Project Design + Investigation: BATHING
A Bath House for the Dadley Building
Design Workshop 1
15. 07. 19
Today in class we were introduced to our new design project and exploration site, continuing along the theme of ‘intimate space’. “Intimacy derives from proximity and meaningfulness. Things close-by form our immediate world, describe horizons around us, open up possibilities for action, and inform the significance of our situation.” This particular design exploration will concentrate on precise spatial effects, where using this theme of bathing, we will be able to explore and discover how the measurable and non measurable connect and interact.
For the Major Project we must propose a design for a conversion of the basement of the Dadley Building into a bath-house. The Dadley Foundation building, currently being held as AUT’s WW building, was previously a hospital and live-in care facility for disabled children. Overtime many of the building’s modernist features have been lost, such as the pool being lost in 2018 due to AUT’s WZ building development. The spatial environment in which our bathhouse will be constructed is the buildings basement level, now a warren of small rooms and semi-enclosed spaces boarded up with plywood.
For our design proposal we are to imagine that the building is to be converted into apartments for visiting scholars and artists in residence. As part of this redevelopment, you are asked to design a bath-house for the basement level. A bath-house that is for the use of the residents, students, staff of the university and for the public. Any existing partition walls are able to be freely removed, however all structural columns and the roof (along with all upper floors) must remain intact. Along with this the lifts, stairwell and supporting columns of the existing building cannot be moved, and must be incorporated into our design. For our design ideas a strong conceptual narrative for the space will allow for deeper investigations, explorations and experimentations to take place when establishing the bath-house design.
Once we had been debriefed and given all necessary information surrounding the building and its requirements we headed over to the site for a visit, to truly explore it first hand. We were given the buildings existing floor plan to collect and take measurements of all the important features that would, or could potentially impact our bath house design. We first explored the exterior of the building and the courtyard area which is to be transformed into a pocket forest. While viewing the outside I noticed minor details that represented the previously existing pool which used to be occupied within the space. Pool tile details were spread across the brick wall along the rear of the courtyard space. These special features not only referenced the heritage of part of the site, it also allowed me to gather a deeper understanding of how the space previously worked and what its authentic history was. Inside the basement level there were many existing partition walls, so it made understanding the interiors of the space slightly difficult as you had to imagine it open planned. During this site visit I decided to take photographs to capture the space I was working with and to have visual imagery for future references within my designs, particularly for specific aspects of the site and its setting. Below are only a series of photographs of the exteriors and interiors that I took while we visited the site for the first time.
Once we had explored majority of the site, on the floor plans we began taking various measurements, mainly of features that we knew must be included in our bath house design. Below is the floor plan in which I used to record down all measurements taken. These measurements will then be transferred into my own designs to help me understand the space I’m working with and have a better sense of its size and scale, particularly when I am trying to create functional and practical areas for people to flow in and out of.
My Initial Thoughts
16. 07. 19
After our first studio session I wanted to start piecing together some of the basic but essential elements for a Bath House, in order to fully understand how these components will combine and lead to my overall design concept. I jotted down my initial thoughts and ideas towards creating a bath house, particularly highlighting what I think needs to be included within one to make it a functional space for guests.
In order to begin fully understanding how to approach a ‘Bath House’ and the importance of its structural and aesthetic elements, we need to learn more about the history of Auckland’s Public Baths, the importance of varying bathing cultures around the world, as well as recognising their different approaches towards bathing practices.
The Tepid Baths Auckland – A Conservation Plan
We began our historical bath house insight into researching the Early Public Baths of Auckland, through an original Conservation Plan of The Tepid Baths. Bathing facilities in Auckland were very popular from the beginning with the first facilities built in 1860. There was an emphasis of public baths in the late 1800s and early 1900s was on hygiene as much as on recreation as at this time people did not have private baths in their homes. Between 1906 and 1911 the Auckland City Council deliberated a number of projects for public baths in the city. Auckland’s Mayor at the time supported and encouraged the building of the Tepid Baths and in 1912 plans were drawn up. The Tepid Baths were the most elaborate of three salt bathing facilities built by Auckland City between 1912 and 1914. The final design for the Tepid Baths comprised of two large titled indoor swimming pools with dressing rooms, slipper baths, and a gallery with seating for 400 people.
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 activity. Due to societal conditions changing overtime, the building has been adapted, still within the basic layout of the original building. The slipper baths were removed as more houses were equipped with their own bathrooms. The wall between the two pools was removed when convention no longer declared that men and women’s pools should be separate. Other additions to the space such as a cafe, gymnasium, saunas, steam rooms and changing rooms were implemented as the needs of patrons changed. This particular space has been continually transformed in conjunction with the evolution of civilisation and how drastically it has changed, along with peoples needs and wants. Spaces need to develop in order to function practically, in both the time and place it is situated, as well as how the population want and need to operate within it. For my Bath House design I wish to further employ these objectives and spatial perspectives in order to transform and repurpose the Basement level of the Dadley Building into a beautiful, luxurious, yet practical bathing environment.
A Brief History of Bathing
17. 07. 19
In prehistoric times, rivers and seas served as the most raw, original and purest form of a bath. Waterfalls were showers, and there was no different. People were able to directly connect to sources of nature through their bathing methods. As societies began forming in the ancient world, public baths became the main form of bathing as they were a very convenient way to wash, particularly when people didn’t have access to private bathing facilities. Ancient Egyptians placed high importance on the rituals of bathing and washing, as it was believed that the cleaner the person was, the closer they were to the gods. Many washed themselves several times a day, including rising before and after meals. However, washing typically meant rinsing their faces, hands and feet in water basins.
Overtime peoples attitudes and opinions towards bathing and washing have changed with quite varying results. It appears that bathing in bath houses, specifically vapor baths was the preferred method in Eastern and Central Europe for cleanliness. Bathing was known as more of a social ritual, rather than for hygienic purposes, particularly the Roman baths which were deemed as a social activity. Public bath houses were locations for socialising and social interaction. Notorious for being a city of bathing, Rome contained an array of amazing public bathhouses. The Ancient Romans were famous for their baths, whether or not they were Roman Manors utilising their own smaller, private bath house, or the Roman public who frequently visited inexpensive bath houses, everybody gathered some source of sociable satisfaction. However in history most medieval and renaissance people appeared to have bathed less often but with the same social enjoyment, due to the deprivation of sophisticated plumbing facilities.
The Ancient Greeks were the first to develop showers, the concept of water flowing through pipes over peoples heads. The Romans then eventually expanded on this pipe system to create expansive aqueducts that provided indoor plumbing and bath houses with water. These public bath houses were originally the ancient form of spas, offering multiple facilities such as massages, entertainment, exercise, as well as being a popular meeting location to socialise. Yet in comparison to todays societal normalities, bathing is view as a private matter, however it was a shared ritual for thousands of years. It was a way to build community and human connection between others.
Nenova, S. (Oct, 28, 2015). Ancient Greek and Roman Bathing. Retrieved from http://www.ancientworldalive.com/single-post/2015/10/27/Ancient-Greek-and-Roman-Bathing
Throughout the course of history, many ancient cultures had their own sophisticated bathing rituals whether that be fore hygienic, therapeutic, religious or even social purposes. There are some cultures that have specific rituals in which makes their bathing routines very unique to them. For example the Turks consider bathing to be a semi religious ritual which “purifying the body goes hand in hand with purifying the soul”. Turkish baths are known as an extension to the mosque, as they often feature similar structural features as such ornate domes that emphasise an atmosphere of sanctity and reflection.
