Project 4: History of bathing in NZ

Year 1 Studio

Rotorua research source – https://www.rotoruamuseum.co.nz/

The Bath House Story

“The Bath House, which today houses Rotorua Museum, was once an famous spa which offered therapeutic treatments to visitors from all over the world.

Water from nearby thermal springs was piped to private bathrooms and larger Aix-douche massage rooms. There were also a number of deep pools where chronic disorders were treated. The north wing accommodated male patients, while women were treated in the south wing.

At its height the spa gave 60,000 to 80,000 baths annually and about 30,000 special treatments.

There is little left of the once state-of-the-art spa treatment equipment; most was destroyed when the baths closed in 1966.

“People came to Rotorua for two or three weeks once or twice a year and stayed at Brents, Grande Vue, Park Vue or Prince’s Gate. The relaxing regime included a swim at the Ward Baths before breakfast, followed by a visit to the Bath House for prescribed treatment. The Aix douche took half an hour, followed by half an hour in hot towels, and perhaps an hour in the Cooling Room, a totally relaxing process. An afternoon stroll through the gardens, perhaps a Rachel bath and an evening bath at the Ward Baths concluded the daily routine whilst ‘taking the cure’.” Dr Keith Ridings, 1995.”

A Brief History of the Rotorua Spa

“The potential value of Rotorua’s thermal springs as a source of revenue had been noted as early as 1874. A variety of thermal pools were concentrated in an area known as Te Kauanga, not far from Lake Rotorua’s edge.

When tourists in the 1870s and 1880s arrived to see the Pink and White Terraces of Rotomahana they also wanted to bathe in this wild thermal area nestled amongst pumice, sulphur and mānuka.

In 1882 the Pavilion Bath, the first building of the new Government township of Rotorua, was built on the site of the Priest’s Bath. It fell down two years later, a sign of maintenance problems in store for other bathhouses in the area.

In 1885 the first Blue Baths were opened, and in 1895 the highly acidic Postmaster Baths were completed, patients being advised to “sit quietly in the water so as to avoid any unnecessary disengagement of gases.”

Bath structures gradually became more imposing. The Duchess Bath, built to celebrate the visit of the Duchess of York, opened on the site of the present Polynesian Spa in 1901.

The Bath House, which opened in 1908, is the only surviving building from the first 45 years of the Rotorua spa. Elements of the Ward Baths, constructed on the site of the Duchess Bath in 1930, remain integrated into the present Polynesian Spa.”

Tepid baths Auckland:

Research sourced from – The Tepid Baths Auckland. A Conservation Plan Prepared By
Dave Pearson Architects Limited (2008)

“A history of the Tepid Baths provides a unique insight into the social patterns of early
Auckland as it developed and grew, and the changing needs and expectations of its
citizens. Bathing facilities were popular from the beginning, and one of the first such
facilities was built in 1860. It was very primitive, being little more than a wooden fence
which enclosed a piece of shoreline off Smale’s point just west of Queen Street. It was
privately run and only able to be used when the tide was in.

Between 1906 and 1911 the Auckland City Council considered a number of projects for
public baths in the city. Among these was a proposal for indoor baths in Patterson Street
(now Victoria Street West), using heated salt water from the Electric Tramways power
station. The Electric Tramways were at the time using sea water to cool their plant.
This proposal was the basis for the present Tepid Baths, however, the site eventually
chosen was on Hobson Street. It was not an uncontroversial site and there were at the time
some concerns as to its closeness to the morgue and its smallness. It was however very
central and accessible to local residents as well as being near a tram route.

In the 1920s, queues formed outside the Tepid Baths. They were regarded as a valuable
facility both for health and hygiene as well as being a popular and cheap form of
recreation. However, many technical problems arose regarding the quality and supply of
the water and heating for the facility. There were numerous complaints over the years
about the murky state of the water as public standards rose, and pollution of the harbour
water increased.

Since they were constructed, the Tepid Baths have continued to be a popular amenity all
year round. The baths were and still are a well-used resource for recreation and training.
The building has been adapted to changing social conditions, and it is interesting to see that this has been achieved, generally within the basic layout of the building as built in 1914.”

Project 4: Personal Bathing Experiences

Year 1 Studio

When thinking about different bathing experiences I thought about the experiences I have had bathing in nature. The most recent time was at Lake Waikaremoana. It was a few days into the great walk and once we had dumped our packs at the cabin we went straight to the lake to cool down and wash away the sweat and grime.

