A Bathhouse in Cyrildene A phenomenological approach to the design of a bathhouse in Johannesburg University of the Witwatersrand Master of Architecture (Prof) Research Report Alan Kow 535203 2021 Page IIIAlan Kow|535203 Declaration I, [Alan Kow, 535203] am a student registered for the course ARPL7003 in the year 2020. I hereby declare the following: I am aware that plagiarism (i.e. the use of someone else’s work without permission and/or without acknowledging the original sources) is wrong. I confirm that the work submitted for assessment for the above course is my own unaided work except where I have stated explicitly otherwise. I have followed the required conventions in referencing thoughts, ideas, and visual materials of others. I understand that the University of the Witwatersrand may take disciplinary action against me if there is a belief that this is not my unaided work or that I have failed to acknowledge the source of the ideas or words in my own work. Date: 2021/02/11 Signed: Page VAlan Kow|535203 Acknowledgements To my family, thanks for your patience and support through not only this year, but throughout this entire process. Your constant belief in me has gotten me this far in life and for that I shall always be eternally grateful. To my supervisor, Dr Gerald Chungu, the man, the myth, the legend, thanks for your guidance throughout this year. This report would not be where it is today without your constructive feedback and positive motivation. To my friends, both old and new, thanks for being the pillars of support that have kept me sane and motivated. Without each of you, life would certainly be very dull. To the OG and OG OG midnight crew, thanks for being the positive stress I needed to complete this year. Working during the day was always too mainstream so thanks for being there when the sun went down. To the translators who helped me this year... Thanks for the translations. My gratitude for having you all in my life cannot be measured. Finally to myself for proving that I could do it all along. Thanks Alan, you worked your butt off this year. Page VIIAlan Kow|535203 Reflections Reflection This was an intense year. I thought I knew what I was signing up for when I made the decision to come and complete this Masters but it was definitely not as simple as I had thought it would be. Yes, let’s first get the elephant out of the room. Covid definitely was one of the wrenches that completely broke the wheel for a bit. Learning to work from home was an adjustment and it was especially devastating when we didn’t get to see our friends, families and colleagues. In terms of architecture, not being able to confide and engage with your fellow sufferers really made me feel quite isolated. This is when I truly understood the importance of studio time and its role in the education of future architects. Thankfully due to the plethora of online chatting services(Discord, Skype, Teams, Zoom) we were able to overcome this obstacle and I can say for sure that without these services, you would not see the amount of work that is present here today. Reflecting on the Research Process They say Honours prepares you for the work you’ll be doing in Masters. I can definitely confirm that but I will say that I was still a bit unprepared for the year. It was as if I was learning to walk again, doing research in an academic environment took some time getting to terms with. Even now I don’t believe I have a full grasp of the nuances in getting a Masters but I definitely have learnt a lot of the mechanics in terms of how one should go about researching. Having said that I believe that my research could have been focused a bit more and to have reached a more conclusive conclusion yet sadly I only realised that too late in the process. The idea of nudity within phenomenology also came quite late but I feel like it was the most interesting topic that I spoke about in the research. I would have definitely liked to explore that aspect a bit more. I definitely feel more excited about future research(Should I ever choose to pursue that path) now that I understand a greater amount of what I expected within the academic field. Reflecting on Design Process I’ve always struggled with the design process but this year I felt really comfortable the entire process. The fact that I was designing something that I wanted to do instead of having a brief given to me really made me enjoy and understand the process a lot more. This in addition to having a supervisor who you could convey your thoughts to and to converse with really made me appreciate the process. Processing theory into the architecture itself was probably the biggest factor that made me design the way that I did and so I am thankful for being in this process of research <-> design. Page IXAlan Kow|535203 Abstract In Johannesburg, there is a lack of global bathhouse typologies. They either don’t exist or are in a form which caters to a niche subculture. Bathhouse culture has been around for hundreds of years and many people around the world take advantage of it as a form of communal bonding, relaxation and general hygiene. In addition to this, when done correctly, it has the effect of stripping away of social class and distinction as well as providing a safe and entertaining environment for those within its walls. This study aims to bring my personal experience