In comparison, Japans bathing culture originates in its topography having over 25,000 natural hot springs. The soaking, steaming and dry heat of the hot spring is reflected into their bathing routines, which is treated as a leisurely, meditative and sensual daily ritual. Similar to Japanese bathing culture, Korea’s bathhouses are casual and social, allowing visitors to wander through steam rooms, saunas, ice rooms and jade rooms, with breaks for eating, refreshments and socialising. Even within one particular country, people’s bathing customs, preferences and tendencies depend on so many varying factors. Some of these influences are ones geographical location, whether or not they live in a city apartment, in the sprawling suburbs or even in a countryside cottage, as well as the climate if its hot, cold or dry, cultural beliefs and ones lifestyles, along with many more minor impacts.
Progressing into the Western World, the notion that bathing and hygiene could serve medical purposes and lead to better health didn’t arise until the 18th and 19th centuries. The first modern public baths were opened in Liverpool, England in 1829, renewing an interest in Ancient Roman and Turkish baths yet creating cleaner versions of these traditional public bathhouses. By the mid 18th century the idea that a lot of diseases could be prevented by sanitation and good hygiene practices had begun to take hold. Suddenly an obsession with cleanliness, daily washing, products, perfumes and soaps began the forefront of everyones minds. In todays society showering and taking baths are a private affairs where people have a greater understanding of the general health benefits of bathing and cleanliness. Bathing can help to reduce stress, relax muscles, improve cold symptoms and assist in better sleep.
Heise, J. (Feb, 08, 2007). A Short History of Bathing before 1601. Retrieved from http://www.gallowglass.org/jadwiga/herbs/baths.html
Bushak, L. (Dec, 11, 2015). A brief History of Bathing. Retrieved from https://www.medicaldaily.com/brief-history-bathing-importance-hygiene-ancient-romes-sophisticated-showers-modern-364826
Lambert, T. (2019). A brief History of Baths and Showers. Retrieved from http://www.localhistories.org/washing.html
Prinzivalli, L. (Mar, 25, 2019). 7 Bathing Traditions from Around the World that are Worth Travelling for. Retrieved from https://www.wellandgood.com/good-looks/bathing-rituals-from-around-the-world/
The Standard. (Feb, 20, 2018). Guide to Global Bathing Cultures. Retrieved from https://www.standardhotels.com/culture/bathing-cultures-hydrotherapy-rituals-Finnish-Japanese-Russian-Korean-Turkish
Hoo, F.S. (Feb 02. 2016). How Women Around the World Get Clean. Retrieved from https://www.refinery29.com/en-us/2016/01/101925/cultural-differences-women-showering
“Forest Bathing is retreating to nature to immerse in the forest atmosphere”. Forest bathing allows our minds to slow down and become immersed in the natural environment. It is nowadays considered a powerful antidote to the pressures of the modern world, delivering lasting benefits to ones physical and mental wellbeing, as well as developing a profound connection to nature. “Forest bathing involves slowly walking through a forest, taking in the atmosphere through all your senses, and enjoying the benefits that come from such an excursion”.
In Japan, there is a practice called forest bathing or shinrin yoku. Shinrin in Japanese means “forest” and yoku means “bath”, so therefore shinrin yoku means bathing in the forest atmosphere, or taking in the forest through our senses. By opening our senses to nature we are able to bridge the gap between us and the natural world. In order for us to fully open up and become enveloped into the natural we must become more mindful. If we are fully present and in the moment and are conscious, open minded and attentive to our current situation and the sensual qualities of that particular environment, then we are able to bath in the forest. In todays society, majority of people live in urban cites meaning most of us are experiencing a nature deficit, therefore making this practice even more vital and appreciated when one is able to experience it. “Nature deficit disorder” is a modern affliction. With more people living in cites, working in large office buildings, as well as becoming addicted to their countless array of electronic devices, many people are experiencing a ‘nature deficit’.
“Connecting with nature is simple. All we have to do is accept the invitation. Mother Nature does the rest”. Forest bathing begins by finding a spot, a good source of nature, letting your body guide you and take it where it wants to go. Engage all your senses, letting nature enter through your eyes, ears, nose mouth, hands and feet. To not hurry and take as much time as possible. Try different activities in nature whether its doing yoga, meditation or simply having a picnic. Venturing out to forest bathe alone or with a companion. Appreciating the silence, an area that is free from human produced noise. If a whole forest isn’t available, then even standing underneath a tree, laying on a patch of grass, visiting a nature park and inhaling deeply will benefit the body.
The Japanese practice of shinrin yoku is proven to reduce stress hormone production, improve positive feelings of happiness and liberate creativity, as well as lower heart rate and blood pressure, boost the immune system and accelerate recovery from illness. The health secrets of trees lie in the higher concentration of oxygen that is present in a forest compared to urban environments, as well as the presence of plant chemicals such as natural oils called phytoncides. Human exposure to these elements can have measurable health benefits.
After years of careful study it has been found that spending time in a forest can reduce stress and anxiety, strengthen immune system, improve metabolic health and boost ones overall well being. Along with its effective medical impacts, forest bathing radiates contentment. The sounds of the forest, the scent of the trees, sunlight streaming in through the leaves, the fresh, clean air, all these things gives one a sense of comfort. They are able to ease our worries, helping us relax and think more clearly and intently. Our moods become restored, our energy and vitality is replenished.
Howland, G. (May, 24, 2019). 9 Benefits of Forest Bathing. Retrieved from https://www.mamanatural.com/forest-bathing/
Shinrin Yoku. Forest Bathing. Retrieved from http://www.shinrin-yoku.org/shinrin-yoku.html
Forest Holidays. (2019). Forest Bathing Benefits. Retrieved from https://www.forestholidays.co.uk/activities/forest-bathing/benefits/
Li, Q. (May, 01, 2018). ‘Forest Bathing’ is Great for your Health. Retrieved from https://time.com/5259602/japanese-forest-bathing/
Evans, K. (Aug, 20, 2018). Why Forest Bathing is Good for your Health. Retrieved from https://greatergood.berkeley.edu/article/item/why_forest_bathing_is_good_for_your_health
Ali, C. (Nov, 17, 2018). What the Heck is Forest Bathing. Retrieved from https://www.hellobc.com/stories/what-the-heck-is-forest-bathing-5-things-you-didnt-know-about-shinrin-yoku-in-bc
Evans, K. (Sep, 10, 2018). Why Forest Bathing is Good for Your Health. Retrieved from https://www.mindful.org/why-forest-bathing-is-good-for-your-health/
My Own Bathing Experiences
17. 07. 19
During class, in order to fully introduce us into this idea of Bathing and Bath houses, we were asked to reflect and write down one of our own bathing experiences. This could be simply from when we were younger, like a childhood memory or it could be an interesting cultural experience we had where we embraced a new method of bathing. For me I remembered back to my fond childhood memories of having bath time with my sisters, where we would be in a bath surrounded by various toys. We could sit in there for hours on end if we wanted too, playing, laughing and coming up with creative storylines for each different toy. Below are some reflective pages where I wrote down the distinct details I remembered from these bathing memories. I also jotted down my simple bathing routine nowadays, which to be honest I never take any notice of, so trying to formulate it in my head and write it down was quite challenging. Noting down both these types of personal, bathing memories will in the future be able to help with strategising my bath house design. Particularly when I need to visualise and plan out the spatial arrangements of all the amenities and their differing functionality components, such as the toilets and changing room area.
There are many different types of bathing experiences in which one could encounter or utilise during their life. A couple examples of these unique and reinvigorating ways to bathe are a seaweed bath, aromatherapy bath or even the childhood bath as described earlier. Each of these bathing rituals can be employed in different ways, as well as create different sensory experiences. However for all of them, whether your incorporating bubble bath, essential oils or bath salts into your bathing routine will allow you to create a calming, relaxing sanctuary.
Psychologies. (Oct, 25, 2011). Top Six Bathing Experiences. Retrieved from https://www.psychologies.co.uk/body/bathtime-bliss.html
Te Aranga Design Principles/Values
22. 07. 19
Today in class we were introduced to the Te Aranga Design Principles in which we are to carefully consider when formulating and making design choices and decisions. These principles are “a set of outcome based principles” founded on Maori Cultural Values and are created to provide guidance for enhancing outcomes within a design environment. The Te Aranga Principles are composed of the following.
