of Port uses this traditional sequence to program
Havre, France. This is one of many redevelop- the spaces through the complex. For instance
ment projects within this soon to be revital- the sequence at the Roman bath of Diocle-
ized area. This post modern complex consists tian starts off in a sauna or steam room, and
of 130,000 square feet, filled with intercon- from there the occupant has the option to
nected pools, water channels, steam rooms progress from the caldarium (hot) through
and hydrotherapy areas. “Each chamber of the tepidarium (warm) and concluding in the
Les Bains des Docks, as the spectacular com- frigidarium (cold), or they can go straight to
pound is called, is a poetic jumble of mono- the frigidarium. This methodology dealt with
lithic white squares and rectangles called the cleansing of the body where the hot air/
classical ruins” . 20 water would open the pores and the cold wa-
ters would close them.
Jean Nouvel breaks from the contemporary
bathhouses and explores waters poetic poten- The Roman baths were oriented to the south-
tials like in Roman lagoons. He was inspired west so that solar energy would help main-

MINERAL SPA: SEQUENCE
97


LES BAINS DES DOCKS

JEAN NOUVEL

PORT LE HAUVE, FRANCE

2008


tain the hot temperatures of the caldarium, ployed skylights, large windows and translu-
not affect the frigidarium. cent/ water walls for maximum natural light.
There is a total of twelve pools, including
Nouvel oriented the hot pools towards the an outdoor heated lap pool, several leisure
south west; his complex consists of twelve pools, children’s whirlpool as well as a sauna,
programmed pools with ranging tempera- hammam, spa, a center of balneotherapy and
tures. One starts in the hot pool indoor pool fitness center.
and ends in the colder children’s pool. This is a
modern interpretation of the Roman thermae Following the roman model, there are pools
meshing with contemporary society needs. filled of hot and cold baths with Turkish foun-
tains, sprays and soothing rays that spill into
The interior is in stark contrast to its grey fa- one another.
cade, where all the surfaces are covered in
white mosaic tile which were favored in Ro-
man and Byzantine art. The childrens space is
the only area of playful color. There are de-

99


F FRIGIDARIUM

T
C

TEPIDARIUM & CALDARIUM

101


F

T

C

THERMAL BATHS

LEFT: PLAN-BATH OF DIOCLETIAN

RIGHT: PLAN AND SECTION- LES BAINES DES DOCKS


Inspired by the breathtaking surroundings, it flows throughout the entire building, cre-
Peter Zumthor designed Vals spa on a sharp ating a peacefully pulsating rhythm. Moving
Alpine mountain, where its architectural el- around this space means making discoveries.
ements (such as the green roof) mimic its You are walking as if in the woods. Everyone
natural site conditions. The spa embodies there is looking for a path of their own.” 21
connections between mythology, bathing and
purity creating a complete sensory experi- An analysis of the chemical composition of
ence. Zumthor carefully designs paths of cir- the water clearly shows that mineralization
culation which lead bathers to certain prede- occurs in the Trias strata (various rocks found
termined points but lets them explore other on site in the Vals Valley, ranging from white
areas for themselves. The circulation and act marble, limestone to grey slate). The miner-
of bathing in Vals Spa was influenced by the alization found in the waters can be broken
Turkish Baths in Budapest. The perspective is down as follows: calcium, magnesium, so-
always controlled. “The meander, as we call dium, chloride, fluoride, iron, iodide, potas-
it, is a designed negative space between the sium, manganese, hydrogen carbonate and
blocks, a space that connects everything as sulphate.

MINERAL SPA: TEMPERATURE AND MINERALS
103


VALS THERME SPA

PETER ZUMTHOR

GRAUBUNDEN CANTON, SWITZERLAND

1996


MINERAL SPA: TEMPERATURE AND MINERALS
105


Indoor pool 32° C
Outdoor pool winter 36° C
Outdoor pool summer 30° C
Fire pool 42° C
Ice pool 14° C
Flower pool 33° C
Sound Bath – 35° C
Sauna- 85–100%
Sounding Stone
Massage rooms
Relaxation rooms

VALS THERME SPA

LEFT: PLAN

RIGHT: SECTION

TEMPERATURE AND MINERAL BATH LOCATIONS


Typical spas concentrate on the relaxation Water has been used in holistic measures;
of the body and muscles through deep tis- some believe that water has the ability to
sue messages and qualified aromas; however cure diseases more so then modern medi-
some spas throughout the world concentrate cine. Water causes the whole body to feel
of the medicinal mineral contents of the wa- sedated. Temperatures play a role in this
ters which are influenced from the natural holistic healing; cold water rejuvenates, re-
qualities of hot springs. Balneotherapy is the energizes and helps resist disease and pain.
most popular and natural approach to min- Ice water reduces the pain of minor burns
eral water bathing and drinking. It is a healing and bruises. Controls bleeding. Warm (neu-
that uses hot springs, water, gasses, mud and tral)water relaxes and sedates the body. Hot
climatic factors such as heat. Different springs Water soothes the body, induces perspiration
contain different minerals which have special increases. Steam opens pores, creates perspi-
therapeutic effects on the organs of the body, ration which in turn cleanses the body. Going
such as the heart, liver and skin. For instance, from hot water to cold quickens circulation
Ein Gedi’s hot spring in Israel contains quali- and bodily reaction.
ties of sulfurous, chloride and peloid waters. 20 Sherwood, Seth. “Le Baines des Docks.” Interior Design Maga-
zine, le grands place Oct. 2008: 351.