of an East-Asian bathhouse into Cyrildene, a predominantly Chinese neighbourhood, that is slowly losing its cultural identity. Building on existing data on historic bathhouses from around the world, it asks: How can the concept of phenomenology be used to guide the design of an Asian style bathhouse in order to enhance the Asian/Chinese cultural experience and help in the revitalisation of Derrick street as a distinct cultural hub In Johannesburg? The main methodologies that will be used in this report will be from literature reviews on historical analysis of bathhouses around the world but more specifically in Eastern Asia. One on one interviews with the residents and shop owners living in Cyrildene as well as the owner/s of a spa. Observations based on mapping and photography will also be employed. The last will be the use of auto-ethnographic data from my own experiences. The main hypothesis of the report will be seeing if the bathhouse typology through the use of a variety of different programs that range from bathing to eating to sleeping in addition to the application of architectural phenomenological theories helps make it suitable for Cyrildene and thereby revitalise and strengthen the areas existing cultural identity. Page X Alan Kow|535203 Table of Contents Title Page Declaration Acknowledgments Abstract Table of Contents Chapter 1: Introduction 1.1 Background 1.2 Motivation 1.3 Problem Definition 1.4 Research Question 1.5 Design Intentions 1.6 Objectives/ Design Proposition 1.7 Methodology Chapter 2: The Bath Saga 2.1 Bathing and Experiences of Bathing 2.2 Public Bathing and the Bathhouse in History 2.2.1 Roman Thermae 2.2.2 Turkish Hammam 2.2.3 The role of bathhouses in Asia 2.2.4 The advent of the sento 2.2.5 To bathe in China 2.2.6 The state of bathing in Gauteng 2.2.7 Spas, Gyms, Saunas. The emergence of luxury bathing I III V VII VIII-XI 3 4 5 5 5 6 7 13 14 14 17 19 20 22 23 24 1 10 Page XIAlan Kow|535203 43 66 Table of Contents 26 26 26 27 27 33 45 46 48 49 51 53 54 55 58 59 60 63 70 70 72 74 76 78 2.3 Perception and Experiences 2.3.1 Phenomenology 2.3.2 Architectural Phenomenology 2.4 Precedents 2.4.1 The Therme Spa by Peter Zumthor 2.4.2 Ofuro no Ousama Chapter 3: Phenomenology of the Bathhouse 3.1 The suburb of Cyrildene 3.2 Phenomenology within Cyrildene 3.3 Life within Derrick Avenue 3.4 Bathhouse in Cyrildene 3.5 Cultural Identity as a means of urban regeneration 3.6 Food, taste and memory 3.7 Food as an ethnic identifier 3.8 Experiencing phenomenology through nudity 3.9 Approaching Water 3.10 Being Multi-cultured in a Mono-cultured world 3.11 Naked Architecture 5.12 Conclusion Chapter 4: Mapping and Site Analysis 4.1 Macro Site Analysis 4.1.1 Site 4.1.2 Suburbs 4.1.3 Suburb Surroundings 4.1.4 Corridors of Freedom 4.1.5 Spas located around the site Page XII Alan Kow|535203 Table of Contents 4.2 Meso Site Analysis 4.2.1 Statistics 4.2.2 Street Views and Sections 4.2.3 High Street and Street Interaction 4.2.4 Building Heights 4.2.5 Signage Analysis 4.2.6 Building Uses 4.2.7 Movement Informants 4.2.8 Parking 4.2.9 The sounds of the street 4.2.10 Colouring Derrick Avenue 4.2.11 Material Palette 4.3 Micro Site Analysis 4.3.1 Existing Site Photos 4.3.2 Sun Path and Zoning Types 4.3.3 Vegetation, Trees and Contours 4.3.4 Vehicular and Pedestrian Movement 4.3.5 Noise and Views Chapter 5: Design Process 5.1 Design Objectives 5.2 Design Concepts and Drivers 5.2.1 General 5.2.2 Light 5.2.3 Siheyuan 5.2.4 Journey 5.3 Programme 5.4 Design Development 5.4.1 Charette 5.4.2 Rough Site Model 5.4.3 Possible Urban Planning Changes 81 82 86 92 93 96 104 109 111 114 116 117 120 121 122 123 124 125 130 131 131 133 134 136 137 139 139 143 146 128 Page XIIIAlan Kow|535203 Table of Contents 5.4.4 Circulation 5.4.5 Programme and Circulation 1st Iteration 5.4.6 Programme and Circulation 3rd Iteration 5.4.7 4th Iteration 5.5 Final Drawings 5.5.1 Site Plan 5.5.2 Cyril Crescent Elevation 5.5.3 Experiential Wall 5.5.4 Diagrams - Programme, Public Relations & Figure Ground 5.5.5 Plans 5.5.6 Sections 5.5.7 Axo Explanations 5.5.8 Applications from tradition Chapter 6: Technical Study 6.1 Technologies explored: 6.1.1 Radiated Water Heating System 6.1.2 Bamboo Rhizome Filtration 6.1.3 Tou Kung Roof 6.2 Final Details: 6.2.1 Feature Wall Detail (Experiential Wall) 6.2.2 Perimeter Section D-D 6.2.3 Adaptive Traditional Chinese Roof 6.2.4 Bathhouse Section 147 149 152 158 171 173 176 178 181 191 200 220 224 225 226 228 231 235 236 222 Page XIV Alan Kow|535203 Table of Contents Chapter 7: Feasibility Study 7.1 Client 7.2 Client Brief 7.3 The Project 7.4 Implementation Chapter 8: Conclusion: Reflection on the process 8.1 Reflection Bibliography - References Appendices Appendix A Viability Study Appendix B Ethics Clearance Appendix C Interview Data 240 241 242 243 254 256 257 247 239 246 248 254 Page XVAlan Kow|535203 A bathhouse in Cyrildene A phenomenological approach to the design of a bathhouse in Johannesburg Student: Alan Kow Student Number: 535203 School of Architecture and Planning University of the Witwatersrand Johannesburg, South Africa Supervisor: Dr Gerald Chungu A research report submitted to the Faculty of Engineering and the Built Environment, University of the Witwatersrand, in partial fulfilment of the requirements for the degree of Masters of Architecture (Professional). Date 2020/09/21 CHAPTER 