1.See What I...controlling vision through the senses See What I . . . Controlling Vision through the SensesAlex Taylor Wilk Thesis Preperation Fall 2009 Syracuse University: Bachelors of Architecture Committee Members: Lori Brown & Robert Svetz

2. Contents1 CHAPTER1PREFACEIntroductionContention2 CHAPTER7HYPER IMAGERY IN A TECHNOLOGICAL CULTURE: DISMISSING THE INVISIBLE Images, Images, ImagesDistractionEffects3 CHAPTER21A CASE STUDY IN RECOGNIZING THE INVISIBLEDesigning 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 3. See What I...controlling vision through the senses 4 CHAPTER 53 VISION IN JUXTASPOSITION WITH THE INVISIBLESee 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 PROJECTProgram: Fitness Center & Mineral Spa Site: New York City6 CHAPTER 125 EPILOGUE Summary Bibliography Terms7 CHAPTER 132 THESIS PROJECT 4. 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 5. See What I...controlling vision through the senses 12 6. 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 topand 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 specificallyand Glen Murcutt have designed spaces in- architecture, promoted by technology, whichcorporating the non-dismissive senses in has ultimately been influenced through the order to produce multi-phenomenas ulti- visual imagery of television and the media.mately enhancing the occupants experience. This technologically oriented imagery has ledRecently in architecture there has been a ris- us to become dismissive of the other senses. ing interest in the invisible, and architects likeDescosterd & Rahm express the unseen By dismissing the other (non visual) sensesthrough an avant-garde minimalist style. we are encouraging a design approach that lacks concern for human, physical and emo- Decosterd & Rahms architecture distorts ar- INTRODUCTION 3 7. See What I...controlling vision through the senses 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 mansnomenas and make it less experimental so it physiological response. They deal with in-can be more commonly incorporated in archi- visible parameters of interior architecturaltectural design instead of an afterthought? space organized in accordance with thermal concepts more related to sensuality thanInstead of embracing the division of the five comfort. This is an architecture tied to thesenses 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 byes 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 limitedploy vision in juxtaposition to the invisible. 4 8. 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 differenthanced our dependence on the ocular - mak- multi-sensory phenomenas.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 opportunities1 Pallasmaa, Juhani. The eyes of the skin: architecture and the senses. London: Academy Editions, 1996. pg 50. CONTENTION 5 9. See What I...controlling vision through the sensesA NEW WORLD SENSATIONSWERBEGRAFIKILLUSTRATIONS FOR AN ADVERTISEMENT2008 10. Hyper Imagery in a Technological Culture: Dismissing The InvisibleFrom Television to newspapers, from adver-tising, to all sorts of mercantile epiphanies,our society is characterized by a cancerousgrowth of vision, measuring everything by itsability to show or be shown, and transmut-ing communication into a visual journey. 2-David Harvey 7 11. See What I...controlling vision through the senses 28 12. Hyper Imagery in a Technological Culture: Dismissing The InvisibleWe are currently living in a hyper-imagery, call I just received. It is hard not to believetechnologically oriented society. Our genera- that my multi-tasking self isnt a reflection ontion is in complete contrast to my 90-year-oldour current society induced by technology.grandfathers life experiences.Times have changed. What once was per-While walking one day next to my grandfathersonal to many has now become the imper-at a nearby shopping center, he states like sonal. We are living in a new space, a worldmost grandparents who grew up in a moreof information.3A single moment command-conjoint (interactive) culture, I dont 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 2this archaic quote, I never took a step back to arrays of multiple, simultaneous imagery, inrealize what I was doing that day at the shop-the streets, airports, stores, supermarketsping center. While walking I was browsing the malls but more importantly on our comput-store fronts while eating my hot pretzel anders and televisions. The computer and televi-sipping on my soda and answering the phonesion serve as a new form of distraction, it de-IMAGES, IMAGES, IMAGES 9 13. See What I...controlling vision through the sensesMULTI-MEDIA EXHIBITION CHARLES AND RAY EAMESMOSCOW, RUSSIA1959 14. Hyper Imagery in a Technological Culture: Dismissing The Invisibleands our attention. Rather than wonderingpendency when we are constantly confrontedcinematically through the city, we now look visually.in one direction and see many juxtaposedmoving images, more than we can possiblysynthesize or reduce to a single impression.We sit in front of our computers on our er-gonomically perfected chairs staring with afixed gaze at the many simultaneously openwindows through which different finds of in-formation stream toward us. We hardly evennotice it. It seems natural as if we were simplybreathing in information. 4 The ocular sense is so potent in our way oflife and our understanding of architecture;however it is hard to realize our ocular de-IMAGES, IMAGES, IMAGES 11 15. See What I...controlling vision through the sensesFILM: PLAYTIME JACQUES TATIPARIS, FRANCE1967 16. Hyper Imagery in a Technological Culture: Dismissing The InvisibleThe film Play Time directed by Jacques Tati isfire, the couple watches him torch the des-a complex visual comedy that takes place in a sert but they do not flinch in excitement orfuturistic Paris. Modern industrial technologyexpress any emotional response becauseis accepted as a necessity by society yet it is theyre 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 isgoing on right in front of them.Play Time contains limited dialogues ex-cept for background sounds which makesThis movie embodies the diagnosis of At-us aware of the numerous distractions thattention Deficit Disorder in which the futureoccur in daily life. During a restaurant scene(contemporary society) has been embeddedthe maitre ds, 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 preciseof conversation, eating, drinking dancing,in our actions. This multi tasking is a directeach 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 13DISTRACTION 17. See What I...controlling vision through the sensesFILM: PLAYTIME JACQUES TATIPARIS, FRANCE1967 18. Hyper Imagery in a Technological Culture: Dismissing The InvisibleCustomerEmployeeView Direction Movement TalkingDISTRACTION 15 19. See What I...controlling vision through the sensesDIAGRAM: FILM PLAYTIME LEFT: PLAN RIGHT: SECTION RESTURANT SCENE 20. Hyper Imagery in a Technological Culture: Dismissing The InvisibleAll 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 importantdence, giving far more importance to form,aspect of comprehension and understandingidea and appearance than to the occu- in comparison to the other senses - inducedpants needs and embodied experiences.by technology oriented imagery this has be-Contemporary works in architecture have come consistent in western and internationalbeen perceived as autonomous objectsarchitectural application. We are living in awhich 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 courseums you cant smell the building, you can detaching itself from its environment. Davidsense the volume of space, and you cantMichael Levin critiques the dominance of thefeel the air move nor the warmth of the sun-eye when he states: I think it is appropriateshine. Architects are creating the building asto challenge the hegemony of vision - theEFFECTS 17 21. See What I...controlling vision through the sensesFILM: PLAYTIME JACQUES TATIPARIS, FRANCE1967 22. Hyper Imagery in a Technological Culture: Dismissing The Invisibleocularcentrism of our culture. And I think we become an organic prototype for modernistneed to examine very critically the charac- architects. A lot of architects today are moreter of vision that predominates today in ourinterested in creating visual effects ratherworld. We urgently need a diagnosis of thethan exploring the buildings tactile, acoustic,psychosocial pathology of everyday seeing-scent and taste capabilities.and a critical understanding of ourselves, as2visionary beings . 