Below I have carefully selected various principles in which my design will be a reflection of in some way. These principles will enveloped throughout my design choices as an acknowledgement towards the heritage and cultural values of the site. Below are some of the key principles I have chosen to highlight and make strong reference too throughout my bath house and pocket forest design.
Dadley Building + Pocket Forest Platform Model
22. 07. 19
Today in class we began the construction of our group model. We began by making the base level, built up of many cardboard layers in which the Dadley Building, Pocket Forest and our Bath House Design would sit on top of. We started by measuring out the base to figure out the dimensions required to fit all the various components. Once the measurements were finalised, we cut out many layers to build up the ground level. In our model it was very important to demonstrate the level change from the front of the building on the street, to the courtyard as there is a 3 metre difference.
We also decided to cut out a 3-4 metre depth along the basement level and forest to allow for any pool designs within our bath houses.
Site Analysis and Research
24. 07. 19
Before beginning the design development stages of this project, I wanted to conduct further research on the site, its various elements and adjacent environments. Below is a map of the overall site in which our bath house will lie, a conversion of the basement of the Dadley Building (located at 9 Mount Street, Auckland CBD).
Seen below is also maps representative of the land formations and contours of the existing site in which we will be working in conjunction with. Before we begin designing and possibly adapting the site, it is crucial that we recognise the nature and layout of it and therefore understand how our designs can be implemented cohesively with it. It is also important to acknowledge the wider landform features such as Volcanic Forms, as they all have a connection and impact on the sites history and present state.
In order to gain an even deeper understanding of the existing site in which my bath house will be in conjunction to, I wanted to comprehend and notice the current conditions of Auckland’s wind direction flow and sunlight patterns and changes. Below are maps representative to Auckland’s Wind Direction and Sunlight Patterns.
This diagram allows us to aggregate the wind data by day and night time hours in order to see the different patterns between these periods. Most of Auckland’s wind direction is Northeast and Southwest. It is evident above that nighttime has a much greater proportion of low wind speeds than in the daytime hours. As during the day temperatures are higher this means that the air pressure, and therefore air movement is low, however at night temperatures are lower, making the air pressure high. This essentially means that during the day the wind blows from the ocean to land and at nighttime it does the opposite.
Above are various diagrams of Auckland’s CBD, specifically the site we are working with at different times throughout the day (Image One at 10am, Image Two at 12pm and Image Three at 2pm). These different times allow us to notice the suns movement and therefore sunlight patterns within the day. The sun streams in from the North so will offer beautiful rays streaming through the pocket forest, an aspect that I wish to highlight within my bath house.
An essential part of working within this site, is to respect, preserve and prioritise all the natural elements that come with it. Part of that means treating water as a valuable resource that has major importance to the site in many ways. A way of utilising this special resource can be implementing the pocket forest to also act as a rain garden, as on the site it is a main area for rainwater to be collected, purified and filtered for further usage.
The diagrams above depict how there is a relationship between water resources and the site, all through the rainwater and waste water discharge systems. The pocket forest acts as a connection point, the moment where the bathing area meets the outside world. By employing these operations, rainwater can be saved, purified and transported creating rainwater collection and purification and therefore bath wastewater filtration.
Vegetation, Soil Type and Rock Forms
As shown in the below diagrams, Auckland is surrounded by Hi-Q pasture and native forests, both which provide for environmentally friendly conditions to live in. In connection, Auckland’s land resources are very rich, having all kinds of soils such as sand, red-brown loam, ash and yellow-brown loam. This provides the imperative nutrients needed for the survival of different varieties of vegetation.
New Zealand’s native rocks can be separated into three categories, Sedimentary rocks, Igneous rocks and Metamorphic rocks.
Sedimentary Rocks: Sedimentary rocks form from deposition and joining together of particles, mostly eroded from the surrounding area. Most of New Zealand’s sedimentary rocks are mudstone and sandstone that were deposited beneath the sea.
Igneous Rocks: Igneous rocks form when molten rock (magma) from deep within the Earth’s crust moves towards or onto the surface and cools. Volcanic igneous rocks are thrown out onto the land surface or beneath the sea, and cool quickly to form fine grained and sometimes glassy rocks.
Metamorphic Rocks: Metamorphic rocks are rocks that began as sedimentary or igneous rocks (or even previously metamorphosed rocks), and that have subsequently been recrystallised under conditions of high temperature and/or pressure. Many of the rocks found in New Zealand have been metamorphosed by being buried deep in the crust, and then uplifted to the surface as the overlying rock has been eroded away.
Shown in the above diagram on the left, it demonstrates how Auckland’s CBD has mostly young volcanic rocks and ash. The types of young volcanic rocks are Basalt and Scoria (a low silica volcanic rock that has been the dominant product of the Northland, Auckland and South Island volcanoes), and Rhyolite and Ignimbrite (high silica volcanic rocks resulted from highly explosive eruptions). Followed in the other diagram shown above are the various layers that make up the earths ground. The layers compose of topsoil, subsoil, weathered rock fragments, parent rock and then bedrock. It was also made apparent while visiting the site, that on the existing exterior wall Scoria Rock can be found.
GNS Science. NZ Geology. Retrieved from https://www.gns.cri.nz/Home/Learning/Science-Topics/NZ-Geology/New-Zealand-s-Rocks/Young-volcanic-rocks
Dadley Building + Pocket Forest Platform Model Continuation
24. 07. 19
Today in class, our group also continued to work on and develop our Dadley Building and Pocket Forest Platform Model. We began making the Dadley Building and Basement Level structure based off the measurements recorded at the site visit. We also decided to paint the exteriors of the buildings the same colour as the existing building itself, in order to draw a clear connection.
During the lesson we were also introduced an important reading, which is aimed to help us understand our design projects and the research we are doing surrounding them, in much more depth and detail. We began by discussing the various ideas conveyed in Timothy Morton’s ‘Thinking Ecology: The Mesh, The Strange Stranger, and the Beautiful Soul’ published in 2015. Our main focus around the reading was based along four key concepts, Interdependence, The Mesh, Life and non-life and There is no ‘outside’ of the system of life forms. Below are my sketch notes of key ideas that we reviewed from the reading.
From this reading the concept which stuck out most for me and my design ideas was the notion of Interdependence. The theory that “things are only what they are in relation to other things” and that nothing exists by itself, nothing comes from nothing, I thought really helped to reflect my bathhouse design and concept. I wish to create a space that is all about relationship, particularly exploring and emphasising the relationship between the Bath House and Pocket Forest. A space where everything flows and ties together. A space that is viewed as a whole, where all elements are unified and perform together in cohesion.
Pocket Forest Investigation and Research
26. 07. 19
80% of New Zealand’s trees, ferns and flowering plants are endemic and about 10-15% of the total land area of New Zealand is covered with native flora. Prior to the arrival of humans, New Zealand was largely a forested land mass, with forest occurring in the far north all to the islands in the south. New Zealand has approximately 6.4 million hectares of indigenous forest and these are located mainly in mountainous areas. Most of New Zealand’s indigenous forests are found in the South Island. New Zealand’s indigenous forests can be generalised into three main types: Kauri-podocarp-broadleaved, Podocarp broadleaved and Beech forests. Kauri-podocarp-broadleaved forests are the most diverse in New Zealand, with forests close to the coastline being mainly dominated by Puriri, Kohekohe, Pohutukawa and Karaka, whereas more inland forests are dominated by Towai, Northern Rata, Rimu and Kauri. Podocarp broadleaved forests are typically found in the lowlands, on both alluvial terraces and hill slopes. They are most abundant in the North Island, West Coast, Southland and on Stewart Island. Beech forests are the least diverse forest types in New Zealand, generally growing in the colder mountain regions along the Southern Alps and the ranges of the North Island.