1 Introduction 1 CHAPTER 1 | Introduction Content 1.1 Background 1.2 Motivation 1.3 Problem Definition 1.4 Research 1.5 Design Intentions 1.6 Objectives/ Design Proposition 1.7 Methodology 1.8 Proposed Site 1.9 Expected Outcomes 1.10 Scope and Limitations of Study 1.11 Ethical Considerations 1.12 List of Figures References 3 4 5 5 5 6 7 8 8 9 9 10 Page Page 3Alan Kow|535203 Intro|1.1|Background In 2016, I was attempting to find temporary accommodation to stay in the city of Seoul, South Korea. I did not have much money at the time and so could not afford the expensive hotels in the area. I did not know many people either and so could not ask for a place to stay for the night. Luckily, I remembered a conversation with a person earlier in the week who mentioned the ‘찜질방’ (Jjimjilbang) or Bathhouse in English. This is where I learnt of the Korean bathhouse and saw that it was more than a place for bathing. The process one goes through when visiting a Jjimjilbang is very similar to that of the Japanese sentō. One can bath, socialise, eat, use recreational facilities such as getting a massage, use one of the many sauna rooms or something as simple as watching the movies on the latest Samsung TVs and finally spend the night within semi-public sleeping ‘pods’ or for those more comfortable with the experience on a random spot on the heated floors as one lets their tired and stress filled day come to an end – all for an affordable fee. What truly impressed me about this was how safe I felt within its walls. Even when naked in the baths and surrounded by strangers in a city completely foreign to my own, there was a comfort that the space provided. Ever since that initial experience I have been enthralled with the Jjimjilbang. Whenever I would travel within the country, my first thoughts when it came to accommodation would not be that of a hotel or Airbnb(a popular app for finding rented spaces of local people) but to find the nearest Jjimjilbang. To date I am sure that I have visited no less than 20 different versions within the country. Fast forward to the present that memory of the Jjimjilbang was still ever-present in my thoughts. I even went to the extent of searching for bathhouses in Johannesburg only to find that, to my dismay, there were none and the few I could find were much different from my experience in South Korea. This leads me to question what was the condition or role of public bathing in a contemporary Johannesburg context? Bathing extends from the privacy of people’s homes to public spaces as per my experience in South Korea. Bathing has always been an instrument that has evolved with its culture in parallel. As we have advanced through the ages, so has our need for different forms of bathing. Bathing may be practiced for personal hygiene, religious ritual or therapeutic purposes. Fig 1.1 Author enjoying a Korean bathhouse experience Fig 1.2 Entrance to a Korean traditional Jjimjilbang(bathhouse) These different ways of bathing practices could be in the form of personal hygiene, religious rites and rituals or for healing therapeutic purposes. It is not limited to the rich or the poor, nor does it discriminate between the elderly or the youth. It is something that everyone can participate in(Blakemore, 2017). It can take place within a private bathtub or within nature by a river, lake, pool, or sea. Any situation where water is present is an opportunity for bathing to take place. Different practices over time have given the act of bathing a multitude of names or terms. For instance, when used recreationally terms such as ‘swimming’ or ‘relaxing in the hot tub’ exist. Or perhaps when looking at religious purposes the terms ‘immersion’, ‘baptism’ or ‘spiritual cleansing’ can be seen. It even has been known as a way of healing through the terms of ‘hydrotherapy’ or ‘water treatment’. This study is about the design of a Public Bathhouse in Derrick Street, Cyrildene, Johannesburg. Using the concept of phenomenology, influenced by the east Asian bathhouse and the local context , the proposed bathhouse will be an additional layer of cultural and recreational experience of Chinatown. Page 4 Alan Kow|535203 Motivation|1.2|Intro From the late ’90s, Cyrildene emerged as a second China town with the movement and relocation of the Chinese community from Commissioner street – the 1st Chinatown. Concentrated along Derrick street it evolved as a distinct Chinese Cultural hub which attracted a diversity of people to enjoy and experience Chinese culture through mainly its culinary culture, fresh food, shopping and some hair and massage salons. The area came to be seen as a part of the tourist itineraries for both local and foreign with Jozi tourism listing is as one of the must-see tourist destinations in Johannesburg. (Cyrildene – Gauteng Tourism Authority, 2020) With its proximity to OR Tambo, it became an arrival place for many Chinese immigrants, a place where they could find familiarity in an otherwise alien place. In the last few years, the area has experienced a decline as many of its early Chinese residents have moved out. This is due to several concerns raised by the residents which include crime, overcrowding, illegal parking, building, businesses and dumping. (Bodasing, 2014) Recognising Cyrildene as a cultural hub and tourist destination the City of Johannesburg commissioned a precinct plan