21 Hauser, Sigrid, and Peter Zumthor. Peter Zumthor therme Vals.
Trans. Kim Lum. Scheidegger & Spiess: Zurich, 2007.

MINERAL SPA: HOT SPRINGS
107


EIN GOKEK

NATURAL MINERAL SPRING

EIN GEDI, TIBERIAS ISRAEL

FOUNDED IN BIBLICAL TIMES


BICARBONATE: Sodium Bicarbonate SULFAR & SULFATES
Calcium Bicarbonate

Salt resulting from the incomplete neutral- Sulfur springs abound wherever there is vol-

ization of carbonic acid or the passing of ex- canic activity, although they can be found in

cess carbon dioxide into a solution base. areas without volcanic activity. Contains a

Natural component of blood and is essential high aroma of hydrogen sulfide gas.

for proper digestion, metabolism and overall Sulfur-rich waters help in assist in the forma-

functioning. tion of a variety of microorganisms, algae,

Drinking- Biocarbonates stimulate the ap- bacteria that are cultured and therapeuti-

petitie and increate secretion of the gastric cally in the form of mud applications.

juices necessary for proper digestions. Cures- Indigestion, kidney disorders and

Bathing- 10- 20 minutes temperature of 86- opens nasal passages and stimulates mucous

95 degrees F. membranes.

Cures- Cardiovascular diseases, nervous ex- Bathing- No specific time or temperature,

haustion and autonomic nervous system im- more commonly used for drinking and

balance. breathing in the form of a fine mist through.

109


GASES: carbon dioxide CHLORIDE
radon

Dioxide waters can be dangerous yet highly medicinal. Known as salt waters or muriated waters,
Produced through the combustion, decomposition or saline springs are rich in sodium chloride,
fermentation of carbon or its compounds. derived from deposits of salt or sandstone.
Carbon Dioxide stimulates breathing and has positive Chloride helps regulate fluids both in and
effects on the heart. Also has the ability to help dilate out of the body cells. Facilitates the diges-
the arteries and its helps increase peripheral blood tion of food and body’s absorption of nu-
circulation. Gas is extracted from the springs to be trients.
used as injections in ‘bagging’, which involved placing Drinking- Chloride is not meant to be drank.
an airtight plastic bag and injecting it with dry Carbon Bathing- (ideally .5- 3% sodium) at a tem-
Dioxide gas. perature 93-104 degrees F for 10- 25 min-
Bathing- Cold waters rather then warm or hot. Start- utes.
ing with 5 minute 15% Carbon D. baths slowly increas- Cures- Hypotrophy, respiratory infections,
ing to 10 minutes and 20% Carbon D. and later to 40%. enuresis.

110


PELOIDS RADON

Peloid is the technical term for mud, pelotherapty. This helps re- Radon- Radioactive inert gas
move toxins from the body and maintains heat in various parts that has a very short life nor-
of the body and aids absorption of minerals and other therapeu- mally found in soil, rock and
tic and softens skin. water.
Mud is made up of 2/3rds water and 1/3 solid. Bathing- European spa’s use
Bathing- Thermal peliod springs can be as hot as 152 degrees F. small amounts of radon gas to
flora is found in its chemical composition adding to its chemical treat a wide range of health
and therapeutic qualities. Man made baths should range from problems. Recommended baths
100-115 degrees F for 20-40 minutes and washed off with warm are 8-15 minutes in heated
water. water ranging from 95-100 de-
Cures- complaints of rheumatic, vascular, skin and orthopedic grees F. Can also be used from
disorders. rheumatic diseases, gout, neuralgia, dermatitis, gyne- inhaling humid air or steam con-
cological problems and diabetes. tain radon.

111


IRON CALCIUM MAGNESIUM POTASSIUM LITHIUM

Our blood depends Essential found in Reduces risk of heart Maintains Silvery-white
on iron to nourish foods specifically diseases and regu- normal alkali metal oc-
it with oxygen and dairy products such lates body functions b l o o d curs in a variety
promote the forma- as milk, soy products, as well as produces pressure, of compounds.
tion of red blood sea kelp, wheat germ bones and teeth. found in Poison when
cells which are es- and green vegetables. Found primary in mineral ingested yet
sential to our blood Help blood to clot nuts, whole grains waters ab- lithium carbon-
system. Usually iron and builds bone and and green vegetables. sorbed by ate therapeu-
springs are brown- teeth. Plays a role on This can be absorbed drinking or tic qualities
ish in color. Used for normal liver function in hot baths as well as hot baths. to cure manic
both bathing and and helps muscles drinking rich magne- depression via
drinking. contract. sium mineral water. hot springs.