I analysed the effect that this blissful bathing experience had on my senses:

Sight: Reflection of the mountains on the water, bright lights of the afternoon sun twinkling across the water, mist evaporating off the water, green forest framing the lake.

Sound : Bird song, rippling water, wind rustling the trees, splashing of the water as we move 

Touch: Cold water, warmth from the sun on my skin, soft breeze 

Scent: The earth, perfume from the shampoo, the water .

Photo taken at Lake Waikaremoana.

Project 4: Bathing History

Year 1 Studio

Bathing has been an activity that humans have been engaging with for centuries. It can take place in any situation where there is water. It can take place in a bath, shower, river, lake, water hole, pool or the sea, or any other body of water.

The term for the act can vary. It is used in religious practices such as an immersion or baptism. Bathing is used for therapeutic purposes such as water treatments or hydrotherapy and is also associated with recreational water activities such as swimming.

History of Bathing from Wikipedia:

Ancient Greece utilized small bathtubs, wash basins, and foot baths for personal cleanliness. The earliest findings of baths date from the mid-2nd millennium BC. The Greeks established public baths and showers within gymnasiums for relaxation and personal hygiene. 

Ancient Rome developed a network of aqueducts to supply water to all large towns and population centres and had indoor plumbing, with pipes that terminated in homes and at public wells and fountains. 

The thermae were not class-stratified; being available to all for no charge or a small fee. With the fall of the Roman Empire, the aqueduct system fell into disrepair and disuse. But even before that, during the Christianization of the Empire, changing ideas about public morals led the baths into disfavor.

Japan:

Before the 7th century, the Japanese likely bathed in the many springs in the open, as there is no evidence of closed rooms. In the 6th to 8th centuries the Japanese absorbed the religion of Buddhism from China, which had a strong impact on the culture of the entire country. Buddhist temples traditionally included a bathhouse (yuya) for the monks. Due to the principle of purity espoused by Buddhism these baths were eventually opened to the public. Only the wealthy had private baths.

The first public bathhouse was mentioned in 1266. These were built into natural caves or stone vaults. In iwaburo along the coast, the rocks were heated by burning wood, then sea water was poured over the rocks, producing steam. Because there was no gender distinction, these baths came into disrepute. They were finally abolished in 1870 on hygienic and moral grounds. Author John Gallagher says bathing “was segregated in the 1870s as a concession to outraged Western tourists”.

At the beginning of the Edo period (1603–1868) there were two different types of baths. In Edo, hot-water baths were common, while in Osaka, steam baths were common. At that time shared bathrooms for men and women were the rule. These bathhouses were very popular, especially for men. “Bathing girls” (湯女 yuna) were employed to scrub the guests’ backs and wash their hair, etc. In 1841, the employment of yuna was generally prohibited, as well as mixed bathing. The segregation of the sexes, however, was often ignored by operators of bathhouses, or areas for men and women were separated only by a symbolic line. Today, sento baths have separate rooms for men and women.

Mesoamerica

Spanish chronicles describe the bathing habits of the peoples of Mesoamerica during and after the conquest. Bernal Díaz del Castillo describes Moctezuma as being “…Very neat and cleanly, bathing every day each afternoon…”. Bathing was not restricted to the elite, but was practised by all people.

The Mesoamerican bath, consists of a room, often in the form of a small dome, with an exterior firebox known as texictle (teʃict͜ɬe) that heats a small portion of the room’s wall made of volcanic rocks; after this wall has been heated, water is poured on it to produce steam, an action known as tlasas. As the steam accumulates in the upper part of the room a person in charge uses a bough to direct the steam to the bathers who are lying on the ground, with which he later gives them a massage, then the bathers scrub themselves with a small flat river stone and finally the person in charge introduces buckets with water with soap and grass used to rinse. This bath had also ritual importance, and was vinculated to the goddess Toci; it is also therapeutic when medicinal herbs are used in the water for the tlasas. It is still used in Mexico.

Medieval and early-modern Europe

Christianity has always placed a strong emphasis on hygiene. Despite the denunciation of the mixed bathing style of Roman pools by early Christian clergy, as well as the pagan custom of women bathing naked in front of men, this did not stop the Church from urging its followers to go to public baths for bathing, which contributed to hygiene and good health according to the Church Father, Clement of Alexandria. The Church also built public bathing facilities that were separate for both sexes near monasteries and pilgrimage sites; also, the popes situated baths within church basilicas and monasteries since the early Middle Ages. Pope Gregory the Great urged his followers on value of bathing as a bodily need.