which was completed by Local Studio in November 2016 (Cyrildene UDF, 2016) In addition to that the local community seeking to promote its stature as a Chinese cultural hub commissioned and contributed towards the construction of two gates in typical Chinese architectural styles on both the north and south end of Derrick Avenue. The gate acting as markers for a distinct Asian culture. Other than the food and culinary culture and the occasional and annual celebration of Chinese cultural events, the street does not have a diverse mix of cultural experiences. As such this study intends to, as a way of revitalising the area, add additional layers of new spaces of cultural experiences beyond the Chinese food and culinary culture Cyrildene is well known for. Fig 1.3 Hustle and bustle of the ‘New Chinatown’ Page 5Alan Kow|535203 Intro|1.3|Problem Defintion Intro|1.4|Research Question Intro|1.5|Design Intentions To address the problem of cultural diversity and raise Cyrildene’s stature as a Chinese cultural destination and experience in Johannesburg, this study proposes the development of a Bathhouse on Derrick Street to contribute to the revitalisation of the area as a cultural destination. In line with the above and leading to a design intervention, the following question is explored How can the concept of phenomenology be used to guide the design of an Asian style bathhouse in order to enhance the Asian/ Chinese cultural experience and help in the revitalisation of Derrick street as a distinct cultural hub in Johannesburg? To address the above main question the following sub-questions are explored. • What is the role of the bathhouse in communities? • How can the concept of phenomenology be used to create a unique social and cultural experience? • How can we use an average person’s understanding of phenomenology to adapt the Asian bathhouse to Johannesburg. • How can an additional socio-cultural typology help to enhance the cultural hub of Cyrildene as a recreation/tourist destination? By applying phenomenological theories in an architectural context such as the use of materiality, space and light to help shape a person’s experience, the bathhouse typology through a variety of different programs help make it suitable for the local context of Cyrildene and thereby revitalise the areas cultural identity. Fig 1.4 Discovering the existing phenomenological elements within Cyrildene Page 6 Alan Kow|535203 Objectives/Design Proposition|1.6|Intro The primary objectives of this study were as follows: •to determine what the role of the bathhouse is in communities. •to identify the important trends within bathhouse culture that create unique safe experiences. •to identify the range of techniques in use for monitoring the phenomenological behaviour of people. •to assess the effectiveness of using phenomenological theories in architecture to create unique social and cultural experiences. •to determine how an additional socio-cultural typology can help to enhance a suburbs existing identity as a recreation/tourist destination. •To determine how well the design bathhouse can be used for urban regeneration within an area? Fig 1.5 Early Research Mindmap PICTURE OF SOMETHING HERE Page 7Alan Kow|535203 Intro|1.7|Methodology Creative research through design is a combination of inductive reasoning, interpretation and imagination linked to various themes, constraints (such as technological considerations, building site, client and user groups) and precedents (urban and architectural). The creative research process in terms of discourse and design alike, take on an iterative (inductive-deductive), non- linear, cumulative, cyclical, and open-ended exploration to achieve its creative outcomes. The research combines qualitative and quantitative approaches to knowledge and argumentation, whilst the creative component translates the same into a defensible architectural proposition. Beginning my methodology requires me to look in-depth into my original question. Interview To answer the questions posed, it is best to use the one on one interview as one of the methods to gather the data. This method allows for interpretation, contextualisation and gaining in-depth insight into the specific concept of phenomenology and of personal experiences within Cyrildene that is required. The interviews will be semi-structured. Selection of the participants to be interviewed will be based on whether they have operated in the street or along the street for a long time. Residents who frequent the street often will also be identified and interviewed People who are not from the area but enjoy coming to the street for recreation or food or shopping will be considered as well. Ethnography I also aimed to use ethnographic techniques such as on-site observation and mapping as to produce real world contextualised knowledge about the behaviours and shared beliefs of the people within my study. Observation and Mapping Observation will cover the entire street of Cyrildene Mapping will occur where points of interesting behaviour occur by the different groups of people. Observation and mapping will occur where people are comfortable or where they gather. Observation and mapping will occur where people try to avoid. Observation and mapping will occur during multiple times of the day to capture the flow of traffic and activity within the area. The observations