These are not highly concentrated minerals or oligomineral waters; lightly chemically compacted heated at
temperatures over 95 degrees F. They help reduce stress, increase body temperature and general circulation.

112


‘Visions’ Fitness Center and Mineral Spa

Lobby/ Entrance Cycling
Security stations, checking member Hip Hop
ship. Boxing
Public Program Wellness Center
Female and Male Changing Room. Speak with consultants regarding life
Showers, lockers style changes or personal training as
Work out Spaces Equipment sistance consultation.
Cardio- Treadmill, Elliptical Oxygen Bar
Weight Machines Wellness Center
Free Weights Speak with consultants regarding life
Floor Mats style changes or personal training as
Classes sistance consultation.
Club ‘Rave’ Administration
Kangoo Administration offices/ Conference
Kickboxing Lounge

POTENTIAL PROGRAM SPACES
113


TYPICAL ONE FLOOR NYC FITNESS CENTER PLAN

BALLEYS

113 4TH AVENUE

2001

Design Project: Site

Age: Twenty Five- Fourty-Five the site, specifically where water is a large
component.
Moderate--> + Income
Preferably owner verses renter neighbor-
Accessible or within this criteria neigh- hood to maintain membership
borhood
Transportation accessibility via subway
Not sticky a residential neighborhood,
traffic footprint necessary for advertising Non- Touristy neighborhood
and profit reasons
Not located to close to any large chain
Near a water source for green conscious (example: Equinox) fitness center.
design in regards to the mineral spa. Al-
though the water will be filtered and Preferably not near a private/local neigh-
chemically altered it is important if avail- borhood fitness center.
able, to use the natural surroundings of

DESIRED CLIENT
115


PLAN OF MANHATTAN

MANHATTAN

NEW YORK CITY

2009


MANHATTAN FITNESS CENTERS
117


FITNESS CENTER CRUNCH FITNESS CENTER

EQUINOX GYM FITNESS BALLEYS FITNESS

YMCA FITNESS CENTER NEW YORK SPORTS CLUB
PLAN OF MANHATTAN

MANHATTAN

NEW YORK CITY

2009


1 SOUTHERN TIP 16 KIPS BAY
2 WALL STREET 17 CHELSEA
3 WHITE HALL 18 MURRAY HILL
4 TWO BRIDGES 19 TUDOR, BEEKMAN & SUTTON
5 ABC CITY 20 GARMENT DISTRICT & HELLS KITCHEN
6 LOWER EAST SIDE 21 MIDTOWN
7 TRIBECA 22 TURTLE BAY
8 LITTLE ITALY 23 MID-TOWN WEST
9 SOHO 24 LINCOLN SQUARE (WEST SIDE)
10 EAST VILLAGE 25 UPPER EAST SIDE
11 STUYVESANT 26 CENTRAL PARK
12 GREENWICH VILLAGE 27 UPPER WEST SIDE
13 WEST VILLAGE 28 EAST HARLEM
14 GRAMERCY PARK 29 MORNINGSIDE HEIGHTS
15 MIDTOWN SOUTH 30 WEST HARLEM

119
MANHATTAN NEIGHBORHOODS


1 3

2 7
13
9
17
4
8 12
6
20 23
15
5
10
14 24
16
21
11 18
27

19 22
26
29
25

30

28

PLAN OF MANHATTAN

MANHATTAN

NEW YORK CITY

2009


5 ABC CITY 19 BEEKMAN/ SUTTON
I- 46,985 I- 88,371
H- 30,561 H- 60,923
6 LOWER EAST SIDE 23 MID-TOWN WEST
I- 27,625 I- 69,219
H- 33,193 H- 24,727
9 SOHO 24 LINCOLN
I- 48,004 I- 88,557
H- 12,166 H- 40,014
12 GREENWICH VILLAGE 25 UPPER EAST SIDE (LENOX HILL, YORKVILLE)
I- 73,978 I- 78,301
H- 30,263 H- 31,144
10 EAST VILLAGE 28 EAST HARLEM
I- 69,475 I- 28,955
H- 13,843 H- 33,201
18 MURRAY 30 WEST HARLEM
I- 77,889 I- 29,116
H- 32,144 H- 14,450

NEIGHBORHOODS WITHOUT FITNESS CENTERS_WITH DESIRED CLIENT
121


SITE: MID-TOWN WEST/ LINCOLN CENTER (54TH-61ST, 9TH-12TH AVENUE)
123


MIDTOWN WEST

MANHATTAN

NEW YORK CITY

2009

Epilogue

“To make visible how the world touches us”.

22
- Paul Cezanne

125


6 126

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