5David Harvey, The Condition of Postmodernity, Blackwell(Cambridge), 1992, pg 2933 Colomina, Beatriz. Enclosed by Images: The Eameses Multi-media Architecture. Grey Room 02 (2001): pg 7.Modernists have designed structures to4 Colomina, Beatriz. Privacy and publicity: modern architectureplease the eye yet they have left the rest of as mass media. Cambridge, Mass: MIT, 1994., pg 27. Colominaexplores simultaneous imagery.the senses, body, and recollection behind.5 David Michael Levin, Decline and Fall- Ocularcentrism inHeideggers Reading of the History of Metaphysics, in LevinThe only sense that can keep up with the1993, pg 205 pace of the technology is vision. Le Corbusier6 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 conditionthat I see; I am and I remain (and impenitent)visual-everything is in the visual. 6 The eyesEFFECTS 19 23. See What I...controlling vision through the senses UN CHIEN ANDALOU (ANDALUSIAN DOG)LUIS BUNUEL AND SALVADOR DALIFRANCE1929 24. A Case Study in Recognizing the InvisibleThe world is full of signs and information,which stand for things that no one fully un-derstands because they, too, turn out to bemore signs for other things. The real thingremains hidden. No one gets to see it.-Peter Zumthor 7 21 25. See What I...controlling vision through the senses 3 22 26. A Case Study in Recognizing the Invisible Induced by hyper imagery and technology, kinds of meteorology; renewing the idea of society has been devoted to the visible. Weform 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 atmosphericthe 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 scienceses in which margins disappear, structures dis- resonates with todays study of the climatesolve and limits vanish. 8 Architecture must and concerns of global warming. The fields ofbuild 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, differentthe invisible and stretch between the physiol-DESIGNING THE INVISIBLE WITH DECOSTERD & RAHM 23 27. See What I...controlling vision through the sensesLATITUDINAL DISTORTION DECOSTERD & RAHM BOOK: DISTORTIONS2000-2005 28. A Case Study in Recognizing the Invisibleogy and meteorology. In Descosterd & Rahmsone invisible sense is being explored.manifesto Form and Function Follow Climate,the conditions of temperature, humidity andlight are deployed as new instruments fordetermining architectural space keyed to: hu-man comfort and behavior, energy efficiencyand a single sensory experience. The inten-tion is to alter the essence of the elementsof architecture in order to disintegrate thevisible. The architectural tools in Decosterd &Rahms works are invisible. It is something weperceive, feel, hear, smell and taste. Descosterd & Rahm have deployed a formulato their projects and exhibitions - their beliefin climatic distortion remains constant whereDESIGNING THE INVISIBLE WITH DECOSTERD & RAHM 25 29. See What I...controlling vision through the senses LATITUDINAL DISTORTION ii DECOSTERD & RAHMBOOK: DISTORTIONS 2000-2005 30. A Case Study in Recognizing the Invisible Decosterd & Rahm designed the Hormono-felt slightly disorientated and confused. Ulti- rium, an installation for the Swiss Pavilionmately this alpine-like climate was meant in 2002 at the Architectural Biennale. The to allow visitors to experience - a decrease project explored the relationship betweenin 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 neurologicalto 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 SwissDecosterd & 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 aconstant change. Rahm imposes a continu- decrease of breathing air in this luminous and ous monitoring system which implies the mesmerizingly sonorous space. Some visitorsintent to exercise a considerable degree began to feel sexual exhilaration, while someof what takes place in the spaces he de-(TECHNOLOGY)(CLIMATE CONDITION) + TOUCH= HORMONORIUM 27 31. See What I...controlling vision through the senses HORMONORIUM DECOSTERD & RAHM SWISS ARCHITECTURAL BIENALLE2002 32. A Case Study in Recognizing the Invisible signs. He concentrates his attention on thefield 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 inclimate 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 bodys physical capabilities up to 10 percent.Reyner Banham wrote that in freeing archi- tecture from local climatic constraints, me- chanical environmental managements tech- niques have given carte blanche for formal experimentation. 9 Rahm exploits this new(TECHNOLOGY)(CLIMATE CONDITION) + TOUCH= HORMONORIUM 29 33. See What I...controlling vision through the senses HORMONORIUM DECOSTERD & RAHM SWISS ARCHITECTURAL BIENALLE2002 34. A Case Study in Recognizing the Invisible(TECHNOLOGY)(CLIMATE CONDITION) + TOUCH= HORMONORIUM 31 35. See What I...controlling vision through the senses 22-25% O 214.5% O2 DIAGRAM: HORMONORIUMLEFT: PLAN RIGHT: SECTION OXYGEN CHANGE DESIGNED ATMOSPHERE 36. A Case Study in Recognizing the InvisibleBEHAVIOURAL EMULATION(TECHNOLOGY)(CLIMATE CONDITION) + TOUCH= HORMONORIUM 33 37. See What I...controlling vision through the senses FOOT STEPPLEXI GLASSUV TUBES SMART FLOORDIAGRAM: HORMONORIUMLEFT: SECTION, BEHAVIOURAL EMULATION OF SWISS ALPSRIGHT: PERSPECTIVE AND FLOOR SECTIONDESIGNED ATMOSPHERE 38. A Case Study in Recognizing the InvisiblePhilippe Rahms competition entry in 2009They 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 introductionmates and flow ranging between 16-22 de-of two of heat sources (similar to radiators), grees Celsius. These heat sources generate awhere 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 temperatureclosed - the surfaces (ceiling, floor plates andlimits required for a museum in Poland (16 walls) throughout the space are transparentdegrees Celsius corresponding to a storage and contain open slots, so air can move fromspace 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 theare placed opposing one another, the cold- sound of the air and its interaction amongster pole is placed higher than the warmer the walls, transparencies and slots. One canpole to create a thermodynamic imbalance.notice a different acoustic quality in the ex-(TECHNOLOGY)(CLIMATE CONDITION) + SOUND= CONVECTIVE MUSEUM 35 39. See What I...controlling vision through the sensesCONVECTION MUSEUM MUSEE KANTOR: COMPETITION DECOSTERD & RAHM CRACOW, POLAND2006 40. A Case Study in Recognizing the Invisible hibition rooms because the slats are closedMuseum 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(TECHNOLOGY)(CLIMATE CONDITION) + SOUND= CONVECTIVE MUSEUM 37 41. See What I...controlling vision through the sensesCONVECTION MUSEUM MUSEE KANTOR: COMPETITION DECOSTERD & RAHM CRACOW, POLAND2006 42. A Case Study in Recognizing the Invisible(TECHNOLOGY)(CLIMATE CONDITION) + SOUND= CONVECTIVE MUSEUM 39 43. See What I...controlling vision through the senses INFILTRATION REFLECTION ABSORPTIONDIAGRAM: CONVECTION MUSEUM LEFT: MODEL OF TRANSPARENT LAYERS RIGHT: 3SURFACE TYPES, TEMPERATURE OF FLOOR PLATES VERTICAL DESIGNED ATMOSPHERE 44. A Case Study in Recognizing the InvisibleIn 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. ThisHere 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 aboutchemically determined climate, specificallyturning a dial to get a resultant. It is about localized, chemically determined climate, 10 in this case Tahiti. Creating this tropical zonecreating distortions in latitude, bringing a cli-in a harsh winter climate at the choice of themate that exists somewhere else in the world.occupant (Tahiti), the architecture becomes the air - invisible but physically modified. TheThe winter house is located on the coun- heating system becomes a space for the pro-tryside of Vendee (outside of Paris) near aduction of this air, and contains not just thesmall river. The house needs to protect itstechnical apparatus but also exotic plants,occupants against the cold and harsh win-microorganisms and mineral substances fromter, 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 butmidity. These plants, through photosynthesis(TECHNOLOGY)(CLIMATE CONDITION) + SMELL= WINTER HOUSE 41 45. See What I...controlling vision through the sensesFABRICE HYBERT WINTER HOUSE: TAHITI DECOSTERD & RAHM VENDEE, FRANCE2002-2005 46. A Case Study in Recognizing the Invisibleand their emanations, determine the chemi-cal quality of the air that will infiltrate into theliving space through the heating system. Thespace, due to the exotic plants and microor-ganisms, do not just help us visually relate toa warmer climate but also change the aurathrough the olfactory. The exotic plants takeover the house metonymically connecting thewarm climate of Tahiti through scent.