Graduation !

Key plan for the show

Caldarium and Tepidarium

VIEW FR STAIRCASE

Reception A

View to Plunge bath

Sectional perspective

New Designers 2011

My projects are exhibiting at New Designers 2011
http://www.newdesigners.com/page.cfm/ID=1

New plan work in process

inner look

Case: tree hugger

http://www.architonic.com/aisht/treehugger-one-fine-day-office-for-architectural-design/5100933

Treehugger Concepts

“Treehugger” is a pavilion that is currently exhibited at the National Garden Show (BuGA) 2011 in Koblenz, Germany. It results from a research-project that was initiated by Dipl.-Des. Christoph Krause, director of the Chamber of Skilled Craft’s “Center for Design, Manufacturing and Communication” in Koblenz in 2009. “Treehugger” has been designed by the Department for Digital Design at University of Applied Sciences, Trier, and was led by Prof. Holger Hoffmann in collaboration with his Düsseldorf based office One Fine Day. Frankfurt based Office for Structural Design has been responsible for the structural engineering of the project. OCHS Holzbau, Kirchberg, executed the timber/steel-construction. In addition to the project’s mere architectural aspects an integrated interactive light-installation has been developed by the Faculty of Intermedia Design together with the Faculty of Computer Sciences, both from University of Applied Sciences, Trier, as well.

Our main aim was to give students as well as craftsmen a broader understanding of recent computational design and computer aided manufacturing technology. During planning and building period this knowledge should ideally be shared between the disciplines in a kind of a “digital mason’s lodge” setting. Thus it is not just the pavilion itself but even more the back and forth of a development-process that we see at the core of our efforts.

Location
The city of Koblenz is at the northern endpoint of Germany’s Middle Rhine area which is an important cage of Germany’s Romanticism during 18th/19th Century: during that time’s Romanticism the existing ruins of medieval castles along the Rhine were restored and romantically reinterpreted. The river itself got exaggerated mystically (the fairy tale of Loreley) as well as ideologically (as a “German River”).

“Treehugger” is located next to basilica St. Castor in the vicinity of “Deutsches Eck” on a plot that has previously been used as a parking lot. Here, the pavilion is situated at a pivotal position in between the Gardening Show and the surrounding urban fabric. It will perform as a platform for diverse events during summer 2011. In October 2011 “treehugger” will be dismantled to then be re-erected on the premises of the Chamber of Skilled Crafts, Koblenz.

Program
“treehugger” has to serve as a place for exhibitions, lectures, workshops and similar events. Thus a circuit, a one-directional space and a row of cubicles had to be implemented within in one spatial configuration – which normally results in a claim for flexibility that would then be answered with as little spatial or structural determination as possible. In this case however we have decided to rather blend the three main programs. By rotating one structural element (the tree-like columns) around a pivot in the center of the pavilion different regions of possible action emerge. This fairly simple geometrical operation then allows for all three conditions to take place at the same time: the exhibition pieces of the circuit are shielded by the tree-like columns that again create in between cubicles for work-stations in a workshop scenario. Lectures take place in a “Totaltheater”-like central space.

Type
During eighteenth and nineteenth century pavilions were laid as “follies” into a picturesque landscape. They were explicitly designed to motivate and foster fantasies by creating places of a specific ambience that is different to its context. Out of this tradition pavilions did not necessarily have to affiliate with a specific built environment – on the contrary. Often a very specific moment of tension unfolds from a pavilion’s formal or atmospheric discreteness or even its opposition to a given context.

Sustainability
For sustainability reasons “treehugger” will not only be erected once and then disappear, but it will be relocated in October 2011. Therefore the decomposability of the timber-structure has been of great importance from the beginning of the project. We have decided to use materials accordingly and thus avoided the sexiness of digital modernism’s white surfaces in favor of a much more tectonic appearance.