will be noted down on a printed-out map and then formally mapped at a later stage. Photography I will make use of photography to try and capture moments within the environment that can’t be represented with just words. Any people within these photos will have their faces blurred out of respect for the anonymity unless given permission. Auto-ethnography The final method I will be employing is the auto-ethnography. This will be based on my own personal experiences as I have lived in the area of study for most of my life. I also have experiences in Asia that have allowed me a greater understanding of the subject I am attempting to research. Page 7Fig 1.6 Observing Cyrildene PICTURE OF SOMETHING HERE Page 8 Alan Kow|535203 Proposed Site|Intro Intro|Expected Outcomes Cyrildene’s Derrick Avenue - Erf 733 Ease of access to the airport - With Cyrildene being one of the tourist hubs in Johannesburg, having my intervention close to the airport allows users to quickly and easily travel to my site. Urban connection - The site is in an area that allows for urban intervention and interaction with the broader community. Asian connection -The building typology that is being implemented is much more readily accepted within the boundaries of the Asian community. Cultural Identity - Having an already established cultural identity makes it so that visitors and residents are already comfortable with being in the space. The outcome of this study should result in a proposed design where the East-Asian bathhouse, influenced by phenomenological theories and culture, is able to revitalise Cyrildene’s Derrick Avenue. The proposed project represents a major step toward the understanding of using the design of bathhouses to act as hubs for cultural revitalisation. Overall, the study will broaden our understanding of phenomenology within the built environment. For residents living within Cyrildene, this project will revitalise the area through the increased traffic and subsequently will be a focus for the local municipality to keep up the maintenance and enforcement of the rules within the suburb. For shop owners, this project will benefit them from the increased traffic of people coming to enjoy the experiences offered. For those coming to Cyrildene as tourists, there will be an additional level of culture to be experienced. It also provides an additional form of short-term accommodation that isn’t a hotel or an Airbnb close to the airport. Outline of Programme The program will primarily cater to the people who seek out Cyrildene as a cultural hub of activity. This may include people from outside the country here for tourism, to people from neighbouring suburbs coming to do some shopping or even as simple as the residents and shop owners of Cyrildene. The program will include the design of a multifunctional bathhouse that has recreational facilities. The program will be broken down from these four categories. Bathhouse – Bathing Facilities Recreation Entertainment Resting and Relaxation Derrick Avenue Fig 1.7 Proposed Site in Cyrildene Page 9Alan Kow|535203 Intro|Scope and Limitations of the Study Intro| Ethical Considerations Scope The scope of the research will consist of the following: •The study will look at the suburb of Cyrildene and in particular the street of Derrick Avenue as the main area of study. •This study will only consider those above the age of 18 that are residents or shop owners of Cyrildene, as well as tourists and people who visit Cyrildene as a place to experience a different culture as the end-users. •This study will sample between 5-10 residents or people that are within the Cyrildene area when interviews are being conducted. •This study will sample +-3 owners’ or operators of spas. •The study and most of the data collection will be conducted within 1 university semester. •This study will focus on phenomenological theories based on relevant literature and applied to bathhouse architecture. Limitations 1) Fluency in language - With Cyrildene being a predominantly Chinese area I believe that there will be a language barrier problem between myself and the residents. This is where I will employ a translator, however, this will mean I will be subjected to his understanding of the language during translation 2) Self-reported data – Could be limited by the fact that data can be independently verified. I have to take what people say at face value. Why this could be a problem is that self-reported data can contain potential sources of bias through selective memory, telescoping, attribution and exaggeration. How I will attempt to limit this is by carefully crafting my questions so that they allow for no or at least minimal bias interference. 