(TECHNOLOGY)(CLIMATE CONDITION) + SMELL= WINTER HOUSE 43 47. See What I...controlling vision through the sensesFABRICE HYBERT WINTER HOUSE: TAHITI DECOSTERD & RAHM VENDEE, FRANCE2002-2005 48. A Case Study in Recognizing the InvisibleLATITUDE DISTORTION(TECHNOLOGY)(CLIMATE CONDITION) + SMELL= WINTER HOUSE 45 49. See What I...controlling vision through the senses DIAGRAM: WINTER HOUSE LEFT: SECTION, LATITUDE DISTORTIONRIGHT: AXON , ENHANCING SCENT EXOTIC RELOCATION IN A COLD CLIMATE 50. A Case Study in Recognizing the Invisible The Digestible Gulf Stream exhibition wasduced a set of drawings for this exhibition. Its a micro-climate that related to temperaturelocation, 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 indistinct air of laziness as the exhibition did. Venice. The exhibition consists of two glossyThe drawings depict the inhabitants in this white platforms connected by two horizontalforest clearing, rubbing warming/ cooling metal planes which are extended at different ointments onto each others 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 alates 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 51. See What I...controlling vision through the sensesDIGESTIBLE GULF STREAMPHILLIPE RAHMVENETIAN ARCHITECTURAL BIENALLE2008 52. A Case Study in Recognizing the Invisible The first preparation, on the upper cold Like a miniature Gulf Stream, the plates 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 thea 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 theerally 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 occupants experience of that space. mouth that stimulate the group of peripheral7 Le Corbusier, Precisions, MIT Press (Cambridge, MA) 1991, pg 7 sensorial neurons known as cold-sensitive8 Lally, Sean. Meteorological Architecture (Philippe Rahm. Ed. units. The second composition, on the lowerHelen Castle. Energies: New Material Boundaries: ArchitecturalDesign (2009): pg 32.hot plate, which contains chili, has one of the9 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- Batrice Josse. Distortions. Orlans, France: HYX, 2004,pg 1.111 Rahm, Philippe. "Digestible Gulf Stream." Philippe Rahm. Web. tures of 28C . 11Fall 2009.(TECHNOLOGY)(CLIMATE CONDITION) + TASTE= DIGESTIBLE GULF STREAM 49 53. See What I...controlling vision through the sensesDIGESTIBLE GULF STREAMPHILLIPE RAHMVENETIAN ARCHITECTURAL BIENALLE2008 54. A Case Study in Recognizing the Invisible 80 F 72 F 64 F 57 F 50 F SURFACE TEMPERATURE [ F ] 0 1020 25 28 30 40 44 50 60TRPA1TRPV1 TRPM8TRPV4TRPV3TRPV2CINNAMONGARLICMINT CAMPHORCHILLITRPA1 transient receptor potential ankrin transmembrane proteinTRPM8 transient receptor potential melastatine 8TRPV4 transient receptor potential vanilloide 4TRPV3 transient receptor potential vanilloide 3TRPV2 transient receptor potential vanilloide 2TRPV1 transient receptor potential vanilloide 1 51(TECHNOLOGY)(CLIMATE CONDITION) + TASTE= DIGESTIBLE GULF STREAM 55. See What I...controlling vision through the sensesDIAGRAM: DIGESTIBLE GULF STREAMLEFT: CONECTIONCURRENT, EAU DE CHALEUR CREAM QUALITIES RIGHT: ILLUSTRATIONS BY PIERO MACOLAEXOTIC RELOCATION IN A COLD CLIMATE 56. 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 57. See What I...controlling vision through the senses 4 54 58. Vision in Juxtaposition with the Invisible The eye collaborates with the body and design. In general, perhaps temperature is like the other senses . Ones sense of reality issound, 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 withelements become a part of an after the fact the senses. 13architectural design.Invisible architecture is hard to draw (except, However, the invisible can be incorporated for example, when drawing music notes tointo a primary design element, yet most ar- implicate sound). The non-dismissive senses chitects dont want to get involved with this are rarely considered or communicated inscope of phenomenological design. This is ul- architectural drawings and for the most parttimately hindering architectural potential be- do not play a role in mainstream architecturalcause the invisible conditions are what make JUXTAPOSITION 55 59. See What I...controlling vision through the senses MARGRITTE POSING IN FRON OF HIS PAINTINGRENE MARGRITTE BRUSSLES1961-1967 60. Vision in Juxtaposition with the Invisible 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 61. See What I...controlling vision through the sensesMAP OF THE INTERNET NOVEMBER 23, 2003 62. Vision in Juxtaposition with the Invisible Touch is the most tangible of the sensesinvented 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 ofFeedback 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, densitysulting installation is a cloud-like, semi-trans- and temperature of an object or matter, soparent 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 inSEE WHAT I TOUCH 59 63. See What I...controlling vision through the senses ASTRO BALLONEXPERIMENTEUROPE1969 64. Vision in Juxtaposition with the Invisible 2008:ture looks like architecture smells likearchitecture but it is not architectureit is just a building because it is not The theoretical background of our coffee. 14work is that we say not that architec- Therefore, through the technology of the joyture is changing the human being but stick mechanism, this project expresses thethe human is able to change architec- invisible which is the displayed graphically onture. This mean that it is a theoretical the LED screens. Vision is in juxtaposition tocontribution, your body is changing touch.the space. If an arch doesnt want tochange the world or the society withhis building he stays a builder, this isthen not architecture, it is just a build-ing. When thinking isnt the mentorof his project its like a decaf espresso;decaf architecture looks like architec-SEE WHAT I TOUCH 61 65. See What I...controlling vision through the senses ASTRO BALLON 1969 REVISITED- FEEDBACK SPACE COOP HIMMELB(L)AUVENETIAN ARCHITECTURAL BIENALLE2008 66. Vision in Juxtaposition with the Invisible SEE WHAT I TOUCH 63 67. See What I...controlling vision through the senses DIAGRAM: FEEDBACK SPACE LEFT: PLAN RIGHT: SECTION TOUCH VISUALLY PROJECTED 68. Vision in Juxtaposition with the Invisible SEE WHAT I TOUCH 65 69. See What I...controlling vision through the senses DIAGRAM: FEEDBACK SPACELEFT: JOYSTICK MECHANISM RIGHT: PLAN OF CONNECTION OFJOYSTICK AND LED SCREEN TOUCH VISUALLY PROJECTED 70. Vision in Juxtaposition with the Invisible 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 Goulthropes 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 usuallyBiennale 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 suchSEE WHAT I HEAR 67 71. See What I...controlling vision through the sensesHYPO-SURFACE WALLMARK GOULTHROPE BIO WEEK IN BOSTON 2007 72. Vision in Juxtaposition with the Invisible 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 73. See What I...controlling vision through the sensesHYPO-SURFACE WALLMARK GOULTHROPEBIO WEEK IN BOSTON2007 74. Vision in Juxtaposition with the Invisible LOUD180 lbs SOFT55 lbs SEE WHAT I HEAR 71 75. See What I...controlling vision through the sensesDIAGRAM: HYPO-SURFACE