Form
Due to its peculiar location the pavilion should formulate a subtle link to Romanticism’s enthusiasm for the mystique, the fantastic, and the transcendental. So it is a rather anticlassical “un-clear”, “as well as”, “all at once” approach that drives the structural, formal, material and spatial configuration of “treehugger”. Therefore we have designed the pavilion in the shape of an extruded pentagon instead of a square-box – a simple geometrical “plus” that changes the building’s appearance significantly in relation to a beholder’s standpoint. The partly screen printed glass curtain blurs the interior construction and superimposes reflections of the surrounding trees.

Geometry
The polygonal geometry and manifold symmetries of nearby St. Castor’s stellar vault have been a major inspiration for the project. Together with a rotationally symmetrical order a system of interdependent geometrical relations was defined that was resilient, yet rigorous enough to adapt to specific structural and functional needs. Furthermore the “branching” and inherent porosity of the trees’ leafy canopy above has been abstracted into the similarly “porous” pentagonal and rhombic tessellation of the surfaces.

Light
A merely haptic space of structural ornaments during the day, “treehugger” changes entirely at night time. Then the interactive light-installation reacts to the visitor’s movements and literally virtualizes the space and its structure.

Fabrication
In conjunction with the initial research project we have conceived, designed and constructed “treehugger” entirely with the help of recent computer modeling software and programming language (a.o. Rhinoceros 4.0, Grasshopper, Visual Basic/Rhinoscript) - this mainly to find an efficient balance of technologically advanced as well as common low tech production methods. Thus the timber-works have mainly been factory machined by an automatic cutting machine that is normally used for standard timber roof structures. All steel knots have been lasercut and then been assembled with the tailored woodworks to mid-size prefabricated components. The fabrication of “treehugger” has generously been supported by Rhineland-Palatinate’s Ministry of Environment, Forestry and Consumer Protection as well as Signal Iduna and Alwitra roofing systems.

Design team:

Architecture: University of Applied Sciences, Trier, Germany
Faculty of Architecture, Prof. Dipl.-Ing. Holger Hoffmann with Dipl.-Ing.(FH) Jan Busemeyer, Dipl.-Ing. (FH) Frank Stolz, Jan Weber, Gabriel Wüstner, Eva Ziegler, Peter Zock and One fine day: office for architectural design, Düsseldorf

Light-installation: Faculty of Intermedia Design, Prof. Daniel-Gilgen with Thorsten Gätz, Jana Schell, Rebekka Thies Faculty of Computer Sciences, Prof. Dr.-Ing. Georg Schneider with Niko Schmidt, Julian-Marc Steffen, Christian Ternes
Advisor: Dipl. Des. Daniel Zerlang-Rösch

Client:

Chamber of Skilled Crafts, Koblenz
Dipl.-Des. Christoph Krause, director of the Center for Design, Manufacturing and Communication

Project partners:

Structural engineers: OSD, office for structural design, Frankfurt am Main, Germany
Execution: OCHS Holzbau, Kirchberg, Germany

concept development stage

case:alcatel head office

http://www.designboom.com/weblog/cat/9/view/14854/fvarquitectos-alcatel-head-office.html?ref=nf

the subterranean spa for men

Concept phase study model

New proposal

Option 1

Parasite

House in Bath city, England

Bath city

Limehouse Basin

Sphere

underground

Somerset House

Limehouse area

the Roman Bath

Guy's hospital

spring

Above Bank

cat

Strike

Research question

After exploring and testing 10 ideas/concepts of Spa design, I need to return the research question which I really wish to go in further steps and reflect as near as possible in my final project.
Following are some of ideas for research questions of title that I think I might develop and restructure the whole process of research as well :

1. How the Spa to archive ...
   
2. discuss trends and technologies that will improve the spas
3. an investigation of the relationship between spa design and customer satisfaction or behavioral ...
4. creative a new spa concept
5. Men's spa, what's attraction ?
   