3) Time available – There are outside factors that could influence my ability to manage the amount of work I can complete within the given time frames. This study aims to be both ethical and lawful. This research proposal along with the ethics forms has been submitted to an ethics committee and only upon acceptance did the research begin. Subjects were invited to participate, and consent was asked for before any data was collected. Consent and Information sheets were given out to all subjects and upon acceptance, participation status was confirmed. I anticipate a minimal risk(no sensitive questions) to both the participant and myself. Subjects were allowed to decline or discontinue without any sanction. Confidentiality and anonymity of individual information was maintained throughout the data collection process as well as in the final report. Hard copy data was locked away in my locker, any soft-copy records were stored in my password-protected computer. All data will be destroyed 24 months after final report submission. Fig 1.8 Participant faces are blurred for privacy reasons. The owner of Simplicity Coffee Shop. Page 10 Alan Kow|535203 List of Figures|References Fig 1.1: Kow, A., 2020. Author enjoying a Korean bathhouse experience. [image] Fig 1.2: Kow, A., 2020. Entrance to a Korean traditional Jjimjilbang(bathhouse). [image] Fig 1.3: City of Johannesburg, n.d. Hustle And Bustle Of The ‘New Chinatown’. [image] Available at: [Accessed 1 September 2020]. Fig 1.4: Kow, A., 2020. Discovering the existing phenomenological elements within Cyrildene. [image] Fig 1.5: Kow, A., 2020. Research Mindmap. [drawing] Fig 1.6: Kow, A., 2020. Observing Cyrildene. [image] Fig 1.7: Kow, A., 2020. Proposed Site in Cyrildene. [drawing] Fig 1.8: Wilson, G., 2018. Participant Faces Are Blurred For Privacy Reasons. The Owner Of Simplicity Coffee Shop.. [image] Available at: [Accessed 1 September 2020]. CHAPTER 2 The Bath Saga 2 CHAPTER 2 | The Bath Saga Content 2.1 Bathhouses and experiences of bathing 2.2 Public bathing and the bathhouse in history 2.2.1 Roman Thermae 2.2.2 Turkish Hammam 2.2.3 The role of bathhouses in East Asia 2.2.4 The advent of the Sento 2.2.5 To bathe in China 2.2.6 The state of bathing in Gauteng 2.2.7 Spas, Gyms, Saunas. The emergence of modern-day luxury bathing. 2.3 Perceptions and experiences 2.3.1 Phenomenology 2.3.2 Architectural Phenomenology 2.4 Precedents 2.3.1 The Therme Spa, Switzerland by Peter Zumthor 2.3.2 Ofuro Ousama, Ebina, Japan 13 14 14 17 19 20 22 23 24 26 26 27 33 Page Page 13Alan Kow|535203 The Bath Saga|2.1|Bathhouses and Experiences of Bathing Bathing has quite a few definitions, but they all have a similar theme in common and that is the act of immersing oneself within water or an aqueous solution. There are many purposes for this immersion of the body into water. This could be in the form of bathing as a means of personal hygiene, where the bather baths in order to cleanse their body of dirt, dead skin cells, sweat and other grime that has accumulated throughout their time during the day, week or months. (Larson, 2001) Or bathing as a form of a religious ritual where the bather is immersed in water as a means of purifying and transitioning to the next section within their lives. This can be seen today when we look at Christian Baptisms, Jewish Mikvahs or the act of Ghusl in Islam. (Promeet, 2007). People also use bathing for therapeutic and healing purposes. This is where the bather uses the baths inherent natural properties to heal the body, spirit and mind. (Seligson, 2016) The final example of how bathing is used within the real world would be that of bathing as a form of recreation which could be argued to be a branch of bathing as a form of therapy. Through the act of playing around in the water people can develop deeper relationships with their friends, families, and even random strangers. It can also be a form of exercise where the bather works up a sweat due to the intense heat of the surrounding waters or in a cold pool for laps. Fig 2.3 Bathing used as therapyFig 2.2 Bathing used for religionFig 2.1 Bathing for hygiene Page 14 Alan Kow|535203 The Bath Saga|2.2.1|Public bathing and the bathhouse in history “The bath and its purposes have held different meanings for different ages. The manner in which a civilization integrates bathing within its life, as well as the type of bathing it prefers, yields searching insight into the inner nature of the period.” - Siegfried Giedion There was a general set of rituals one had to follow once in the Thermae. You would start at the Apodyterium, the dressing room, where they would get undressed. They would then entrust their clothing to their slave or servant or if you were not of the upper class would simply leave them on the floor. They would then visit the Palaestra, the Gymnasium, where they could exercise or workout before your bath. This is also where they would get oiled up and massaged. The next room would be the Frigidarium, the cold room, which contained a cold pool of water where they would take a quick dip into before visiting the Tepidarium, or warm room, to recover. They would then enter the final room which was the Caldarium. This room was a mix of a sauna and the baths that we know of today. Romans would spend their time within the hot plunge baths or be sitting outside of the pools relaxing or getting the oil scraped off their skin with a special tool called the strigil. Once they were done, they would visit each of the rooms again but this time in the opposite direction finally arriving back at the Apodyterium where they would get dressed and head home. This would then be repeated with their fellow Romans the day after. (Devillier, 2006). The Romans put great emphasis on the bathhouse both as a symbol of power and as a way of providing for the state of the physical and spiritual well-being of the Roman people. “The baths were once lavishly decorated with mosaic and marble floors, marble wall veneer, gilded stucco, and glass mosaic vaults, and numerous statues and