In the Middle Ages, bathing commonly took place in public bathhouses. Public baths were also havens for prostitution, which created some opposition to them. Rich people bathed at home, most likely in their bedroom, as ‘bath’ rooms were not common. Bathing was done in large, wooden tubs with a linen cloth laid in it to protect the bather from splinters.

Furthermore, from the late Middle Ages through to the end of the 18th century, etiquette and medical manuals advised people to only wash the parts of the body that were visible to the public; for example, the ears, hands, feet, and face and neck. This did away with the public baths and left the cleaning of oneself to the privacy of one’s home. The switch from woolen to linen clothing by the 16th century also accompanied the decline in bathing. Clean linen shirts or blouses allowed people who had not bathed to appear clean and well groomed.

Bathing today:

Public opinion about bathing began to shift in the middle and late 18th century, when writers argued that frequent bathing might lead to better health. Two English works on the medical uses of water were published in the 18th century that inaugurated the new fashion for therapeutic bathing. One of these was by Sir John Floyer, a physician of Lichfiel

The other work was a 1797 publication by Dr James Currie of Liverpool on the use of hot and cold water in the treatment of fever and other illness.

A popular revival followed the application of hydrotherapy around 1829, by Vincenz Priessnitz, a peasant farmer in Gräfenberg. This revival was continued by a Bavarian priest, Sebastian Kneipp (1821–1897), after he read a treatise on the cold water cure. In Wörishofen Kneipp developed the systematic and controlled application of hydrotherapy for the support of medical treatment that was delivered only by doctors at that time. 

Captain R. T. Claridge was responsible for introducing and promoting hydropathy in Britain, first in London in 1842, then with lecture tours in Ireland and Scotland in 1843. 

Public baths 

Large public baths such as those found in the ancient world and the Ottoman Empire were revived during the 19th century. The first modern public baths were opened in Liverpool in 1829. The first known warm fresh-water public wash house was opened in May 1842.

The popularity of wash-houses was spurred by the newspaper interest in Kitty Wilkinson, an Irish immigrant “wife of a labourer” who became known as the Saint of the Slums. In 1832, during a cholera epidemic, Wilkinson took the initiative to offer the use of her house and yard to neighbours to wash their clothes, at a charge of a penny per week, and showed them how to use a chloride of lime (bleach) to get them clean. She was supported by the District Provident Society and William Rathbone. In 1842 Wilkinson was appointed baths superintendent.

In Birmingham, around ten private baths were available in the 1830s. Whilst the dimensions of the baths were small, they provided a range of services. Private baths were advertised as having healing qualities and being able to cure people of diabetes, gout and all skin diseases, amongst others. On 19 November 1844, it was decided that the working class members of society should have the opportunity to access baths, in an attempt to address the health problems of the public.

After a period of campaigning by many committees, the Public Baths and Wash-houses Act received royal assent on 26 August 1846. The Act empowered local authorities across the country to incur expenditure in constructing public swimming baths out of its own funds.

The first London public baths was opened at Goulston Square, Whitechapel, in 1847 with the Prince consort laying the foundation stone.

Hot public baths

Traditional Turkish baths were introduced to Britain by David Urquhart, diplomat and sometime Member of Parliament for Stafford, who for political and personal reasons wished to popularize Turkish culture. He described the system of dry hot-air baths used there and in the Ottoman Empire which had changed little since Roman times. In 1856 Richard Barter read Urquhart’s book and worked with him to construct a bath. They opened the first modern hot water bath at St Ann’s Hydropathic Establishment near Blarney, County Cork, Ireland.

The following year, the first public bath of its type to be built in mainland Britain since Roman times was opened in Manchester, and the idea spread rapidly. It reached London in July 1860, when Roger Evans, a member of one of Urquhart’s Foreign Affairs Committees, opened a Turkish bath at 5 Bell Street, near Marble Arch. During the following 150 years, over 600 Turkish baths opened in Britain, including those built by municipal authorities as part of swimming pool complexes, taking advantage of the fact that water-heating boilers were already on site.