6. Spa design moves beyond relaxation into atmosphere of pure indulgence
7. the (natural, british, sustainable...) ingredients to create a new concept for Spa ...
8. Spa with a view (or a new experience)
   
9. how a modern spa (study in London context) creates attractions such as the Roman Spa at Bath received
10. putting Spa design in an innovation ...

Your advised will be highly appreciated ! thank you very much

Site options

1. 1.Union street,there are railway arches which is quite nice for ur project i guess,
2. 2.Exisiting pool building in Poplar Lime house
3. 3.BaynardHouse near Blackfiars bridge "
4. 1.The bath house. Dean street, Soho
5. 2.The porchester spa. Queenway
6. 3.Hoxton. Shoreditchhighstreet

mosaic

a minute

Les bains des docks

LES BAINS DES DOCKS BY JEAN NOUVEL
http://cubeme.com/blog/2008/09/11/les-bains-des-docks-by-jean-nouvel/

Take Me To The River

Take Me To The River

I don't know why I love you like I do
After all these changes that you put me through
You stole my money and my cigarettes
And I haven't seen hide nor hair of you yet

I wanna know
Won't you tell me
Am I in love to stay?

Take me to the river
And wash me down
Won't you cleanse my soul
Put my feet on the ground

I don't know why she treated me so bad
Look at all those things that we could have had
Love is a notion that I can't forget
My sweet sixteen I will never regret

I wanna know
Won't you tell me
Am I in love to stay?

Hold me, love me, please me, tease me
[From: http://www.elyrics.net/read/a/al-green-lyrics/take-me-to-the-river-lyrics.html]
Till I can't, till I can't take no more
Take me to the river

I don't know why I love you like I do
After all the things that you put me through
The sixteen candles burning on my wall
Turning me into the biggest fool of them all

I wanna know
Oh won't you tell me
Am I in love to stay?

I wanna know
Take me to the river
I wanna know
I want you to dip me in the water
I wanna know
Won't you wash me in the water
Wash me in the water
Wash me in the water
Won't you wash me in the water
Feeling good

Ernesto neto

ERNESTO NETO: THE EDGES OF THE WORLD
http://festivalbrazil.southbankcentre.co.uk/ernesto-neto/

CASE STUDY: LANDFORM-SUN MOON LAKE

http://inhabitat.com/sun-moon-lakes-green-roofed-visitor-center-is-harmonious-in-its-surroundings/

This beautiful green-roofed visitors center at the Sun Moon Lake in Taiwan unfolds in a series of aerodynamic edges that rise and swoop, pointing toward the lake. Designed by Norihiko Dan and Associates, the Hsiangshan center features a minimalist, respectful design that pays homage to nature.

The building was the first prize winner of the NEW TAIWAN International Competition called the “Landform Series,” which challenged architects to design buildings integrating nature.

The visitor center, located amidst a lush forest hanging on the tip of Sun Moon Lake, includes the offices of the tourist board as well as a public information center for tourists. Like the foothills of a mountain, the building gently rises and slopes upwards from the surrounding area. Norihiko Dan wanted the building to be harmonious with its neighboring land forms rather than jutting out obtrusively, which would be offensive to the surrounding nature.

Through a subtle design that emphasizes horizontality the architecture does not become overbearing, and the rich forest is still highlighted. Norihiko Dan furthers this emphasis by planting thick green grass over much of the sloping roof, creating an integrated garden. The building’s aerodynamic edges rise and swoop, pointing toward Sun Moon Lake.

Norihiko Dan also created a water basin in between the building and Sun Moon Lake, that reflects the greenery of the trees. The architect hopes to create a “new dialogue between humanity and nature that provides another new dimension to this area.”

CASE STUDY: Sami Rintala's Spa Boat

http://www.sackda.fr/2010/01/12/the-spa-boat/

Combining two of our favourite pursuits in one luxury package, the Spa Boat – designed by Norway-based, Finnish architect Sami Rintala – brings an added dimension to the standard spa weekend.