marble columns.” Delaine(2015) describes the Thermae of Caracalla, one of the largest thermae in the Roman empire. These were spectacular buildings, grand in scale and appearance, built to emphasise the wealth of the nation and the importance the Romans placed in the idea of bathing itself. Within the Roman society, the inclusive nature of bathing epitomised a democratic ideal where people from all sects of society were catered for. Where communal and the personal well- being of the population was an accepted responsibility by the state. The earliest findings of bathing in a bathhouse type scenario show that they have been around since the Neolithic Age, where people used hot springs as a form of relief against the frigid colds. (Suemedha, 2012). This practice showed that as a species we have been, whether consciously or not, bathing together since the times of our ancestors. Roman Thermae Although Bathing culture had been around for years past, used by the Neolithicans, or by citizens of the Indus Valley(present-day Pakistan) or even the Greeks circa 1700BC, the one civilization to have truly taken bathing and the bathhouse to its most influential form were the Romans. The Romans circa 300BC used bathing as a form of social cohesion. Bathing was seen as a major portion of daily routine. “The status of bathing reveals a cultural attitude towards bodily relaxation; it is the measure of the extent to which individual well-being is regarded as an indispensable way of life.” (Giedion 1971:238) The Thermae(Roman Baths) was a location where they spent most of their spare time relaxing socialising and discussing business and politics. This was done in total nudity where both the rich and the poor were allowed to be in the same space. (Wilkinson, 2018). The Romans built baths wherever they settled (Ross, 2002). The baths developed and consisted of a complex progression of open-air swimming pools, and rooms of varying temperatures, progressing from cold to super-heated, for steaming and sweating. Where one could also get a massage and exercise if they so chose. They used highly advanced technology at the time such as the hypocaust, a system of radiant floor heating, to keep the pools and the spaces heated. (Yegül, 1992). Fig 2.4 Slaves attending to Romans who are bathing Page 15Alan Kow|535203 Fig 2.5 Reconstructed perspective of the Imperial Thermae of the Diocletian in Rome 298-306AD Page 16 Alan Kow|535203 The Bath Saga|2.2|Public bathing and the bathhouse in history Fig 2.6 Bathhouses around the world Page 17Alan Kow|535203 The Bath Saga|2.2.2|Public bathing and the bathhouse in history Fig 2.9 Turkish Hammam transition space Fig 2.7 Hammam massage table Fig 2.8 The general layout of a Hammam in section & plan Turkish Hammams Bathing was not just limited to the Romans though, long after the fall of that empire arose another that took its place. The Ottomans were also ruled by those who had interests in the desires of the world. They adopted the bathhouses of other past cultures, most notably the Romans, and reinterpreted them to serve the Islamic faith and its people. (Wilkinson, 2018). Traditional Ottoman Baths or the more popular term of Turkish Baths, also known as Hammams, were highly influenced by Roman Society. They were also spaces of social gathering for all sectors of society. Bathing rituals were also incorporated into major life events as a means of celebration such as weddings and births. Bathing in the facilities provided was reserved for each gender at different times of the day. When it was time for the women to bathe a cloth was draped over the entrance as notice. (Ross, 2002). Wilkinson(2018) states that after Napoleon’s Eastern campaigns, hammams became a subject of much intrigue for the Western Europeans of the time. They were intrigued by the exotic beauties being scrubbed by their African slaves. Paintings done by Ingres and Gérôme depict oceans of flesh exposed in stimulating proximity. However, in truth hammams were a place where women could socialise unmolested, this of course further deepened male Western Europeans desires to discover them. Hammams are still a common gathering space for socialising and relaxing today. When entering a hammam, visitors may be given a towel, a pair of sandals and a keşe, an abrasive cloth, meant for exfoliating the skin. (Suemedha, 2012). A difference in the way Romans baths was used where the emphasis is placed on alternating hot and cold temperatures, Turkish baths rather focused on vigorous purification of the body through heat. The bathing process would take individuals through 3 main areas, the first being a hot steam room with a large marble stone at the centre. This was where bathers would lay as the tellaks, bathing attendants, would scrub them and administer massages. The second area would be a warm room that was used for the actual bathing and then the final room would be a cooler room that was used for resting as fans blew cold air over the body to close the pores and return bathers to normality. (Ross, 2002). The architecture of a hammam and Islamic architecture at the time was some of the most extravagant expressions of beauty that even holds up to today’s standards. The use of ‘elephant eye’ dome lights within the hammam gives the user a sense of natural light and comfort in the otherwise dimly lit spaces. A lot of the earlier