Aotearoa contains many unique flora and fauna which all need to be protected and utilised for their beautiful qualities. Some common native trees and shrubbery we have carefully chosen to incorporate into our pocket forest for our bath house design. The native environment in which are pocket forest is to create will be a green, luscious space that will allow for an abundance of bio diversity to flourish. The forest is to both expose a calming, tranquil and sensory experience for forest bathing, yet emphasise the importance of native flora and fauna and allow all forms of endemic life to thrive. Some of the chosen indigenous trees we have decided to incorporate into the pocket forest is Kōwhai, as these trees grow to a height of 8m, exploding a sea of yellow, bell shaped flowers in which many Tui feed from during its flowering season in late winter, early spring. Both Mānuka, which is a shrub growing up to only 4m and Kānuka which will grow over 15m high we have included into the forest. Both these native species are pioneering species and will grow almost anywhere, as well as can create favourable conditions in the soil to foster regeneration. This will allow for the density of our forest overtime to flourish and build up more of these native species. Whauwhaupaku or commonly known as five finger, is a common fast growing tree and is often found in regenerating forests. In winter it produces clusters of purple flowers at the tips of its branches as well as in summer purple black berries ripen, attracting bird life.
Below is a chart of some of the more common native bird species and what their preferred foods are. This chart along with other gathered research will help to build a greater understanding of what these species need to both be enticed and therefore flourish in our pocket forest.
New Zealand’s plantation forests provide multiple values including protection of water and soil resources. They also can contain high levels of bio diversity of both indigenous and exotic species. The conservation of bio diversity is considered very important due to concern over protection of species and ecosystems, maintaining genetic resources as well as its overall contribution to environmental quality. The pocket forest is to highlight the importance of bio diversity and how it is crucial to create a natural environment that can allow for these species to succeed. In order to create this bio diversity and attract these species, particularly native birds, the natural elements placed within the forest are vital. Our native birds eat nectar, fruit and seeds of many plants, in conjunction with various insects species. Bellbirds, kaka, hihi, saddlebacks, tui and whiteheads not only rely on native plants for nectar, they are also avid consumers of native fruits. They are able to help plants pollinate their flowers and disperse their seeds, in which some native plants produce both bird pollinated flowers and bird dispersed fruits. These types of plants such as five fingers, pate, tree fuchsia and hengehenge we have implemented into our forest to allow for this biodiversity to flourish for years to come. When designing environments for our future, the emphasis needs to be on having an alignment and active connection to the natural world.
Gathering together all this research, I decided to create a summarised template of the imperative and important information. This information solely reflects the fundamental Te Aranga principles and how the pocket forest will be implemented and influential in my bath house design.
Dyck, W.J. (Nov, 1997). Biodiversity in New Zealand. Retrieved from http://www.nzjf.org.nz/free_issues/NZJF42_3_1997/8A893FB2-7228-4019-8DA2-D26179A96C97.pdf
Forest and Bird. (May, 15, 2018). Native Plants that Attract Birds. Retrieved from https://www.forestandbird.org.nz/resources/native-plants-attract-birds?gclid=Cj0KCQjwsvrpBRCsARIsAKBR_0KclxjZ3S36CxRkPd-n6MfVANahVB8z88opXD8DHaoVUB1th-3UACwaAimhEALw_wcB
Orwin, J. (Jul, 01, 2015), Shrubs and Small Trees of the Forest. Retrieved from https://teara.govt.nz/en/shrubs-and-small-trees-of-the-forest
Farm Forestry New Zealand. Tree Species. Retrieved from https://www.nzffa.org.nz/farm-forestry-model/species/
NZ Wood. Sustainable Forestry. Retrieved from http://www.nzwood.co.nz/forestry-2/sustainable-forest-management-of-native-tree-species-in-new-zealand/
Department of Conservation. Native Plants. Retrieved from https://www.doc.govt.nz/nature/native-plants/
Steeples, D. (Sep, 19, 2018). 10 Native NZ Trees You Should Know About. Retrieved from https://organicmechanic.co.nz/blogs/theomblog/ten-native-trees-you-should-know
NZ Plant Conservation NetWork. (Sep, 26, 2012). Forests. Retrieved from http://www.nzpcn.org.nz/page.aspx?ecosystems_plant_communities_forests
Department of Conservation. Attract birds to your Garden. Retrieved from https://www.doc.govt.nz/get-involved/conservation-activities/attract-birds-to-your-garden/
Iconic New Zealand Native Flora. Retrieved from https://media.newzealand.com/en/story-ideas/iconic-new-zealand-native-flora/
Construction of Pocket Forest
29. 07. 2019
In todays session our group began the construction of our pocket forest. Based off my previous research about native, indigenous species, as well as the importance of bio diversity within a natural environment, we were able to formulate various trees and design the forest to be practical as well as flourish for years to come. From all the resources our group had gathered we made different tree structures, as well as different plants, shrubs and layered, textural grounds to bring the forest to life.
Within the design we also decided to add contours along the far rear of the forest to give it more depth and interest when viewing out from the bath house. During this process, in order to reduce waste and make full use of our precious resources we decided to utilise the soil compounds that were dug out for the basement level to add to create these varied contours.
Once the contours were built and each tree was assembled, then we began adding all the elements together onto the base model. We also added extra details to tie the buildings, forest and base layers all together.
In class we also began thinking about developing a spatial experience. How can we create a spatial experience within our own bath house designs? We looked at a poem by Hone Tuwhare called Rain. Hone Tuwhare’s poetry mainly includes nature imagery centred around rain and the ocean. This particular poem describes his deep affinity for rain and water. This poem allowed us to start to understand how water, which is a fundamental element in a bath house, can help us think about creating a sensory experience through our design choices. In order to capture the essence of his poem in our own way for how we view rain, we began doing a drawing to capture how we consider rain.
While reading Hone Tuwhare poem Rain, it immediately transferred my thoughts towards memories of listening to the rain hit the roof during a stormy night. I imagined the rain striking the roof then gliding off either side, trickling down towards the ground. Such as when a raindrop begins in its natural, circular form, to when touching a solid surface exploding and spreading out into a small puddle. This direct contact and the imagery lead me to use a pointillist technique to create texture and visualise this particular interaction between water and surface.
30. 07. 2019
Following on from this activity I decided to further extend my water analysis into creating multiple line drawings of different water movements. By generating these drawings it allowed me to visually imagine the beautiful qualities water has and how I wish to incorporate these into my own bath house. This made me begin to carefully consider and question how do I wish for my guests to experience water and how will they interact with this element of the bath house.
Shown above are the various line drawings I created, in order to experiment and visually communicate my interpretations of the movement qualities water possess. Water is a fascinating element that beholds many characteristics, particularly to how one experiences it or views it. Naturally when thinking about water I associate it directly to the ocean, large boisterous waves crashing onto shore. However within my own bath house design I consider water to be extremely different and move in a much calmer and more harmonious way. Instead of the water controlling and overpowering the body, the inhabitants will feel completely at ease, where the water moulds to their bodies and moves in their desired direction. The water will lay completely still until one touches it, immersing themselves into its beautiful qualities.
Qualities of Reflection
In order to fully gather a clear understanding of how each water element will impact my bath house design, not only for aesthetics but for how an inhabitants sensory experience will be heavily influence by this feature of the space, I began researching into the detail of reflection. Reflection of water, particularly when subtle ripples of water movement become contrasted in amongst the visualisation of whats being reflected, can uphold some beautiful, calming qualities. As my bath house design is centred around the connection between the interiors and exteriors, I wanted to significantly observe and acknowledge how the pocket forest would reflect onto the water surfaces, and the impact this would have on the space, and therefore ones spatial experience.