Taking a stripped-down 1950s fishing boat as the skeleton of his project, Rintala adapted the bare woods and curving walls as integral design elements of his vision.

DESIGNED BY RINTALA http://www.rintalaeggertsson.com/0.html

http://www.wallpaper.com/gallery/travel/the-spa-boat/17051589/25019#25033

Combining two of our favourite pursuits in one luxury package, the Spa Boat – designed by Norway-based, Finnish architect Sami Rintala – brings an added dimension to the standard spa weekend.

Taking a stripped-down 1950s fishing boat as the skeleton of his project, Rintala adapted the bare woods and curving walls as integral design elements of his vision.

The depths of the hold, where tons of North Sea fish were once stored, now plays host to a wood-clad spa area - featuring a Turkish Hammam, (complete with the obligatory steambath, bath tub and hot tiles) Zen lounge with wood burning fireplace and a sauna surrounded by panoramic windows.

The Scandi-inspired luxury continues on deck, with a hot tub designed for mid-winter Aurora Borealis gazing, whilst a seven meter-high diving board provides release for those with more frenetic agendas.

Boasting three, well-proportioned guest bedrooms, the Spa Boat can play host to as many as twelve guests at a time, whilst the on-board kitchen – which brings to mind many a pared-down Scandinavian eatery – comes complete with a host of professional chefs.

Moored in the Arctic city of Tromsø and unveiled at the end of last year, the Spa Boat offers an authentic – if wintry - take on the spa experience.

CASE STUDY: THERME VALS

http://www.therme-vals.ch/

«Mountain, stone, water - building in the stone, building with stone, into the mountain, building out of the mountain, being inside the mountain - how can the implications and the sensuality in the association of these words be interpreted, architecturally? The whole concept was designed by following up these questions; so that it all took form step by step.»

Peter Zumthor

MATERIAL AND PRESENCE

The architecture of the spa complex
from Peter Zumthor

The new thermal spa, formally opened in December 1996 and already listed by the Canton Graubünden as a protected building in 1998, is a self-willed construction set into the mountain slope. It replaced the bathing facilities of the hydro hotel (built between 1962 and 1970) which were too cramped and in need of repair. The new separate spa building is built in Valser gneiss. Stone by stone. A massive element set in to the gradient of the slope and dovetailed with the flank of the mountain. The great slabs of the roof are grassed over: sections of flower studded alpine meadow.

The architectonic language of the new spa has nothing to do with the design of the hotel complex built in the sixties. It is more profound underlining the essential in the context of a new interpretation of the constructional challenge; emphasising the special relationship of the new Therme to the primordial forces of nature and the geology of the mountainscape, reacting to the impressive topography of the valley and the position of the warm spring which rises out of the primeval mountain just behind the new spa.

The lengthy projection process culminating in the finished artefact of the spa was initially a process of playful discovery, of a patient and enjoyable quest far beyond the architectonic ideals. The fascination for the mystic qualities of a world of stone within the mountain, for darkness and light, for light reflections on the water or in the steam saturated air, pleasure in the unique acoustics of bubbling water in a world of stone, a feeling for warm stones and naked skin, the ritual of bathing - these notions guided us. The intention to work with these elements, to implement them consciously and to lend them a special form was there from the outset. Only much later, when the preliminary plans were almost finished, did we visit the old baths in Budapest, Istanbul and Bursa and then understood better where these archaic images had come from; archaic images apparently slumbering in a virtually archetypal awareness.

Our spa is no funfair with the latest technical gadgets, water games, jets, sprays and slides, but focuses on the quiet, primary experience of bathing, cleansing, relaxing in the water, the feeling of water all round the body, at various temperatures and in various settings, physical contact with primordial stone.

http://www.creativeclass.com/creative_class/tag/therme-vals/

The Therme Vals is a project of resistance, opposing the architecture of spectacle. Designed by Swiss architect, Peter Zumthor, the thermal baths at Vals is both a meditation on the essential elements – earth, wind, water & fire – and an economic initiative to drive tourism. The Therme Vals embodies the potential that architecture has to calm the body and mind in an ever increasing world of hyper speed, space and communications.