WALL LEFT: PLAN, FOOTSTEP AFFECTING WALL RIGHT: WALL MOVEMENT DETAILSOUND VISUALLY PROJECTED 76. Vision in Juxtaposition with the Invisible Odors are associated with day-to-day expe-Keller was able to recognize an old fashion rience, subconsciously reminding us of thecountry house because it had several levels olfactory structure which are mainly invisibleof 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 Sacks 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 smellthe 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 intoand sniff cards and the viewers could smell our deepest recollections. The persistentwhat 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 77. See What I...controlling vision through the senses EXHIBITION PESCE FOR LUNCH GAETANO PESCENEW YORK CITY 2005 78. Vision in Juxtaposition with the Invisible 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 thetains were made of dairy, acres of herbs, sea olfactory perception; solely concentrated on of liquids and skys 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 becomethe 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, init 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, Pesces creation fea- SEE WHAT I SMELL 75 79. See What I...controlling vision through the senses EXHIBITION PESCE FOR LUNCH GAETANO PESCENEW YORK CITY 2005 80. Vision in Juxtaposition with the Invisible LANDSCAPE PROGRAM INGREDIENT ELEMENTSTree Plant MountainOcean LakeGround TextureSky HangingsSEE WHAT I SMELL 77 81. See What I...controlling vision through the senses LANDSCAPE + VISUAL= SMELL OF ITALY [ program ] [ food ] + Vegetable =+ =+ Liquid=+ Herbs =+ Meat=DIAGRAM: PESCE FOR LUNCHLEFT: CATEGORIZING SMELL RIGHT: LANDSCAPE CATEGORIES SMELL VISUALLY PROJECTED 82. Vision in Juxtaposition with the Invisible 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 ofThe Tea Ceremony With lacquerware color displayed at the farmers marketsthere 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. natures 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, Tatfoos Fans NMSfragrance carried upon the vapor brings a ensures the decrease of unhealthy eat-delicate anticipation... A moment of mys- SEE WHAT I TASTE 79 83. See What I...controlling vision through the senses NMS- NATURE MATCHING SYSTEMTATFOO TANDUMBO BROOKLYN2008 84. Vision in Juxtaposition with the Invisible 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. 12Harvey., 261-30713Lally., 2414Prix, Wolf D. Up in the clouds with COOP HIMMELBLAU. Web. Fall 2009. . 15As quoted in Barbara, Anna, and Anthony Perliss. Invisible ar- chitecture : experiencing places through the sense of smell. 1st ed. Milano: Skira, 2006 pg 12516 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 85. See What I...controlling vision through the senses NMS- NATURE MATCHING SYSTEMTATFOO TANDUMBO BROOKLYN2008 86. Vision in Juxtaposition with the InvisibleSEE WHAT I TASTE 83 87. Vision in Juxtaposition with the Invisible See What I...controlling vision through the senses COLOR+ FOOD = FOOD PROCESS CLR PATONE MS BEHR PAINTDIAGRAM: NMS- NATURE MATCHING SYSTEMLEFT: GENERAL COLOR CORRELATION TO FOOD RIGHT: DETAIL COLOR CORRELATION TO VISUALTASTE VISUALLY PROJECTED 88. Design ProjectPhysical fitness is not only one of the mostimportant keys to a healthy body, it is thebasis of dynamic and creative intellectualactivity. 18John F. Kennedy 85 89. 5 See What I...controlling vision through the senses86 90. Design ProjectContemporary Fitness Centers and Spas ment and the taste of our energy drinks allare all about image; where numerous be- heighten our senses. Within a Spa all sensesings 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 areplastering of mirrors within the fitness cen- graphically projected through technologicalter only adds to this narcissistic behavior.means will allow the client to become awareThe original spas were arranged around no-of their heightened sensory experience andtions 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 describedby its influx of hyper-imagery which is ulti-mately a reflection on contemporary society Within a fitness center the odors amongstsweaty bodies, the sounds of the equip- FITNESS CENTER AND MINERAL SPA 87 91. See What I...controlling vision through the sensesMAN WORKING OUTR QUIT SMOKING BULLETIN CHICAGO2006 92. Design Project: Program The Downtown Athletic Club creates a spec-obtain their high social status. The NYAC trum of experiences through its multiplefloors 1-15 were only for men, this build- themed floor plans. The club representsing 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. 19etys 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 its about social interaction amongst business men who were trying to FITNESS CENTER: SOCIAL ASPECT 89 93. SeeSee Whatcontrolling vision through the senses What I... I... controlling vision through the senses NEW YORK ATHLETIC CLUBSTARRETT & VAN VLECK WASHINGTON ST, MANHATTAN 1931 94. Design Project: Program NEW YORK ATHLETIC CLUB PROGRAMROOF FLOOR 36UTILITY FLOOR 20-35 BEDROOMS FLOOR 19PRIVATE DININGFLOOR 18LOUNGE FLOOR 17ROOF GARDEN FLOOR 16UTILITYFLOOR 15KITCHEN FLOOR 14GRILL FLOOR 13POOL BALCONYFLOOR 12SWIMMING POOL FLOOR 11LOCKER FLOOR 10MEDICAL BATH FLOOR 9 LOCKERFLOOR 8 GYMNASIUM FLOOR 7 GOLF FLOOR 6 SQUASH FLOOR 5 LOCKERFLOOR 4 HANDBALL FLOOR 3 BILLARDS FLOOR 2 ADMINISTRATION FLOOR 1 LOBBY FITNESS CENTER: SOCIAL ASPECT 91 95. See What I...controlling vision through the sensesDowntown Athletic ClubNorth of Battery Park DenseVerticalProgramDIAGRAM: NEW YORK ATHLETIC CLUBLEFT: SECTIONAL PROGRAMRIGHT: SITE PLAN 96. FITNESS CENTER: AESTHETIC QUALITY 93 97. See What I...controlling vision through the sensesWELLNESS SKY FITNESS CENTER 4 OF 7 BELGRADE, SERBIA2009 98. Design Project: Program 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. Therebeat 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.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 studios 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 99. See What I...controlling vision through the sensesGYMBOX, CONVENT GARDEN BRANCH BEN KELLY ARCHITECTS ST. MARTINS LANE, LONDON2007 100. Design Project: Program 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 consiststian 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 ofthe 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 calledthe 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 inspiredwest so that solar energy would help main- MINERAL SPA: SEQUENCE 97 101. See What I...controlling vision through the senses LES BAINS DES DOCKS JEAN NOUVEL PORT LE HAUVE, FRANCE2008 102. Design Project: Program 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 twelvepools, childrens 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 childrens pool. This is a modern interpretation of the Roman thermaeFollowing 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- MINERAL SPA: SEQUENCE 99 103. See What I...controlling vision through the senses LES BAINS DES DOCKS JEAN NOUVEL PORT LE HAUVE, FRANCE2008 104. Design Project: Program F FRIGIDARIUMT C TEPIDARIUM & CALDARIUM MINERAL SPA: SEQUENCE 101 105. See What I...controlling vision through the sensesFTC THERMAL BATHS LEFT: PLAN-BATH OF DIOCLETIANRIGHT: PLAN AND SECTION- LES BAINES DES DOCKS 106. Design Project: Program Inspired by the breathtaking surroundings,it flows throughout the entire building, cre- Peter Zumthor designed Vals spa on a sharpating 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 thealization 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 thesium, manganese, hydrogen carbonate and blocks, a space that connects everything as sulphate. MINERAL SPA: TEMPERATURE AND MINERALS 103 107. See What I...controlling vision through the senses VALS THERME SPAPETER ZUMTHORGRAUBUNDEN CANTON, SWITZERLAND 1996 108. Design Project: Program MINERAL SPA: TEMPERATURE AND MINERALS 105 109. See What I...controlling vision through the sensesIndoor pool 32 COutdoor pool winter 36 COutdoor pool summer 30 CFire pool 42 CIce pool 14 CFlower pool 33 CSound Bath 35 CSauna- 85100%Sounding StoneMassage roomsRelaxation roomsVALS THERME SPALEFT: PLAN RIGHT: SECTION TEMPERATURE AND MINERAL BATH LOCATIONS 110. Design Project: Program 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 andtral)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 specialincreases. 