In traditional pool settings a clear, translucent blue tone would form, a mix of reflections against the bottom surface material and sunlight beams. A textural surface composed of folds of water movements would appear. Depending on the materiality lining within the pool, the water concentration and its shade, along with the amount of movement and sunlight are all key components that have major impact on the quality of reflection. Below are various examples of how these features can have a considerable influence.
For my own bath house design, I really want to employ this element of water quality and reflection to make a detailed impact within the space, solely by utilising the all ready existing, organic aspects of the water and nature. By letting the shapes, forms and details of the pocket forest transfer and mirror onto the waters facade. Below are some imagery examples of this, which ultimately help to visualise possible appearances of the pools within the bath house.
From further research, by emphasising the pocket forest and heightening the connection between the bath house and natural environments, this particular detail within the space will allow my overall spatial experience to be enhanced. Looking deeper into the component of colour, it can have an enormous impact on ones psychological, emotional and even physical state. By organically and unintentionally introducing shades of green into the bath house, all through reflection. Green holds many important properties that will help add to the sensory experience my bath house is going to create. Green is a restful and quiet colour. Green symbolises nature. Green is nature, making it one of the most beautiful and comforting colours that attracts harmonious feelings that can diffuse anxiety, tensions, helping us to stay calm and refreshed. One of the most important attributes the bath house needs to exude.
The New Zealand Building Code
31. 07. 2019
Today in class we were introduced to the Building Code and how it is crutial that our design implements all rules and regulations. In order to make sure my bath house design is in compliance with the New Zealand Building Code I began reading various sections, particularly focusing on Access and Services and Facilities, as these two areas most heavily impact my bath house.
For my bath house and pocket forest, it is very important to consider all access routes, specifically focusing on safety of entry and exit to the building and the safety of any internal or external stairs. This clause is to ensure people can move safely into, within and out of buildings. Within my design I have created various features which fully allow for the use of a disability wheelchair. The main corridors and doorways all accommodate for wheelchairs as well as have room for other people who may wish to walk past at the same time. Safety barrier walls, which also break up the space allow for safe movement and divisions where necessary. There are two entrances/exits into the space, one designed around disability access from the lifts in the main building, as well as the main entrance connected to the pocket forest.
For my bath house and pocket forest, it is very important to consider all services and facilities within my design such as personal hygiene (providing sufficient sanitary fixtures, for example toilets, showers and basins), natural light, as well as safe collection of waste and water supplies. Especially for a bath house, personal hygiene and providing these facilities are fundamental, and all building code requirements surrounding this must be meet. This requirement is provided to safeguard from illness caused by infection or contamination. For the type of spatial experience my bath house and pocket forest will create, the maximum number of guests that the space will hold is ten. Due to this smaller number, I will only be having two complete bathrooms. Both bathrooms will allow for disability access and functions as well as provide an open shower, basin, and toilet. Storage and lockers will also be provided in the bath house and bathrooms to ensure that all guests personal belongings are protected and safe. Clean and fresh towels and facial cloths will also be available for guests once they have entered the space. For the bath house there will be complete plumbing and draining systems to ensure water disposal in done in a healthy and safe way. Following the building code, my bath house design, as it provides water outlets and sanitary appliances, will have safe and adequate water supplies.
Building Performance. Building Code Compliance. Retrieved from https://www.building.govt.nz/building-code-compliance/
In terms of the structural and chemical systems of all the bathing pools within the bath house, my aim is to utilise and maintain eco friendly operations in order to contain a well functioned, safe bathing environment for all guests. In order to gain a greater understanding into the reasons of use behind chlorinated pools and if there are better, safer and more eco friendly alternatives, I decided to do some extra research.
Commonly chlorine has been a long used method to sanitise pool water, making it safe after being subjected to microbes, viruses, germs and many other harmful things. However there are also many reasons as to how chlorine can have negatives impacts, not only on the environment but ourselves. Too much exposure to pool chemicals can have many long term impacts as well as can cause mild issues of allergic reactions, red eyes and dry skin. Some of the long term effects of chlorinated water touching human skin are acne, eczema and rashes, depleted proteins and even as serious as cancer. Chlorine not only kills the bad bacteria that can make us sick, but it also kills good bacteria on which our skin relies such as intestinal flora, bacteria that helps with the production of vitamins. Chlorine can also deplete the skin of its natural oils, intensifying the effects of dry, itchy skin, as well it can promote the generation of free radicals within the body. Serious long term effects of drinking, bathing and swimming in chlorinated water has been shown to cause malignant melanoma, otherwise known as skin cancer.
Many homeowners are beginning to turn to natural swimming pools due to these harmful health effects of traditional swimming pools, not only unhealthy to the human form but the environment too. Some of the ways in which a chemically treated pool can negatively impact the environment is through energy consumption, water waste and chemicals. The pumps used to circulate water in pools, keeping them clean and free of algae and toxins are major energy consumers for all households. Swimming pools waste a significant amount of water every year, mainly due to water evaporation and leaks during the hot seasons. However the main contender to this issue is the chemicals themselves. The evaporated pool chemicals contribute to the production of greenhouse gases, along with the draining and discharging of chemically treated water can cause problems to waterways if not done correctly. These chemicals are also noxious to organisms living in water and in soil, important necessities which contribute to all earths natural processes.
From all this research, and in order to emphasise my design concept into all aspects of the bath house I decided to opt for a chlorine free environment. It is said that many pool manufacturers still believe that chlorine and other chemicals or processes are the only way to keep a pool hygienically clean. However the worldwide success of natural and organic pools refutes this view. There are various methods offered in the pool industry as an alternative to the chlorinated pool such as bromine, PHMB, ozonator systems, UV light and natural mineral sanitisers. A couple examples is UV light where water passes through a tube with UV rays killing off pathogens, or PHMB which is a safe bacteria that also kills of pathogens settled within the water. Or even a method as simple as introducing a classified system where guests are politely asked to shower before entering the pools. This will help to get rid of oils on the skin, dead skin cells and any bacteria that may be present, already naturally helping to prevent any of these germs from entering the pools. Overall all these systems will help contribute to the cleanliness and hygienic nature of the bath house, where inhabitants feel completely comfortable and secure while bathing in the fresh, immaculate pools.
Maslowski, D. Natural Alternatives to Chlorine in Pools. Retrieved from https://www.diynatural.com/pool-chlorine-alternatives/
NaturalPoolsNZ. Why Choose Chlorine Free Swimming Pools. Retrieved from https://naturalpoolsnz.com/our-pools/chlorine-free-swimming-pools/
HouseLogic. Swimming Pools: Alternatives to Chlorine. Retrieved from https://www.houselogic.com/by-room/yard-patio/swimming-pools-alternatives-chlorine/
pHin. 10 Ways to Maintain an Eco Friendly Pool. Retrieved from https://blog.phin.co/10-ways-to-maintain-an-eco-friendly-pool/
Barron, B. (Dec, 18, 2018). Long Term Effects of Chlorinated Water. Retrieved from https://healthfully.com/long-term-effects-of-chlorinated-water-on-the-skin-4886101.html
Reflections. Effects of Chemically Treated Pools. Retrieved from https://www.reflectionswatergardens.com/blogs/harmful-environmental-effects-chemically-treated-pools/
Considering Pool Details
After researching into the New Zealand Building Code and specific requirements needing to be followed through within my design, I decided to start considering particular details relative to the pools structural design. Details such as the edging, as well as how someone will enter and exit the pool are crucial factors to consider when designing a bath house. For my own design I began thinking about how I wish for my guests to transition in and out of the pools, all in relation to the overall experience I am hoping to create. In to fully start imagining these concepts I did some sketches as this helped me to visualise my ideas. By doing this I was also able to start deliberating different materials for the pool edging. Materials that would be practical, yet aesthetically pleasing, in order to be cohesive and flow with the rest of the bath house.