Similar baths opened in other parts of the British Empire. Dr. John Le Gay Brereton opened a Turkish bath in Sydney, Australia in 1859, Canada had one by 1869, and the first in New Zealand was opened in 1874. Urquhart’s influence was also felt outside the Empire when in 1861, Dr Charles H Shepard opened the first Turkish baths in the United States most probably on 3 October 1863.

Cleanliness

By the mid-19th century, the English urbanised middle classes had formed an ideology of cleanliness that ranked alongside typical Victorian concepts, such as Christianity, respectability and social progress. The cleanliness of the individual became associated with his or her moral and social standing within the community and domestic life became increasingly regulated by concerns regarding the presentation of domestic sobriety and cleanliness.

The industry of soapmaking began on a small scale in the 1780s, with the establishment of a soap manufactory at Tipton by James Keir and the marketing of high-quality, transparent soap in 1789 by Andrew Pears of London. It was in the mid-19th century, though, that the large-scale consumption of soap by the middle classes, anxious to prove their social standing, drove forward the mass production and marketing of soap.

Before the late 19th century, water to individual places of residence was rare. Many countries in Europe developed a water collection and distribution network. London water supply infrastructure developed through major 19th-century treatment works built in response to cholera threats, to modern large-scale reservoirs. By the end of the century, private baths with running hot water were increasingly common in affluent homes in America and Britain.

At the beginning of the 20th century, a weekly Saturday night bath had become common custom for most of the population. A half day’s work on Saturday for factory workers allowed them some leisure to prepare for the Sunday day of rest. The half day off allowed time for the considerable labor of drawing, carrying, and heating water, filling the bath and then afterward emptying it. To economize, bath water was shared by all family members. Indoor plumbing became more common in the 20th century and commercial advertising campaigns pushing new bath products began to influence public ideas about cleanliness, promoting the idea of a daily shower or bath.

Ritual Purification:

Ritual purification is the purification ritual prescribed by a religion by which a person is considered to be free of uncleanliness, especially prior to the worship of a deity, and ritual purity is a state of ritual cleanliness.

Bahá’í Faith

In the Bahá’í Faith, ritual ablutions (the washing of the hands and face) should be done before the saying of the obligatory prayers, as well as prior to the recitation of the Greatest Name 95 times. Menstruating women are obliged to pray, but have the (voluntary) alternative of reciting a verse instead; if the latter choice is taken, ablutions are still required before the recital of the special verse. Bahá’u’lláh, the founder of the Bahá’í Faith, prescribed the ablutions in his book of laws, the Kitáb-i-Aqdas.

Apart from this, Bahá’u’lláh abolished all forms of ritual impurity of people and things, following Báb who stressed the importance of cleanliness and spiritual purity.

Buddhism

In Japanese Buddhism, a basin called a tsukubai is provided at Buddhist temples for ablutions. It is also used for tea ceremony.

Christianity

The Bible has many rituals of purification relating to menstruation, childbirth, sexual relations, nocturnal emission, unusual bodily fluids, skin disease, death, and animal sacrifices. The Ethiopian Orthodox Tewahedo Church prescribes several kinds of hand washing for example after leaving the latrine, lavatory or bathhouse, or before prayer, or after eating a meal. 

Baptism, as a form of ritual purification, occurs in several religions related to Judaism, and most prominently in Christianity; Christianity also has other forms of ritual purification.

Many ancient churches were built with a large fountain in the courtyard. It was the tradition for Christians to wash before entering the church for worship. This usage is also legislated in the Rule of St. Benedict, as a result of which, many medieval monasteries were built with communal lavers for the monks or nuns to wash up before the Daily Office.

The principle of washing the hands before celebrating the holy Liturgy began as a practical precaution of cleanness, which was also interpreted symbolically. “In the third century there are traces of a custom of washing the hands as a preparation for prayer on the part of all Christians; and from the fourth century onwards it appears to have been usual for the ministers at the Communion Service ceremonially to wash their hands before the more solemn part of the service as a symbol of inward purity.”

In Reformed Christianity, ritual purity is achieved though the Confession of Sins, and Assurance of Forgiveness, and Sanctification. Through the power of the Holy Spirit, believers offer their whole being and labor as a ‘living sacrifice’; and cleanliness becomes a way of life (See Romans 12:1, and John 13:5-10 (the Washing of the Feet)).