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 Gedis 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 107 111. See What I...controlling vision through the sensesEIN GOKEK NATURAL MINERAL SPRING EIN GEDI, TIBERIAS ISRAELFOUNDED IN BIBLICAL TIMES 112. Design Project: ProgramBICARBONATE: Sodium Bicarbonate SULFAR & SULFATESCalcium BicarbonateSalt 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 incess carbon dioxide into a solution base.areas without volcanic activity. Contains aNatural component of blood and is essentialhigh 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 gastriccally in the form of mud applications.juices necessary for proper digestions.Cures- Indigestion, kidney disorders andBathing- 10- 20 minutes temperature of 86- opens nasal passages and stimulates mucous95 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 andbalance. breathing in the form of a fine mist through. MINERAL SPA: HOT SPRINGS 109 113. See What I...controlling vision through the senses GASES: carbon dioxide CHLORIDEradonDioxide 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 positiveChloride 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 bloodtion of food and bodys absorption of nu- circulation. Gas is extracted from the springs to betrients. 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 CarbonBathing- (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.110 114. Design Project: Program PELOIDS RADON Peloid is the technical term for mud, pelotherapty. This helps re- Radon- Radioactive inert gasmove toxins from the body and maintains heat in various partsthat has a very short life nor-of the body and aids absorption of minerals and other therapeu-mally found in soil, rock andtic and softens skin.water.Mud is made up of 2/3rds water and 1/3 solid.Bathing- European spas useBathing- Thermal peliod springs can be as hot as 152 degrees F.small amounts of radon gas toflora is found in its chemical composition adding to its chemicaltreat a wide range of healthand therapeutic qualities. Man made baths should range fromproblems. Recommended baths100-115 degrees F for 20-40 minutes and washed off with warm are 8-15 minutes in heatedwater. water ranging from 95-100 de-Cures- complaints of rheumatic, vascular, skin and orthopedicgrees F. Can also be used fromdisorders. rheumatic diseases, gout, neuralgia, dermatitis, gyne-inhaling humid air or steam con-cological problems and diabetes. tain radon. MINERAL SPA: HOT SPRINGS 111 115. See What I...controlling vision through the sensesIRONCALCIUMMAGNESIUMPOTASSIUMLITHIUMOur blood dependsEssential foundinReduces risk of heart Maintains Silvery-white on iron to nourish foods specifically diseases and regu-normalalkali metal oc- it with oxygen and dairy products suchlates body functionsb 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 bloodsea kelp, wheat germ bonesandteeth.foundin Poisonwhen cells which are es-and green vegetables.Foundprimaryinmineral ingested yet sential to our blood Help blood to clot nuts, whole grainswaters ab-lithium carbon- system. Usually iron and builds bone andand green vegetables. sorbed by ate therapeu- springs are brown- teeth. Plays a role on This can be absorbeddrinking or ticqualities ish in color. Used for normal liver functionin hot baths as well as hot baths.to cure manic both bathing and and helps musclesdrinking rich magne-depression via drinking.contract.sium mineral water. hot springs. These are not highly concentrated minerals or oligomineral waters; lightly chemically compacted heated attemperatures over 95 degrees F. They help reduce stress, increase body temperature and general circulation.112 116. Design Project: Program Visions Fitness Center and Mineral SpaLobby/ Entrance Cycling Security stations, checking memberHip Hop ship. Boxing Public Program Wellness Center Female and Male Changing Room.Speak with consultants regarding life Showers, lockersstyle changes or personal training as Work out Spaces Equipment sistance consultation. Cardio- Treadmill, EllipticalOxygen Bar Weight MachinesWellness Center Free WeightsSpeak with consultants regarding life Floor Matsstyle changes or personal training as Classes sistance consultation. Club RaveAdministration KangooAdministration offices/ Conference KickboxingLounge POTENTIAL PROGRAM SPACES 113 117. See What I...controlling vision through the sensesTYPICAL ONE FLOOR NYC FITNESS CENTER PLANBALLEYS 113 4TH AVENUE 2001 118. Design Project: SiteAge: Twenty Five- Fourty-Fivethe site, specifically where water is a large component.Moderate--> + Income Preferably owner verses renter neighbor-Accessible or within this criteria neigh-hood to maintain membershipborhood Transportation accessibility via subwayNot sticky a residential neighborhood,traffic footprint necessary for advertisingNon- Touristy neighborhoodand profit reasons Not located to close to any large chainNear a water source for green conscious(example: Equinox) fitness center.design in regards to the mineral spa. Al-though the water will be filtered andPreferably not near a private/local neigh-chemically altered it is important if avail- borhood fitness center.able, to use the natural surroundings ofDESIRED CLIENT 115 119. See What I...controlling vision through the senses PLAN OF MANHATTANMANHATTAN NEW YORK CITY2009 120. Design Project: SiteMANHATTAN FITNESS CENTERS 117 121. See What I...controlling vision through the senses FITNESS CENTERCRUNCH FITNESS CENTEREQUINOX GYM FITNESS BALLEYS FITNESSYMCA FITNESS CENTER NEW YORK SPORTS CLUB PLAN OF MANHATTANMANHATTAN NEW YORK CITY2009 122. Design Project: Site 1SOUTHERN TIP16 KIPS BAY 2WALL STREET 17 CHELSEA 3WHITE HALL18 MURRAY HILL 4TWO BRIDGES 19 TUDOR, BEEKMAN & SUTTON 5ABC CITY20 GARMENT DISTRICT & HELLS KITCHEN 6LOWER EAST SIDE 21 MIDTOWN 7TRIBECA 22 TURTLE BAY 8LITTLE ITALY23 MID-TOWN WEST 9SOHO24 LINCOLN SQUARE (WEST SIDE) 10 EAST VILLAGE25 UPPER EAST SIDE 11 STUYVESANT26 CENTRAL PARK 12 GREENWICH VILLAGE 27 UPPER WEST SIDE 13 WEST VILLAGE28 EAST HARLEM 14 GRAMERCY PARK 29 MORNINGSIDE HEIGHTS 15 MIDTOWN SOUTH 30 WEST HARLEM 119MANHATTAN NEIGHBORHOODS 123. See What I...controlling vision through the senses 1 32 7 13 9 17 4 812 620 2315 5 10 14 2416 21 11 18 2719 22 2629 253028 PLAN OF MANHATTAN MANHATTAN NEW YORK CITY 2009 124. Design Project: Site5 ABC CITY19 BEEKMAN/ SUTTON I- 46,985 I- 88,371 H- 30,561 H- 60,923 6LOWER EAST SIDE 23 MID-TOWN WEST I- 27,625 I- 69,219 H- 33,193 H- 24,7279 SOHO24 LINCOLN I- 48,004I- 88,557 H- 12,166H- 40,014 12 GREENWICH VILLAGE 25 UPPER EAST SIDE (LENOX HILL, YORKVILLE) I- 73,978 I- 78,301 H- 30,263 H- 31,14410EAST VILLAGE 28EAST HARLEM I- 69,475I- 28,955 H- 13,843H- 33,20118MURRAY30 WEST HARLEM I- 77,889 I- 29,116 H- 32,144 H- 14,450NEIGHBORHOODS WITHOUT FITNESS CENTERS_WITH DESIRED CLIENT 121 125. See What I...controlling vision through the senses PLAN OF MANHATTANMANHATTAN NEW YORK CITY2009 126. Design Project: SiteSITE: MID-TOWN WEST/ LINCOLN CENTER (54TH-61ST, 9TH-12TH AVENUE) 123 127. See What I...controlling vision through the senses MIDTOWN WESTMANHATTAN NEW YORK CITY2009 128. EpilogueTo make visible how the world touches us. 22- Paul Cezanne 125 129. See What I...controlling vision through the senses 6 126 130. EpilogueHyper-imagery and constant distractions in In order to make traditional phenomenologi-contemporary culture, induced by technologycal approach more comprehensive, we musthas made us dependent on the visual sense, juxtapose vision with one other sense. Exhibi-ultimately leading to the dismission of thetions like Feedback Space and Hypo-surfaceother senses, touch, sound, smell and taste. Wall use technology to contrast vision with touch and vision with sound, where exhibi-By investigating the case studies of Decosterd tions like Pesce for Lunch and the Nature& Rahm, one can begin to understand theirMatching System use