For my bath house design, in order to create maximum emphasis, particularly to the concepts I was expressing and the spatial experience I desired to create, I knew my main bathing pool was going to extend right onto the edge line of the forest, creating an infinity effect.
I began researching into the concept behind infinity pools in order to truly understand how it works and how it can be implemented into my bath house design. An infinity pool allows for a vanishing edge, an illusion when you feel one with the horizon. It is designed to play a visual trick on the eye, making you think that there is no separation between the surrounding landscape features, which for my bath house is the pocket forest. The design of an infinity pool is like a waterfall with a single lower level, one section of the pool’s edge is lower, acting like a dam which overflows into a lower catch basin. From there, water is pumped back into the upper pool to create a continuous overflow. An infinity pool’s edge is like the edge of any swimming pool, except that there’s a dip in one section of it to allow water to flow over, into a lower catchment basin. To create the disappearing edge illusion, infinity pools are designed without a visible cap. However in order to obtain an infinity pool, more maintenance requirements are needed. The filtration and water pump need to be monitored as if one gets clogged or the other breaks down, there will be no effective recirculation. As well as the water flowing over the edge will evaporate faster than in a typical swimming pool, therefore requiring a slightly higher water volume.
Slatalla, M. (Jan, 29, 2019). Everything you Need to Know about Infinity Pools. Retrieved from https://www.gardenista.com/posts/everything-need-know-infinity-pools-design-guide/
My Bath House Design. Creating A Spatial Experience…
05. 08. 2019
In order for me to create my bath house design, all while considering vital elements such as following the New Zealand Building Code and Te Aranga Design Principles, I began doing some research into different architectural elements and features of other bath houses and how they implemented a unique design, particularly through their use of materiality. Below are various images which I drew inspiration from when considering my bath house, and the spatial experience I wished to create throughout it.
Beginning to Develop a Design Proposal
All these bath house designs considered materiality to be a strong focus, and within my design I wish to do the same. Each designer followed a simple architecturally structured base, yet through the use of texture and materials were able to build up a space filled with depth, radiating interest to each visitor that were to walk through and envelop themselves within the space. Playing with contrasts between smooth and rough finishes, exposing natural elements and letting them speak for themselves within the space. Exemplifying the use of stones, marbles, wood, tile. I wish for my bath house to be clean, bright, simple, minimalistic all while incorporating subtle luxurious details through finishings. My bath house is fully about the connection between people and nature through the form of bathing. It will be a tranquil space to relax, restoring energy levels as well as replenishing ones vitality.
All the shown bath houses above emphasise and reflect key fundamentals of design ideas I wish to create and explore within my own bathing space. The use of straight lines in order to direct the eyes glance along the surface, as well as signify the openness of a space is really important for my own design. Incorporating linear edges and forms into my bath house design will overall exemplify and shape a space built on the base idea of emphasising the relationship between the natural and industrial. Openness where the sunlight can filter directly through the trees and stream inside, brighting up the entire complexion of the space. Where no structural elements impact or come in between the connection of the exterior and interior of the bath house. Their unity dictates ones spatial experience within the space.
Materiality and Texture are crucial components to fulfilling my overall design concept, as well as assist immensely in creating a spatial experience for each inhabitant. The Refugi Lieptgas Project utilises a concave, ribbed concrete shell as its outer exterior layer. This particular material exposes its organic, natural elements in its rawest form, a textural surface that demonstrates, as well as visually communicates the structural details of this tiny Alpine refuge. I wish to explore this concept within my bath house design by incorporating materials that allow for the buildings architecturally beauty to also come through. However the Meditation Hut III in Illinois exhibits how a range of materials and textures can contrast yet compliment each other within the same space. The use of cedar panels to clad the hut along with its plain white interior walls and concrete details contrast against yet frame the surrounding trees. This space provides a restful place from which to contemplate nature as well as accentuate the effect of diurnal changes in light. This project also references to nature through creating a layout where opposite the entrance is an oversized window, immediately pulling the view back outside to a composed view of outside trees. Simple details such as these allow for this nature, industrial relationship to thrive, a fundamental concept for my design which I will be investigating further in my bath house.
The project, Arrow Studio by PHTR Architects as well as the project EKKO by Thilo Frank both exemplify how timber is such a great natural material that can have a beautiful influence on a design, even in the simplest ways. Both of these projects signify how light and timber can influence an environment. The structural design of both projects allow for daylight to filter through and through, however by night each timber pattern casts variegated light. The gaps between each timber frame, when the sun passes overhead, casts elongated shadow stripes adding another light and shadow detail to the environment. Overall all these artist models allow me to gain perceptual understanding to how a particular spatial experience can be created through distinctive and purposeful choices of not only materiality/texture but through architectural decisions too.
Below is my design page where I gather and connect all these ideas and concepts together to create a comprehensive design.
In order to fully enhance my bath house design and create a space that exudes serenity and tranquility, the treatment of materiality and texture and how it is adopted, down to every last detail, will be crucial.
Initially before diving into researching various materials that could be used with my bath house, I already had a set idea of how I invision the overall space to look and what materials will be included. The main materials that I wish to employ into my bath house are timbers, concrete, stone and possibly tile. My intention to utilise natural materials direct from natures source just demonstrate and reinforces the connection between the pocket forest and the bathing environment. Researching into materiality is essential, especially when you need to fully understand these materials and their varying types.
I began by researching into the various types of stone available. There are many different types of stone or stone-like products available in today’s market place. These items are composed of unique materials that have undergone both geological and man made processes before being fabricated into a finished product. The simplest way of describing many of these products is whether they are a natural stone or a man made stone. Every piece of natural stone is a wholly unique blend of colours and minerals. Each type of stone will have its own specific of properties. The most common types of natural stone are granite, marble and limestone, but there are a few others that are often used in residential applications – quartzite, soapstone, travertine and onyx. The vast majority of man made stone can be divided into one of two types, Engineered Quartz slabs or Porcelain slabs, each of which have been fabricated using specific and often closely guarded manufacturing processes.
The main types of stones I am selecting from to possibly employing within details of my bath house is marble, granite, limestone or quartzite. All material choices would add great interest and aesthetic into my bath house, however it needs to be coherent with other design elements, in order to produce the spatial experience I am wanting to create. The suppliers I am looking into sourcing these particular materials from would be UniversalGranite and SlabCoLtd. Both these suppliers are located in New Zealand and have a large range of beautiful inventory that would elevate the overall aesthetic appearance of my bath house. Below are different sample examples of the varying stone materials.
As well as stone I also looking deeper into utilising concrete as the flooring within my bath house. Concrete flooring works perfectly for wet environments such as bathrooms, as its easy to clean and cannot be damaged by water, as well as it is effectively maintenance free allowing for an immaculate bath house appearance. Concrete floors have thermal efficiency that allow it to soak up the heat and gently release it during the day. This will create a more comfortable spatial experience within my bath house, as the northern sunlight will allow for sun to stream in through the forest, creating a warm, soothing atmosphere for all guests. Concrete flooring will also maintain its beauty for decades as it is a hard wearing material that will not damage. Below is a sample of the concrete flooring I would employ within my bath house.
For my bath house design, timber is an essential element and plays a very important role as bringing the natural outside world inside. However initially I wasn’t sure how to properly use this beautiful material in bathroom spaces, particularly when it comes to reducing the risks of swelling or warping of timber in damp spaces or close to wet areas. But it simply comes down to the selection of timber and its application. I wish to employ within my design natural, recycled timber. Timbers that are reused yet will still be practical within the space, withstanding their specific functions. These timbers could be Totara, Kauri and Rimu. This is because an important aspect within the construction process of my bath house is reducing my carbon foot print and making sustainable, environmentally friendly choices where possible. I also believe this will draw a closer relationship to New Zealand’s beautiful pure, native resources, notably between the pocket forest and bath house. The supplier in which I would source the recycled timber from would be The Timber Recycling Co. This New Zealand based company has a massive selection of precious NZ timbers that would looking stunning in my bath house design.