Hinduism

Various traditions within Hinduism follow different standards of ritual purity and purification; in Smartism, for example, the attitude to ritual purity is similar to that of Karaite Judaism. Within each tradition the more orthodox groups follow stricter rules, but the strictest rules are generally prescribed for brahmins, especially those engaged in the temple worship.

An important part of ritual purification in Hinduism is the bathing of the entire body, particularly in rivers considered holy such as the Ganges; it is considered auspicious to perform this form of purification before any festival, and it is also practiced after the death of someone, in order to maintain purity.

In the ritual known as abhisheka (Sanskrit, “sprinkling; ablution”), the deity’s murti or image is ritually bathed with water, curd, milk, honey, ghee, cane sugar, rosewater, etc. Abhisheka is also a special form of puja prescribed by Agamic injunction. The act is also performed in the inauguration of religious and political monarchs and for other special blessings. Murti of a deity must not be touched without cleansing of hands. One is not supposed to enter a Temple without a bath.

There are various kinds of purificatory rituals associated with death ceremonies. After visiting a house where a death has recently occurred, Hindus are expected to take bath.

Indigenous American religions

In the traditions of many Indigenous peoples of the Americas, one of the forms of ritual purification is the ablutionary use of a sauna, known as a sweatlodge, as preparation for a variety of other ceremonies. The burning of smudge sticks is also believed by some indigenous groups to cleanse an area of any evil presence. Some groups like the southeastern tribe, the Cherokee, practiced and, to a lesser degree, still practice going to water, performed only in bodies of water that move like rivers or streams. Going to water was practiced by some villages daily (around sunrise) while others would go to water primarily for special occasions, including but not limited to naming ceremonies, holidays, and ball games.

Islam

Islamic ritual purification is particularly centred on the preparation for salah, ritual prayer; theoretically ritual purification would remain valid throughout the day, but is treated as invalid on the occurrence of certain acts, flatulence, sleep, contact with the opposite sex (depending on which school of thought), unconsciousness, and the emission of blood, semen, or vomit. Some schools of thought mandate that ritual purity is necessary for holding the Quran.

Ritual purification takes the form of ablution, wudu and ghusl, depending on the circumstance; the greater form is obligatory by a woman after she ceases menstruation, on a corpse that didn’t die during battle and after sexual activity, and is optionally used on other occasions, for example just prior to Friday prayers or entering ihram.

An alternative tayammum (“dry ablution”), involving clean sand or earth, is used if clean water is not available or if an illness would be worsened by the use of water; this form is invalidated in the same circumstances as the other forms, and also whenever water becomes available and safe to use. It is also necessary to be repeated (renewed) before every obligatory prayer.

The fard or “obligatory activities” of the lesser form include beginning with the intention to purify oneself, washing of the face, arms, head, and feet. while some mustahabb “recommended activities” also exist such as basmala recitation, oral hygiene, washing the mouth, nose at the beginning, washing of arms to the elbows and washing of the ears at the end; additionally recitation of the Shahada. The greater form (ghusl) is completed by first performing wudu and then ensuring that the entire body is washed. Some minor details of Islamic ritual purification may vary between different madhhabs “schools of thought”.

Judaism

The Hebrew Bible mentions a number of situations when ritual purification is required, including during menstruation, following childbirth, sexual relations, nocturnal emission, unusual bodily fluids, skin disease, death, and animal sacrifices. The oral law specifies other situations when ritual purification is required, such as after performing excretory functions, meals, and waking. The purification ritual is generally a form of water-based ritual washing in Judaism for removal of any ritual impurity, sometimes requiring just washing of the hands, and at other times requiring full immersion; the oral law requires the use of un-drawn water for any ritual full immersion – either a natural river/stream/spring, or a special bath (a Mikvah) which contains rain-water.

These regulations were variously observed by the ancient Israelites; contemporary Orthodox Jews and (with some modifications and additional leniencies) some Conservative Jews continue to observe the regulations, except for those tied to sacrifice in the Temple in Jerusalem, as the Temple no longer fully exists. These groups continue to observe many of the hand-washing rituals. Of those connected with full ritual immersion, perhaps the quintessential immersion rituals still carried out are those related to nidda, according to which a menstruating woman must avoid physical contact with her husband, especially avoiding sexual contact, and may only resume contact after she has first immersed herself fully in a mikvah of living water seven days after her menstruation has ceased.