association to contrastultimate goal of recognizing the invisible nur-vision with smell and vision with taste. Howev-tured through technology. These architects goer, these projects are just exhibitions and notabove and beyond traditional phenomenolo-occupiable programmed buildings.gists, by incorporating chemical and electro-magnetic realms as well as meteorologicalWithin a Fitness center and Mineral spa ourconditions. However, their architecture like senses are intensified. When designing thesetraditional phenomenologists is still reliant on spaces where the senses will be graphicallybodily acknowledgement of the invisible. projected through technological means will al-SUMMARY 127 131. See What I...controlling vision through the senses allow the client to become aware of these the client will be left alone with this mineral multi-sensory phenomena. For example, whenin a private space ultimately creating a multi- lifting free weights, the client will no longer see sensory experience while conditioning his/her a reflection of themselves yet now an internalbody. These are only three examples of how temperature registration amongst the project- the senses can be projected visually within the ed wall, allowing the client to visually compre-space, ultimately enhancing experience. hend which muscles are being stretched. The Mineral Spa will embody different chemicalIn order to alter phenomenological design we compositions within the waters solution tomust make it more visually lucid, since thats help cure the clients condition. Gasses, bicar-what out society demands. So placing vision in bonates and other minerals will be injected the hand with one sense will allow phenom- in the water based on clients needs; perhaps enological design specifically within in the each mineral receives its own room wherespace, specifically a Fitness Center and Min- the characteristics of each mineral are iso-eral Spa, to be less experimental, ultimately lated. For example sulfates are naturally yel-enhancing an architectural experience and de- low in form and contain a potent scent, now sign approach.22 Holl, Steven, Juhani Pallasmaa, and Alberto Perez- Gomez.Questions of perception. Tokyo: E ando Yu, 1994. as quotedin Merleau-Ponty, Maurice. Phenomenology of Perception.Trans. Colin Smith. Great Britian: Routledge & Keegan Paul,1962, pg 19128 132. EpilogueAltman, Nathaniel. Healing Springs: The Ultimate Guide to Taking the Waters. Roch- David Harvey, The Condition of Postmodernity, Blackwell (Cambridge), 1992, Partester, Vermond: Healing Arts, 2000. Explains bathing sequence and mineral contentthree discuses conditions of time and space in the postmodern cinema.of natural springs around the world. David Michael Levin, Decline and Fall- Ocularcentrism in Heideggers Reading ofBachelard, Gaston. The poetics of space. Trans. Maria Jolas. Ed. Etienne Gilson. the History of Metaphysics, in Levin (1993). Discussions on the essence of modernNew York: Orion, 1964. Persistent memory of any a space through the sense of technology and its effects on the futureodor. Useful tool receive context from the numerous other authors who quote thisBook.Diane Ackerman, A Natural of the Senses, Vintage Books (New York), 2005, 1-45 Discussion on the senses and its definition in a specific culture.Banham, Reyner. Architecture of the Well-Tempered Environment. 2nd ed. Chicago:University of Chicago, 1984. Precedents for architects like Decosterd and Philippe Franck, Karen A., and R. B. Lepori. Architecture from the inside out : from the body,Rahm, explaining contemporary environmental conditions.the senses, the site, and the community. 2nd ed. England, NJ: Wiley-Academy, 2007. Print. Introducing a basis for design that transcends fixed notions emerged fromBarbara, Anna, and Anthony Perliss. Invisible architecture : experiencing places technology emphasizing experience. The precedents used in this book orient theirthrough the sense of smell. 1st ed. Milano: Skira, 2006. Numerous precedents ofprojects around modes of sensory design.the design of olfactory architecture Holl, Steven, Juhani Pallasmaa, and Alberto Perez- Gomez. Questions of perception.Betsky, Aaron, Jean-Gilles Decosterd, Nikola Jankovic, Patrick Lemoine, Hans U.Tokyo: E ando Yu, 1994. Print. Expressing the invention of the sixth sense. A descrip-Obrist, Philippe Rahm, Claudio Sartori, Urs Scherrer, Michael Stigler, Guy Tortosa,tive analysis of the five senses and its application in architecture.Jead-Didier Vincent, and Anna Wirz-Justice. Decosterd & Rahm, Physiological Archi-tecture. Birkhauser, 2002. Useful for its diagrams.Jodidio, Philip. Warped Factor Five. Modern Painters. July & aug. 2005. Web. Fall 2009. .Discussion on the cutting edge firm, Decostered andBuchman, Dian D. The Complete Book of Water Healing. Kindle Edition, 1995. Rahm. Colomina, Beatriz. Enclosed by Images: The Eameses Multimedia Architecture. Kakuzo, Okakura. The book of tea. Trans. Liza Dalbury. Boston: Tuttle Pub., 2000.Grey Room 02 (2001): p 6-29. Print. The Eameses Multimedia exhibition exploresPrint. The sequence of Japanese tea ceremony evokes a bodily experience.notions of technological distractions through moving simultaneous imagery. Koolhaas, Rem. Delirious New York: A Retroactive Manifesto for Manhattan. NewColomina, Beatriz. Privacy and publicity : modern architecture as mass media. Cam- ed. New York: Monacelli, 1994.bridge, Mass: MIT, 1994. Print. ] Le Corbusier and Aldof Loos set up the argumentof public and private space. Lally, Sean. Meteorological Architecture (Philippe Rahm. Ed. Helen Castle. Energies:New Material Boundaries: Architectural Design (2009): Discussion of theCulley, Peter, and John Pascoe. Sports facilities and technologies. Routledge: New new architectural discourse, meteorology.York ; Abingdon [England], 2009. Explains the evolution of sports facilities and theirstandard sized space.Le Corbusier, Precisions, MIT Press (Cambridge, MA) 1991BIBLIOGRAPHY 129 133. See What I...controlling vision through the senses Massumi, Brian. Chapter 8 Strange Horizon: Buildings, Biograms, and the Body To-Rasmussen, Steen E. Experiencing architecture. 2nd ed. Cambridge, Mass: MIT, pologic. Intersections of science, sensation, and culture. 1998 1968. Print. Based on Goggio Public Lectures at the University of Toronto in 1998,Rasmussen deals with personal experiences in translation with its theoretical na- Merleau-Ponty, Maurice. Phenomenology of Perception. Trans. Colin Smith. Great ture. Britian: Routledge & Keegan Paul, 1962. Print. The study of essence divided into the rational and unconscious.Rast, Rudolf. Architecture.Expo.02 : exposition nationale Suisse : concept, montage,dmontage. Birkhuser: Basel, 2003. All projects at the in 2002 in Swiss Exposition.. Moravnszky, kos. Precisions :architecture between sciences and the arts. Ed. Ole W. Fischer. NY: Berlin : Jovis Verlag, 2008. Print. Technology has lead to the shift Rendell, Jane. Art to architecture : a place between. London ; New York: I.B. Tauris, in architectural style from art to science. This book explores the influence of the2006. This book gives a myriad of precedents that integrate nature and contem- scientific methods on architecture and art.porary art works. Ranging precedents include Robert Smithson, Walter de Mariaand Rachel Whiteread.Jane Rendell probes the meanings of place, space and site. Obrist, Hans U. Decosterd and Rahm: Hormonal Architecture. Flash Art. H.W Wil- son Company, May & june 2004. Web. Fall 2009. . InterviewRush, Fred L. On Architecture: thinking in action. 1st ed. New York: Routledge, 2009. discusing Decosterd and Rahms practice between art, architecture and science. Fred Rush discusses the role of phenomenology in architectural theory while alsoproviding a synopsis of Maurice- Merleau Ponty. Pallasmaa, Juhani. The eyes of the skin: architecture and the senses. London: Acad- emy Editions, 1996. Print. An understanding on phenomenological discourse. Sacks, Oliver. The Man Who Mistook His Wife For A Hat: And Other Clinical Tales.New York: TouchStone, 1998 Playtime. Dir. Jacques Tati. Perf. Jacques Tati, Barbara Dennek, Jacqueline Lecomte, Valerie Camille. Janus Film presentation, 1967. Videocassette. Playtime takes placeSherwood, Seth. Le Baines des Docks. Interior Design Magazine, le grands place in futuristic Paris where the imagery of everyday life and technology move fasterOct. 