Nestled in the Swiss Alps, 100 miles South of Zurich with a population of less than 1,000, Vals is known for its spring water which is sold throughout Switzerland. In the 1980s, when a local hotel owner went bankrupt, the village stepped in and purchased the hotels, hoping to transform one of them into a hydrotherapy center. The village then commissioned Peter Zumthor to design the baths which would not only be an amenity for the community but an attraction for visitors.

Since its opening in 1996, the village has seen a dramatic increase in the number of tourists making tourism Vals’ primary source of income accounting for 2/3 of the local economy. Architecture aficionados and travelers alike are drawn to this magnificent building to experience how the architecture has established a dialogue with the powerful landscape that surrounds it and the healing qualities of the thermal bath water.

The design creates a series of spaces that are organized within and between structural box columns of concrete, faced in indigenous Valser quartzite. The roof is a system of thin cantilevered concrete slabs that are supported by the box columns. The roof slabs do not touch, allowing the natural light to dramatically enter the baths through linear glass skylights.

As you enter the baths, you pass through an acrylic curtain, into a world meant to delight the senses. It seems paradoxical that one of the most masterful works of contemporary architecture should have such an understated and unusual entrance.

The baths, ranging from a tepidarium that is 40 degrees Celsius to a much cooler outdoor pool, are organized in a complex labyrinth of chambers inside and between the structural column-rooms. The concrete inside the tepidarium is integrally colored a deep red.

The Therme Vals is more than just great architecture that can be appreciated in relation to the unbuilt Danteum project by the Italian modernist Giuseppi Terragni. It also demonstrates how a small village can be creative and entrepreneurial. The Therme Vals offers a seductive shift from the paradigm of the Bilbao effect where architecture is a vehicle for economic health through spectacle and display to architecture as a space of desire – for the engagement of mind, body and soul, and community – and an equally powerful driver of local economy.

For more information on the Therme Vals, please visit:
http://www.therme-vals.ch/bad/index_en.html
http://en.wikipedia.org/wiki/Therme_Vals

Photographs taken from Flickr account members: sim and Dee Adams

CASE STUDY: RACZ THERMAL BATH

http://raczthermalbath.com/racz-thermal-bath-factsheet.pdf

The hotel boasts its own Turkish bath, whihc dates from the Imperial Habsburg era in 1550 and is listed under UNESCo World Heritage. The historical facilities have been restored as an 8000 sq m modern luxury Thermal and Day Spa which includes 11 pools, relaxation aeras and saunas(including a Finsh Sauna) and a sunbathing terrace. In addition, the Spa has 21 treatment rooms offering the very latest and traditional therapies, cosmetic rooms for special beauty treatments, a hairdressing salon and dedicated VIP section.

An elegant new hotel wit a stunning comtemporary design, The Racz Hotel & Thermal Spa has 67 spacious and stylish rooms ranging from Deluxe and Executive to Suites. Most of the rooms and suites offer exceptional views of the Royal palace, the historical Thermal Spa or the park.

DESIGN FOR PRODUCTION

http://www.designbuild-network.com/features/feature91546/feature91546-5.html

Taking Refuge: Architects Build Small Spaces Exhibition Review

http://www.contemporist.com/category/interiors/page/2/

http://www.contemporist.com/2010/10/27/dentsu-london-office-interior-by-essentia-designs/#more-21984

http://www.contemporist.com/2010/10/22/building-fashion-at-hl23-by-richard-chai-snarkitecture/#more-21825

http://www.contemporist.com/2010/08/05/rolls-by-chikara-ohno-of-sinato/#more-17894