Purification was required in the nation of Israel during Biblical times for the ceremonially unclean so that they would not defile God’s tabernacle and put themselves in a position to be cut off from Israel. An Israelite could become unclean by handling a dead body. In this situation, the uncleanliness would last for seven days. Part of the cleansing process would be washing the body and clothes, and the unclean person would need to be sprinkled with the water of purification.

Kalash people

Kalash theology has very strong notions of purity and impurity. Menstruation is confirmation of women’s impurity and when their periods begin they must leave their homes and enter the village menstrual building or “bashaleni”. Only after undergoing a purification ceremony restoring their purity can they return home and rejoin village life. The husband is an active participant in this ritual.

Project 3: Design Documentation

Year 1 Studio

Project Three: SLEEP/WAKE: TWO STRANGERS

Sara Lilly 18035292

Abstract:

My design space for two strangers is created to aid the journey of two individuals from strangers to acquaintances through the need of communication to navigate the space and optimise it’s potential.

My strangers are travellers with an overnight stopover in Auckland City. I’m also wanting to emphasise that you don’t need to speak the same language to communicate effectively or to form a friendship.

The transition from strange to familiar is like that of sleep wake. In the beginning everything is new and unfamiliar. As we journey, we gain familiarity, and with that comfort in our minds and relationships.

Report:
Key discoveries:

Some key discoveries I’ve made over these three projects are the importance of iterations within the design process to push my creativity and design further rather than settling for an early version. Finding new potential in my work.

I have found model making to be a very helpful process for identifying flaws in my design and working through the small details of the reality of my design in relation to earthly restrictions such as gravity, light, weight etc. which I can’t always identify when designing on paper.

Communicating my designs to my peers and getting opinions on my work has also been incredibly helpful. It has helped me identify flaws in my designs, details I have overlooked and design potential that I wouldn’t have realised on my own. It also has helped me gain confidence in my work and develop my thinking around my designs.

Visual communication strategies and techniques:

Through my past three projects my model making has become much more defined allowing the model to communicate my design concepts clearly and effectively. I have become increasingly more considered in the materials I am using in my models, the characteristics they hold and the overall effect it is having on my design. By being more intentional with my model making materiality and detail it has allowed my models to come to life.

My drawings have developed to consider the external environment surrounding my design space factoring in the context of the site. This has helped inform my designs to be considerate of the surrounding space and to think about the effect that my design will have on the surrounding area.

Key projects and practices which inform my design thinking, process and visual communication.

A key project that has informed my design thinking was the first A2 drawing of Project One: SLEEP/WAKE. Working through that original concept it taught me to let go of the solid, obvious ideas. To think more abstract, to consider what the obvious conceptual objects represent and what that can look like in a more fluid form. From that new way of thinking I went on to reflect on my design, turning my conceptual ideas and abstract concepts into a unique new design.

Another key project that helped develop my design process was visiting the site of St Paul Street Gallery Three. By being in the gallery space I was able to visualise how a new design might practically fit into the space. It helped me gain understanding and context to my design in Project Two: SLEEP/WAKE: MAPPING SITE: THRESHOLD.

In the beginning of Project Three when coming up with a system to control the heights of my different platforms I did extensive research into the different systems I could use and sought insight from an engineer and a stagehand to better understand the different mechanisms available. Through considering their input I was able to design something that’s looks good whilst also being functional. This practice of seeking insight from professionals with a different skillset to me was very beneficial. I didn’t have to compromise on my design due to my lack of understanding.

Bibliography:
Tom Dixons lighting https://www.tomdixon.net/shop/lighting.html

Anish Kapoors Cloud Gate 2006, http://theconversation.com/anish-kapoors-cloud-gate-playing-with- light-and-returning-to-earth-our-finite-world-102272

Rachel Whiteread Untitled (Stairs) 2001 https://www.tate.org.uk/art/artworks/whiteread-untitled- stairs-t07939

Motoi Yamamotos salt installations https://www.designboom.com/art/motoi-yamamoto-salt- floating-garden-labyrinth-aigues-mortes-france-05-23-2016/

Yayoi Kusamas infinity rooms https://hirshhorn.si.edu/kusama/infinity-rooms/ Eileen Gray Satellite mirrorhttp://www.eileengray.co.uk/products/satellite/

Spandana Gopel with Tiipoi designed Mirror 6 https://www.port-magazine.com/design/tiipoi-a- pure-reflection-of-indian-design/

Joseph Paxtons Crystal Palace https://en.wikipedia.org/wiki/The_Crystal_Palace Albert park history sites http://paulbourke.net/fun/albert/history.html

Beatriz Colomina – The century of the bed (2014)

Project 3: Presentation

Year 1 Studio

Concept:

This is a temporary accommodation for two strangers on an overnight layover to come rest and journey from strange to familiar with an unfamiliar person through the interactions created by the room.