Shown below is a composition overview of my selected Materiality and Texture choices that will be featured throughout my bath house design. This is inclusive to concrete, granite and marble stones, recycled timbers, all in cohesion to other luxurious details.
Below is a sketch of my proposed material layout, classifying which particular features within my bath house will be made with what material. Each material has been carefully chosen so that there is flow and cohesion throughout the space with each material decision.
The placement of various materials has been designed accordingly to the spatial atmosphere I am wishing to create for my guests, a calming tranquil sanctuary that highlights the beauty of the pocket forest. Choosing simple materials was key, as I didn’t want to subtract away from the forest, instead I wanted my bath house to contribute to the forest and be entirely coherent with it. The application of natural resources direct from external sources, particularly through the extensive use of recycled timbers, allows for this connection to be accentuated and explored deeper, creating a continuity between the two environments.
Centis. Various Types of Stone. Retrieved from https://centistile.com/types-of-stone/
NaturalStone. The Best Type of Stone for Your Bathroom. Retrieved from https://www.naturalstone.co.uk/blogs/news/what-is-the-best-natural-stone-for-your-bathroom
DesigningBuildings. Types of Stone. Retrieved from https://www.designingbuildings.co.uk/wiki/Types_of_stone
TheSpruce. Introduction to Natural Stone Flooring. Retrieved from https://www.thespruce.com/guide-to-natural-stone-tile-flooring-1315061
SlabCoLtd. Inventory. Retrieved from https://www.slabco.co.nz/
Universal. Inventory. Retrieved from http://www.ugml.co.nz/
TheSpruce. Concrete Bathroom Flooring. Retrieved from https://www.thespruce.com/concrete-bathroom-flooring-1314754
PeterFell. Concrete Floors. Retrieved from https://www.peterfell.co.nz/choose-your-space/floors/
DIY Network. Concrete Flooring. Retrieved from https://www.diynetwork.com/how-to/rooms-and-spaces/floors/the-pros-and-cons-of-concrete-flooring
InteriorsAddict. Timber in the Bathroom?. Retrieved from https://theinteriorsaddict.com/timber-in-the-bathroom-yes-and-not-just-on-the-block
ExplainThatStuff. Wood. Retrieved from https://www.explainthatstuff.com/wood.html
Rosenfeld Kidson. Interior Timbers. Retrieved from https://rosenfeldkidson.co.nz/ProductCategory/4/interior-timbers
The Timber Recycling Co. Products. Retrieved from https://timberrecycling.co.nz/index.php/products/
Bathroom/Changing area/Showers Details
Within the bathroom spaces of my bath house, I wanted to create a luxurious, elegant environment that also felt inviting, comfortable and most importantly practical. The bathroom will include beautifully made timber feature doors and a solid wooden bench made for sitting on or placing gear is located at the rear of the back wall. The use of incorporating recycled timber into the bathroom will warm up the space, as well as contrast sublimely against the granite feature wall and black details. All detailed fixtures and fittings in the bathroom are matt black, as it is simplistic yet cohesive with all elements connecting together, making the space look entirely unified. All products featured below that will be included within the bathroom are durable, high quality and ensure a stable finish.
The toilet roll holder, basin tap, hand towel holder, shower head and toilet have all been selected from the supplier Reece Bathrooms NZ. The toilet roll holder I have chosen is the Milli Axon in Matte black. The Milli Axon is part of a range of gorgeous accessories that exude sophistication and are sleek in design. The hand towel holder I have chosen is also part of the Milli Axon collection, as this allows for the space to be cohesive and tie all the details together. The basin tap is selected is the Milli Pure also in Matte black. The Milli Pure is the very essence of great design with its round dial design. Its effortless form perfectly embodies the concept of understated luxury which fully exemplifies the appearance this bathroom is taking. The shower head chosen is the Mizu Drift Twin Waterrail in Matte black because of its timeless modern design. It is the perfect combination of form and function for the bathroom. The toilet is the Kado Lux model due to its superb quality and elegant design. The basin bowl however I have chosen from Rogerseller, called the Falper Ciotola Basin Bowl. This basin crafted from Matt Ceramilux, is delicate in appearance yet durable in function. The Ceramilux composite material is coated with a resin layer to ensure resistance against heat, acids and scratching. A UV coating prevents discolouration and ensures ease of cleaning. I believe that this basin will exude luxury in the bathrooms and will be a key feature piece, especially once contrasting against the dark grey granite wall. Two other additional features I wish to include in the bathrooms are a back lit round mirror and hanging pendant light feature along the granite wall. These extra inclusions will finalise the overall luxurious bathroom appearance, adding a contemporary touch to make it an alluring space to be in.
Creating a Colour Palette
The colours I have selected to be included in the colour palette for my bath house design, exemplify various components within not only the structural design but the aesthetics of the spatial environment I’m wishing to create. Choosing appropriate colours for a space is essential, as it has major influence on ones experience in it. Different colours can evoke different emotions. Particularly cool tones such as blues and greens can create quiet, relaxing atmospheres, both of which are two colours I am subtly employing into various aspects of my bath house design.
Due to my natural, minimalistic and selective choice of materiality to be implemented throughout my bath house, I believe that this simplistic colour way perfectly represents and signifies my design concepts. The slight warm tones of Sepia, Chiffon and Linen expresses the importance and essential element of timber that features throughout the bath house. Utilising natural materials direct from natures source just demonstrate and reinforces the connection between the pocket forest and the bathing environment. Ivory and Porcelain represent the bright, light, fresh, open, welcoming space I am aiming to create. A direct colour palette where all the focus is on highlighting the beauty of the forest and all its inhabitants. Sage solely performs as the forest, it brings the colour into the space, especially through the quality reflections within the pool. It brings life to the space.
Once I had started to finalise details of my design, I started to think deeply about the functionality and practicality of the space, being more spatially aware. This meant considering specific measurements and experimenting with how large or small certain aspects needed to be in order to be practical. Eventually after much experimentation and real life measuring and deliberation I jotted down all measurements for my bath house design.
Experimental Bath House Models
07. 08. 2019
Today in class we started to bring these bath house designs to life by making miniature cardboard models of our proposed ideas. These experimental versions allow for ideas to be tested, as developing from 2D drawings into 3D models really proves whether or not the space we invision is going to work in a real life setting. Below was my first model attempt as I was still developing on the shape of the pool and how this would impact the design placement of my bathrooms/changing rooms.
After making this model it gave me more clarity into how to make the space much more functional, particularly by having greater consideration of disability access throughout the bath house. I decided simplifier the architectural components of my design by sticking to more straight edged and geometric forms, minimising the curvature, as this made the bath house difficult to move through, ultimately not constituting the spatial experience I wish to compose. Shown below is the construction and process stages of making my bath house model.
Below is my spatial design and orientation layout for my final bath house design. This design allows for the formation of structural elements to easily flow throughout the space, acquires all necessary features and facilities to be included, as well as emphasises my overall concept.
12. 08. 2019
In todays session we began discussing presentations and how they are an important part in the design process. Presenting or even simply talking about your ideas with others allows you to gain clarity on what it is you are actually proposing, as well as get helpful feedback to further improve your design. In Maori culture a Pepeha is a way of introducing yourself in a way that conveys information about who you are and your place in the world, particularly through natural elements which you identify yourself and your ancestry too, places of significance. For this project we are too write and share our own Pepeha as an introduction into our bath house presentations. Below is my Pepeha.
I also decided to write down some key reflective notes which summarise my overall bath house and pocket forest design. These notes are my current ideas surrounding how the design exemplifies specific Te Aranga Design Principles as well as the spatial experience I wish to create through both the structural design and materiality.