2008 then the people whom built themSwirnoff, Lois. Dimensional Color. New York: W.W Norton, 2003. Print. Swirnoff ex- Rahm, Philippe, and Gilles Clement. Gilles Clement and Philippe Rahm: approaches plains colors significant role in the environment and its associations or symbolism. of tomorrow. Ed. Giovanna Borasi. London: Skira, 2007. Print. This book explores the different projects regarding climate conditions and its effects Zumthor, Peter. Atmospheres: architectural enviornments, surrounding objects. on human experienceBasel: Birkhauser, 2006. Architecture as it is perceived through its multi-sensoryexperience of contextualizing horizons of place through memory. Rahm, Philippe, and Jean G. Decosterd. Philippe Rahm. Web. Fall 2009. .Zumthor, Peter. Thinking Architecture. Trans. Maureen Oberli-Turner and CatherineSchelbert. Boston: Basel, 2006.. Zumthor uses precedents and his own studies/ sto- Rahm, Philippe, Marie-Ange Brayer, Nott Caviezel, Pedro Gadanho, Christopher ries to express architecture and the senses. Kaltenbach, Marieke V. Rooy, Marco D. Michelis, and Batrice Josse. Distortions. Orlans, France: HYX, 2004.130 134. EpilogueBalneotherapy- immersions into mineral waters; natural Hydrotherapy- involves the use of water for pain-relief andhealthy approach to healing that uses hot springs, water, gas- treating illness. The term hydrotherapy itself is synonymousses, mud and climatic factors such as heat.with the term water cure. Caldarium- a room with hot plunge bath waters used in a Ro-Hypocaust- underground floor heating.man bath complex. Kuahausu- Japanese traditional hot spring (derived from theDismissed Senses- touch, sound, smell and taste. German term kurhaus). Espa- meaning fountain in the Wallon language was a resort atLightly mineralized- terms used when springs do not containthe spring Espa. This became so popular that the world known strong concentrations of minerals also known as oligomineral.in English spa remains became the common designation forhealth resorts around the world. PH level- healing springs are classified by the ph level, classi- fied under alkaline (above 8.5) Neutral 7 and acid under 3.Fangotherapy- using thermal clay for medicinal purposes. Mineral Bath- springs are also known as geothermal watersFerruginous- technical term for an iron springs. and are often used for therapeutic treatments, as well as for revitalizing and relaxing the mind and body. The three com-Frigidarium- large cold water/ pool found in a Roman bathponents in mineral baths that are used therapeutically are thecomplex. temperature of the water, dissolved minerals and gases in the water, and mud.Hammon- warm springs. Oligomineral- reference lightly mineralized.Healthing springs- spring of varying temperature containingminerals gases and vapors likely to bring out specific therapeu- Oxygen Bar- flavors in an oxygen bar come from bubblingtic effects on the human body. oxygen through bottles containing aromatic solutions beforeTERMS 131 135. See What I...controlling vision through the senses it reaches the nostrils: most bars use food-grade particles toSalt water- muriated waters also known as saline springs. produce the scent, but some bars use aroma oils. Sauna- usually a cedar-lined room where dry heat from is ad- Oxygen Therapy- general term used to describe the admin-ministered from 160-210 degrees Fahrenheit. Like the steam istration of supplemental oxygen to increase oxygenation of bath, a sauna increases body temperature, leading to in- body tissue; however, it is often used to describe ozone thera- creased circulation and elimination of toxins. py or the administration of small amounts of medicinal-grade hydrogen peroxide as intravenous drip or added to bathwater.Spa- Origins to a mountain town of that name near Liege in southeastern Belgium. Here, an iron rich spring was used by an Ozone Therapy- involves the use of mixing a small amount of ironmaster in the fourteens century to cure his rheumatism. therapeutic ozone and oxygen with the patients blood, whichHe founded a health resort at the spring called Espa. is then re-infused into the patient. It has been used to treat a wide variety of diseases, including cancer, high blood pressure,Steam bath- takes place in a room lined with ceramic tiles HIV infection and diabetes. and heated with steam at temperatures of 110-160 degrees Fahrenheit. The steam may or may not contain mineral water Peloid- technical term for mudvapors and is often better tolerated than a sauna. Like thermal bathing, steam baths increase blood circulation, raise body Pelotherapy- using thermal mud for medicinal purposes (simi-temperatures and aid in body cleansing. lar to Fangotherapy). Technology- a mechanism to help express the invisible. Phlegm baths- in Japan these baths are accomplished by bath- ing in the warm sulfur springs and breathing in the vapors for aTepidarium- warm bath waters of Roman Bathrooms heated prescribed amount of time.by the Hypocaust.PH level- healing springs are classified by the ph level, classi- Thermae- the term for baths in Ancient Rome. fied under alkaline (above 8.5) Neutral 7 and acid under 3. 132 136. Thesis ProjectThe relationship of architecture to the contextbeyond its surface perimeter is one of confront-ing an omnipresent materiality that not onlyengulfs the building but permeates it as well. 1 - Sean Lally 133 137. See What I...controlling vision through the senses 7 138. Thesis Project 135 139. See What I...controlling vision through the senses IN BETWEEN 60TH & 61ST_ BROADWAY & COLUMBUS AVENUE CALENDAR OF THE AREA 136 140. Thesis Project 50 higher university25 residential space4food9 shops12 office spacemakeup of street in % 137 141. >> TRANSPORTATION < < dierent methods to get to 60th and Broadway See What I...controlling vision through the sensespublic transportation indv. transportation subwaybus taxicarfootA all the time M5 infinite infinite infiniteBweekdays M7parking lot60STCall times except late night M10parking lot 61STD all the time M20parking lot fordham1&2late nightM104 IN BETWEEN 60TH & 61ST_ BROADWAY & COLUMBUS AVENUE LEFT: SITE MAKEUPRIGHT: TRANSPORTATION>> 138 142. Thesis Project 350w 50th st 16,030 sq ftvarick st mercer st irving place 23rd park45e 55th st7,020 sq ft 6,000 sq ft 8,020 sq ft broadway, spring9,800 sq ft 23rd 8th st 11,020 sq ft 9,020 sq ft9,520 sq ft217 broadway 152 christopher st 16th 8th st11,120 sq ft 6,000 sq ft4,880 sq ft battery park13,750sq ft14th 5th sttribeca5,020 sq ft12,780 sq ft404 lafayette 139 w 32nd st5,020 sq ftwall st 3,000 sq ft7th av 10st 74th st 2nd av 76th 2nd av 17,100 sq ft9,020 sq ft 63rd lex av 10,020 sq ft 11,00 sq ft water st7,020 sq ft 85th st 3rd av5,020 sq ft 90 john st 17,0004.5 stars $ 1,000.00 per year> 15,000both$ 2,400.00 per year < < CRUNCHboth2> > 6 nyc locations 3 stars 1 > 21,0003 $ 799.99 per yearboth< < BAILEYS > > 6 nyc locations4 stars4> 16,030$900.00 per year female gym < < YMCA sqft$ > > 4 nyc locations 5 RMGSU av EN av RF av ANav EM era D3.5 starsera A era Kera Bge CE ge INge E ge ERG RSH>>>IPEA sqftlrg >> 11,020CO >> ST$ 1,068.00 per year >>family orientedDIAGRAM: GYM ANALYSISLEFT: CHAIN GYM SQ. FOOTAGE RIGHT:GYM SUMMARY140 144. Thesis Project 30 TON LLS KITCHENIDE) 141 broadway avenue 145. See What I...controlling vision through the senses750625500375250125 10 20 30405060 7080> > AGE femalemale 50.5% 18,20049.5% 17,812 ROTATION white othertwo races hispanic asian black> > GREEN SPACES AND COURT YARDSgreed space> > DEMOGRAPHICSIncome- 88,557Household- 40,014 Cost of Living- 174.9court yardbuildingsGREEN> > SITE SHAPESEDGE >> EDGE CONDITION AFFECTSmy sitegreenedgecity blockdependent building IN BETWEEN 60TH & 61ST_ BROADWAY & COLUMBUS AVENUELEFT: SITE MAP RIGHT: SITE ANALYSIS142 146. Thesis Project 143 147. See What I...controlling vision through the senses IN BETWEEN 60TH & 61ST_ BROADWAY & COLUMBUS AVENUE144 148. 