Angle:

The design encourages communication and interaction to create a comfortable rest space with the use of interactive elements that move and shift in the space affecting both guests over the course of their stay forcing them to communicate to achieve the most affective use of the space.

Object:

The strangers sleeping and eating platforms must coincide with one another as the chosen levels of each platform affects the accessibility and use of the other platforms. For example, if one stranger was sitting on the end of their bed and using the table to eat off from their bed, the other stranger will be unable to sit on the seat and use the table to eat their meal. Another example would be if the strangers didn’t get on well, they would then stager the sleeping platforms so that they weren’t sleeping side by side. To do this, one guest would need to settle on their sleeping platform whist the guest winches their platform higher than their own before settling onto their sleeping platform. They must communicate their needs to each other to optimise and alter the space.

The entrance and exit are designed to be moved inward to enter the space. The whole window moves on tracks in the floor and ceiling, but this is not clear from outside the space. This is to encourage the strangers to enter together through working out how the entrance works. If one of the strangers is weaker than the other, they may need assistance from the other to move the window inward. This helps to start the convosation between two strangers at the very beginning of their stay drawing them through the threshold from outside to inside as well as through the threshold of strange to familiar.

The mirrors in the space provide some privacy from the outside whist also drawing light in and bringing the city in. These mirrors are also on tracks allowing the guests to manipulate the images that dance around the room. Because mirrors bring light into the space the strangers will need to communicate how much light they want in the space in order to be considerate to each other. The position of the mirrors can affect how cramped or spacious the space is. To discover what is most comfortable for each other they will need to work together to move the mirrors in to their desired positions. The gallery space is their stage and they are the directors.

The bathroom is tucked off to the side of the gallery allowing for some privacy. However, there are no doors in the bathroom. The use of walls provides enough privacy to bathe and use the amenities but means that the strangers need to communicate where they are within the bathroom to avoid any unintentional run ins continuing the need for communication into the bathroom. 

Recap of concept and angle:

As a result of the design features in this space the two travelling strangers will leave this space to continue their adventure rested and with a new acquaintance or friend as a result of their overnight experience.

Here are some photos of my final presentation:

The feedback I got on my project was to further explore the idea that even at the end of a day there is still work to do. This reminded me of the saying ‘no rest for the wicked’.

I was challenged to consider weather that way of life is a positive or negative way of living and how this could be amplified in my design if I was to take this idea further.

Need to develop my drawings

My drawings need more work as they were the pieces that let my presentation down. Going forward I think I will do my construction drawings digitally as drawing is not my strong suit. This will enable me to lift the quality of my presentation.

Project 3: Project Narrative

Year 1 Studio

My design space for two strangers is created to aid the journey of two individuals from strangers to acquaintances through the need of communication to navigate the space and optimise it’s potential.

My strangers are travellers with an overnight stopover in Auckland City. I’m also wanting to emphasise that you don’t need to speak the same language to communicate effectively or to form a friendship.

The transition from strange to familiar is like that of sleep wake. In the beginning everything is new and unfamiliar. As we journey, we gain familiarity, and with that comfort in our minds and relationships.

Visual design strategy:

When deciding how to display my presentation i waited till the morning of my presentation when I had all of my work completed to trial different ideas for the layout. Because my work took up so much space I wanted to see exactly how much space was available for me to use.

I wanted the overall layout to feel open and clean so I made sure to leave room around each piece of work. When starting to pin things up I released that my site map was too small in comparison to the working drawings so re-printed it on A1. I originally had my atmospheric images on one A3 paper but decided it would look better if they were larger and seperate to create more of a flow from image to image taking you through the space.

This was my final presentation layout.

Project 3: Interior Views

Year 1 Studio

I lasercut my final iteration and constructed it ready to take some interior views.

The atmospheric conditions that I wanted to create was a simulation of the natural sunlight that affects the gallery space over the day.