26. 08. 2019
In todays session, in each of our groups we conducted practice presentations of our most recent model and concept design. Within the groups we each had to present a total of three times to different critique groups. For my particular group, we began our presentation by referring to our pocket forest and the implementations we had made in it and the reasons for it, notably referencing to the Te Aranga Design Principles. Following from this each of us presented our models, rotating around the entire group. Below are a series of photographs from my bath house model being incorporated into the larger group model and pocket forest.
Following from the presentations I received some really great feedback that I wish to explore and implement into my design in order to improve it further. A key point given in the feedback session was surrounding cleanliness within the bath house if their is no coverage between the bath house and forest, particularly if exterior elements were to heighten. This was an extremely valid point which I had not yet considered and that I needed to take on board and create a solution for.
With regards to the beneficial feedback received from my initial presentation surrounding how the bath house will remain tidy and cleanly, as the space is completely open to the pocket forest. This objective perspective was incredibly helpful as I hadn’t fully contemplated how to create a temporary closure from the bath house and the pocket forest. I needed to figure out a transitory system that allowed for a barrier between the pools and forest, in order to control the foliage fragments when needed. The solution I had devised to fix this issue was install outdoor blinds that could be retractable when necessary. This would then solve the cleanliness problem and allow for the bath house to have coverage from the natural, exterior elements such as wind, sun and foliage. In order for this solution to work adequately, I decided to do further research into various blind types, in order to figure out which would be most practical and sufficient within the bath house layout.
Two particular businesses I researched further into are LouvreTec and Fresco, as both companies produce well manufactured products that would solve my division problem. They both offer outdoor blinds that have smooth, seamless operations with the ease of a motorised function. These retractable blinds provide perfect coverage from outdoor conditions such as sun, wind drafts, rain and most importantly allow for separation between the bath house and forest when required. They have an easy locking bar system and can be adjusted to any height. In turns of fabric preferences, for my bath house and the reasons why the use of outdoor blinds are essential, either the clear PVC option or mesh PVC would be most practical. Both are ideal for blocking the exterior elements yet doesn’t entirely prevent vision meaning the forest will never be completely concealed, as it is the most important component of the bath house design.
LouvreTec. Outdoor Blinds. Retrieved from https://louvretec.co.nz/pages/outdoor-blinds
Fresco. Outdoor Curtains and Blinds. Retrieved from https://frescoshades.co.nz/outdoor-curtains/
Floor Plan and Section Drawings of My Bath House Design
Shown above is a floor plan drawing of my bath house design layout. This floor plan has been created to express and exemplify how the interiors of my bath house will connect in relation to the pocket forest. The pocket forest has been illustrated to emphasise the variety of native New Zealand trees and plants that it is comprised of. This drawing has been depicted simply, as I believe that this allows for the clearest representation of my proposed design. This plan also helps external people viewing my bath house design for the first time have a better understanding of the overall structural arrangement of various detailed features. Following the displayed key will allow others to imagine walking through the space, knowing exactly where different components of the bath house will be spaced in accordance to each other. Coming through the entrance (key 1) on your right will be a feature shelving unit holding towels, face cloths and various other complementary accompaniments. Further down the same wall at (key 3) will be storage lockers for guests to put away their gear. Straight across from the entrance lies two bathroom/changing areas at (key 2). These spaces are designed for guests to get changed, shower, use the rest room etc. Extra elegant features such as timber benches make it a functional, yet luxurious space. If you turn left and proceed down the hallway on your right there are two private bathing pools at (key 4). These smaller pools are more secluded and private, maker for a more intimate, closed off space, with built in benches included. On the right hand side lies the main bathing pool at (key 5), the fundamental and principal feature of the bath house. This pool is equipped with built in seating and benches as well as built in fountain shower heads along the far right rear of the building. This pool is large enough to be enjoyed and shared by multiple guests at once. Down the end of the hallway is the refreshments area at (key 6), a space accompanied by comfortable, relaxing and seating sections as well as a built in bar. This space has been purposefully designed to allow for all inhabitants to come together and utilise this area together, a fully engaging space for people to convene.
Shown above is a section drawing of my bath house design layout, particularly in relation to the external world. I wanted my section drawing to portray my bath house in relation to the existing site and featured pocket forest. My pocket forest has been represented through its various native New Zealand trees and plants that it is comprised of, as well as its relationship to the grounds direct sources, as well as show its fascinating layers. This section shows how not only my pocket forest, but bath house will be implemented within existing natural sites, as well as allow people a clear understanding of how my designs will work in correspondence and be completely cohesive within these sites. While designing my bath house it was extremely important to be completely respectful and considerate of the site and its beauty. My aim was to only enhance its beauty and life forces, never to take away from them. The principal of my design was to admire and appreciate natures exquisite possessions, which I believe my bath house and forest relationship has done.
Te Aranga Principles – BathHouse Design Inclusion
Below are the main Te Aranga Principles in which I have chosen to employ and focus on within my design choices. These particular principles have been implemented throughout different elements. The lush pocket forest and its variety of indigenous species, all which enhance the natural world, especially within the existing site. Formulating the refreshments area to be a key open, cohesive, functional space that allows entirely for holistic hospitality through connecting seating areas and a built in bar. This will allow for all guests to be fully cared for all the time. As well as my fundamental design concept exploring the relationship between the internal and external worlds, all while being respectful and considerate of existing site features. Also allowing for practical amenities that all guests can enjoy, was an important element that was taken carefully into consideration during the design process.
Bath House Digital Model – Atmospheric Images
In order to fully bring my bath house to life, imagine and convey the overall visual look and composition of it, I created a rendered digital model of my design. Below are images of an overview of my digital bath house model.
While creating various atmospheric images of my digital bath house model, I wanted to create a collage representation of my pocket forest and its native New Zealand trees and plants, as this will really emphasise the connection of how the designs will look in relation to the forest. Below is the digital collage composed as a depiction of my pocket forest.
Utilising my digital bath house model and pocket forest, I have created a collection of atmospheric shots, all portraying different components within my bath house design. Featured below are the diverse images depicting each essential spaces that make up the overall bath house design and spatial layout.
Design Report and Presentation Powerpoint
As apart of my final presentation I have created a powerpoint highlighting the key features of my bath house and pocket forest design. The included elements within my presentation are various perspective digital model views, a floor plan and section drawing, connections to the Te Aranga Principles as well as key research components that helped to create the fundamentals surrounding my design concepts. Featured below is my Design Report and Presentation Powerpoint summarising my overall design concept proposal.
Final Presentation – Bath House and Pocket Forest Model
30. 10. 2019
Today in studio we presented our Bath house design proposals, where our presentation elements composed of our Powerpoint presentations, Design Report and combination Bath house and Pocket Forest Site model. Shown below are various photographs of my updated Bath house model being implemented within our groups Site model and Pocket Forest.
Following from the presentations I received really beneficial feedback and reviews of my overall Bath house design project, which in future is crucial to helping me develop my creative thinking skills as well as expand on my spatial design knowledge to learn multiple new insights.
For this entire Bath house and Pocket Forest Project, I found it such an enjoyable experience and overall I am very satisfied with my design outcomes within each varied component. The design project has really deepened my spatial thinking and conceptual ideas, taught me multiple new skills surrounding drawing, model making, materiality and textural choices, as well as the importance of having strong consideration towards a sites existing connections and natural resources, and how to be sustainable throughout every element of your design, even down to the finest details. I have learn’t more about concentrating on precise spatial effects and how to explore, connect and implement these effects throughout my designs. This project has also opened my eyes to all the different aspects in which a space possesses and how to express this. But most importantly I have learn’t how purposeful attention to essential features within ones design is imperative to creating a cohesive, signified conceptual idea that is expressed clearly and thoroughly.