145 149. See What I...controlling vision through the senses SUN STUDIESLEFT: SUMMERRIGHT: WINTER 146 150. Thesis ProjectLower Ground Floor PlanSCALE: 1/8 = 1Foot 147 151. See What I...controlling vision through the senses Upper Ground Floor Plan SCALE: 1/8 = 1Foot IN BETWEEN 60TH & 61ST_ BROADWAY & COLUMBUS AVENUE148 152. Thesis Project+3'+2' +1' +3' +2'+2'+3'+2' +1' +3' +1'+2'+3'Floor TenMineral Spa: Thermal PoolsFitness Center: Public Green RoofSCALE: 1/16 = 1Foot 149 153. See What I...controlling vision through the senses Floor Nine Mineral Spa: Hydrotherapy Fitness Center: Yoga Studio SCALE: 1/16 = 1Foot IN BETWEEN 60TH & 61ST_ BROADWAY & COLUMBUS AVENUE150 154. Thesis Project Dance StudioPilates Studio 770 sq ft885 sq ft Meditation Studio Kickboxing Studio450 sq ft 865sq ftUpDown DownFloor EightMineral Spa: Steam RoomFitness Center: Green StudiosSCALE: 1/16 = 1Foot 151 155. See What I...controlling vision through the sensesUp Down Floor Seven Mineral Spa: Sauna Fitness Center: Cardio SCALE: 1/16 = 1FootIN BETWEEN 60TH & 61ST_ BROADWAY & COLUMBUS AVENUE152 156. Thesis ProjectUpDown DownFloor SixMineral Spa: SaunaFitness Center: Thermograph WeightSCALE: 1/16 = 1Foot 153 157. See What I...controlling vision through the senses Floor Five Mineral Spa: Massage Therapy Fitness Center: Spinning Classroom & Lecture Hall SCALE: 1/16 = 1Foot IN BETWEEN 60TH & 61ST_ BROADWAY & COLUMBUS AVENUE154 158. S ST TE EP P22 Thesis Project MineralSpaFitness CenterS ST TE EP P 33metro opera housemetro opera housetrump towerstrump towersuniversityfordhamfordham universitycolumbus circlecolumbus circle broadway avenueavery fisher hallavery fisher hall broadway avenuetime warnertime warnercentral park central park of art & design museum museum of art & designcolumbus avenuecolumbus avenue MineralSpaMineral SpaFitness Center60th streetFitness Center60th street Public Circulation Public Circulation 60th streetSite Information60th streetFrom 60th- 61st street in between Broadway and Columbus avenue looking @ 61st stlooking @ 61st stBUILDING DIAGRAMS 155looking @ 60th stlooking @ 60th st 159. See What I...controlling vision through the senses60th St.ElevationSCALE: 1/16 = 1Foot61th St. Elevation SCALE: 1/16 = 1Foot th St. IN BETWEEN 60TH & 61ST_ BROADWAY & COLUMBUS AVENUE156 160. Thesis ProjectThermal poolsHydro therapySteam roomThermal poolsHydro therapy SaunaSteam roomMassage therapySaunaMassage therapyW. locker roomM. locker roomW. locker roomAdministration M. locker roomAdministrationLobbyLobby 157Section: Mineral Spa60th St.Section: Mineral Spa60th St. SCALE: 1/4 = 1Foot 61th St. 161. See What I...controlling vision through the senses 158 60th St.Fitness CenterSCALE: 1/4 = 1Foot 61th St. 162. Thesis ProjectSITE MODEL 159 163. See What I...controlling vision through the senses IN BETWEEN 60TH & 61ST_ BROADWAY & COLUMBUS AVENUE160 164. Thesis Project a a b b c c da Thermal Pools Transition from Hot water with laying blocks to Warm water with seats and jokes to an outdoor cold free swimming pool. d b Peloids Bathing- Thermal peliod springs can be as hot as 152 degrees F. flora a and thera- is found in its chemical composition adding to its chemical Thermal Pools e peutic qualities. Man made baths should range from 100-115 degrees Transition from Hot water with laying blocks to Warm water with seats F for 20-40 minutes and washed off with warm water. and jokes to an outdoor cold free swimming pool. .cb Peloids Bicarbonate: sodium bicarbonate and calcium bicarbonateBathing- Thermal peliod springs can be as hot as 152 degrees F. florais found in its chemical composition adding to its chemical and thera- f eBathing- 10- 20 minutes temperature of 86-95 degrees F. peutic qualities. Man made baths should range from 100-115 degreesF for 20-40 minutes and washed off with warm water..d Chloride cBicarbonate: sodium bicarbonate and calcium Bathing- (ideally .5- 3% sodium) at a temperature 93-104 degrees F for 10- 25 minutes. bicarbonate Bathing- 10- 20 minutes temperature of 86-95 degrees F. feGases: carbon dioxide radon gBathing- Cold waters rather then warm or hot. Startingd Chloride with 5 minute15% Carbon Dioxide. Baths slowly increase to 10 minutes and 20%Bathing- (ideally .5- 3% sodium) at a temperature 93-104 degrees FCarbon Dioxideand later to 40%. for 10- 25 minutes.Bathing- Recommended Radon baths are 8 - 15 minutes in heatedwater ran-ging from 95-100 degrees F. e Gases: carbon dioxide radon gBathing- Cold waters rather then warm or hot. Starting with 5 minute f Sulfar and Sulfates15% Carbon Dioxide. Baths slowly increase to 10 minutes and 20%Carbon Dioxideand later to 40%. Bathing- No specific time or temperature, more commonly used for drinking and breathing in the form of a fine mist through. Bathing- Recommended Radon baths are 8 - 15 minutes in heated .water ran-ging from 95-100 degrees F. g Laundry Room and Mineral Storage fSulfar and SulfatesBathing- No specific time or temperature, more commonly used fordrinking and breathing in the form of a fine mist through..g Laundry Room and Mineral StorageSection: Mineral Spa & Fitness Center 60th St.SCALE: 1/4 = 1Foot 61th St.Section: Mineral Spa & Fitness Center60th St. 165. See What I...controlling vision through the senses 162 166. Thesis ProjectFIGSURFACE TEMPERATURE [F ]CITRUS 0102025 3040 50 CITRUSROSE-FIG ROSEMARY CHIVEMARY RutaceaeFicus Cacemsa RomarinusAlliumOfficinalisCHIVEShrub: 161 length 2 - 3 feetGreen-Bright Green6feet-7inches Green-YellowGreen-Brown WhiteIndia Western AsiaMediterranean Europe, N.A COLD Cli-WARM CHILLICOOL Climate W-CClimateClimatemateSITTING PODS- I SEE TASTE AND SMELL 163 167. See What I...controlling vision through the senses164 168. Thesis ProjectDepending on a persons heart beat throughInternal temperature will be registeredthe transfer of sensors on the cardio equip- through walls and mirrors, instead of seeingment, a pattern of varying intensities will be your reflection when lifting free weights, youdisplayed amongst screens in the fitness cen-can now see which muscle is being strechedter. If one if running and burning more calo-and working the hardest .ries then the person next to them, there pat-tern will be more intense then their neighbor. 60 70 80CARDIO HEART BEAT AND BODY THERMOGRAPH - I SEE TOUCH 165 169. See What I...controlling vision through the senses166 170. Thesis ProjectThe visual projection of the senses become lo-calized with in the building. The Fitness centerand Mineral Spa must deal with heating andcooling, their can be no stagnant air. Since theair is polluted in New York City, a natural con-vection current would not be so successful. Us-ing the natural chemical process of breathingand photosynthesis will help create a healthybreathing system through a vegetated wall.Oxygen will be absorbed by the players whothen release carbon dioxide and water vaporthat transforms chemical energy into simplesubstances. Plants absorb the carbon dioxideand minerals that occur through respirationand perspiration. Excess heat will be removedthrough evaporation and transpiration (a per-son losses up to .8 gallons of water per hourduring physical exercise).HYDRATION- I SEE SMELL 167 171. See What I...controlling vision through the senses168 172. Thesis ProjectA one-hundred percent transparent floor lift-ed up one hundred forty feet off the groundcan only lead to one feeling uneasy or evennauseous. This transfer takes gym membersfrom the mineral spa to the fitness center orvice versa which extracts the feeling of vertigoamongst its walkers.VERTIGO- I SEE EVERYTHING 169 173. See What I...controlling vision through the senses 170 174. A Case Study in Recognizing the InvisiblePERSPECTIVE- 60TH STREET ENTRANCE 171 175. See What I...controlling vision through the senses172 176. A Case Study in Recognizing the InvisiblePERSPECTIVE- 61ST STREET ENTRANCE 173 177. See What I...controlling vision through the senses174 178. A Case Study in Recognizing the Invisible(TECHNOLOGY)(CLIMATE CONDITION) + SOUND= CONVECTIVE MUSEUM 35 179. See What I...controlling vision through the senses