Looking at these pics you get a real sense that this space is a mechanical space and that the formations of the mirrors and platforms are temporary. It looks as if in a state of waiting. Waiting for a stranger to come and interact with the different elements.

The mirrors bring the outside into the space allowing the strangers to experience the exterior whilst in the interior. This draws on the threshold relationship between interior and exterior blurring the lines of what interior and exterior means.

Project 3: Modelling Space

Year 1 Studio

The main thematic ideas for my gallery space is to amplify the need to get out of your comfort zone and connect with unfamiliarity.

My design is created with the intention of forcing the strangers to communicate, interact and through their interactions to become familiar with each other allowing them to leave the space not as strangers but as Friends or acquaintances.

When thinking more about the nature of my strangers and their relationship to the space I developed my design to include a bathroom. I want my space to be a place where my strangers come when they are in between a destination and their origin. They are travellers of sorts and I know from my personal experience how ideal it is to have a nice place to bathe and get refreshed before heading onto the next place when travelling.

I decided not to include a kitchen in my design as I think it isn’t necessary considering that my strangers are travellers just passing through. From my own experience when travelling through a place, it is easier to eat out or to buy take away food. This is why there is still a table and bench to dine at allowing them the space to still enjoy a meal.

I made the bathroom very large and simple continuing the theme of symmetry through the space. I haven’t included any doors, just walls and panels to again force my strangers to communicate when in the bathroom to see where the other person is and if they are able to use the utilities if they are free.

I took inspiration for my bathroom from works from Anastasia Bushkova with her open plan bathroom designs (https://www.behance.net/gallery/50192283/Bathroom-for-Salini-Slr) and Stanislav Kaminskyi’s open plan bathroom designs (https://kaminskyi.com/en/all-projects/bedroom-with-a-view/)

In this first iteration of my model I noticed that the tracks in the ceiling create interesting light projections when lit from above. This was a happy accident that I will incorporate into my final model creating another level of light to dance around the space and be reflected and refracted off of the mirrors. This will need to be done my building in a false ceiling to fill with light above the tracks.

Project 3: Materiality and Detail

Year 1 Studio

In reviewing my original design I wanted to incorporate a tessellation as the shape of my sleeping platform so that the different platforms fit together when at the same level.

My first thought was the yin and yang symbol but due to the cultural significance it carries it seemed inappropriate.

With the development of my design I decided to incorporate a table and a seat to connect with my sleeping platform allowing for a more interesting tessellation and more levels to play with when adjusting the heights of the platforms.

I decided to use a winch system to adjust the heights of the different platforms as you are able to have complete control over the all the varying heights and is simple to operate for whoever needs to use it.

My space is quite industrial with the symmetry of the gallery design, clean lines and tracks running up and down the room. To continue this aesthetic my sleeping platform will be made of a clean cut wooden base with a gold brass trim to keep lightweight adding detail that catches the light and contrasts the wood and plain walls. To suspend the four platforms I have designed brass loops on the corners of the platform for a thick black rope to tie onto. continuing up from each corner the rope meets in a central position 1500mm above the platform allowing enough room to access the platform while also allowing room to vary the suspension level. The four corners connect on a brass loop that then connects to one rope running along the ceiling, down the wall to the side to a winch system, one winch for each platform.

I created a brass frame to suspend my four platforms drawing inspiration from the structures used in fly towers adding to the theatrical nature of my gallery space.

Drawing on the natural bindings of structures on ships I bound the corners with the thick black rope adding a nice design detail and providing more contrast to the smooth shiny metal whist also continuing the use of the rough rope used to suspend the platforms.

I looked into the mechanics and systems of fly towers in theaters to see if it was a system that could apply to my design for the suspension of the platforms. I like the way their structures look with all the ropes running along the beams. My space is already a bit theatrical with the drama that the mirrors create so bringing in a fly tower system or a version of one will continue this theme.

I read some of Beatrice Colominas The Century of the bed exploring how today we do almost everything from our beds. “The project started after Colomina read an article in the Wall Street Journal that shocked her, stating that 80 per cent of young professionals were working from their beds.” – Dezen.com

One of Colominas key examples of this was Hugh Hefner running his empire from the safety of his round bed.

Hugh Hefner
Fly Tower Section from the New Concert Hall in Central Conservatory of Music in Beijing

Floor Plan
Section
Elevation