hammams also used local stone materials for their columns and bathing tables. Some of the more modern-day ones make use of luxuries stone such as marble and granite for their göbektaşı(a heated surface normally in the middle of the hammam) within the large volume domed area. The spaces were elaborate and elegant, extremely clean and pure, a homage to the physical manifestation of the Muslim faith. (Aaland, 2018). The Ottomans revived bathing culture within the European setting and if it were not for them the likelihood of Roman bathing culture would’ve long been forgotten in the annals of history books. The conversion from simply being an inclusive space to one where religious beliefs were brought to the forefront is evident when one goes through the rituals and the physical exploration of the hammam. Fig 2.10 Female activities within a Hammam Page 19Alan Kow|535203 The Bath Saga|2.2.3|Public bathing and the bathhouse in history Fig 2.10 Female activities within a Hammam The role of bathhouses in East Asia. While a lot of bathing culture has roots in the West. I do think it is interesting to note how bathhouses have also developed in the Far East. Perhaps the most obvious of these cultures to look at is none other than that of the Japanese. The culture of bathing there has evolved with the times, from the popular Onsen, bathhouses located in natural hot-springs around the country, to the current day Ofuro, also known as private bathtubs. As anthropologist Scott Clark writes, “…To take a bath in Japan with an understanding of the event is to experience something Japanese. It is to immerse oneself in culture as well as water.” (Clark, 1994). As we go through this chapter I hope to show how bathing culture is very much entwined with Japanese identity. The earliest recorded literature of Japanese communal bathing was founded in the Kojiki, an 8th century chronicle of Japanese times — also the Earliest Japanese published text.(Wynn, 2014). This shows that bathing culture managed to develop on this archipelago even though it was quite separated from the West. In the Kojiki, bathing was first explored through the religion of Shintoism. They would use bathing in a ritualistic manner as a way of emphasising purity both in physical and spiritual cleansing. Later on there would be a shift in the viewpoint of bathing when Buddhism arrived, from bathing as a bridge between the physical and spiritual to one centred more on the improvement of the physical body itself. This was when baths would also be used as outdoor therapies for the elites. Here bathing is introduced as a way of healing the body, which are also supported by claims from traditional East Asian medicine with allusions to Chinese culture and Daoism, for things like treating imbalances in yin and yang or even much later in the 18th century when Europeans would use the term ‘hydrotherapy’ that claimed bathing in hot water would properly flush out stale fluids and any obstructions in the body by means of sweating or excretion. (Daidoji , 2010). A good example of this being used in Japan is through their Onsens , which are various hot springs located around Japan due to the formation of thermoactive volcanoes in the area. Well established newspapers such as the Japan Times, scientific journals such as the American Journal of Science (Silliman 1839, p.88) and similar studies have investigated and validated the claims that hot springs are able to treat various ailments such as “neuralgia, myalgia, rheumatism and dermatosis, high blood pressure and arteriosclerosis” due to their heat and mineral compositions. (Nakata, 2008). Later on this would be given the term of ‘balneotherapy’, the specific treatment of various diseases and infections through the use of heated water on the body, the effects of minerals within the water and the psychological benefits of the spa environment itself. (Talmadge, 2006). This was not the only thing that Buddhism brought upon its entrance. Due to the nature of Buddhism being about helping others as a way to progress towards Nirvana, Buddhists would often hold charity baths for the poor at the temples. Scores of people would come to these baths for a chance to be cleansed. (Wynn, 2014). Fig 2.11 Japanese woodblock painting showing bathhouse etiquette in Edo period. Fig 2.12 An onsen(Natural Japanese Hot Spring) in Tazawako, Akita. Page 20 Alan Kow|535203 The Bath Saga|2.2.4|Public bathing and the bathhouse in history The advent of the sentō Shinto and Buddhist reasoning was later abandoned for commercialised communal bathing which emphasised even more on the hygiene and social interaction aspects. What arose from this shift in policy is the arrival of the sentō. Sen in Japanese relates to ‘coin’ or ‘money’(also referring to the original sen currency used in feudal times) and the tō can mean ‘hot water’ or ‘bath’. While this alludes to the money-making aspect it is also colloquially known today as the public bathhouse. Naturally to enter a sentō, one needs to pay a fee at the entrance. Nowadays the fee for the average sentō is around ¥470, about R80 as of April 5th 2020, with a discount for the elderly and children below a certain age. (Ota City Sento, 2016). For ordinary Japanese citizens this is an extremely affordable cost in terms of living expenses with the average Japanese worker earning around ¥4.14million annually or ¥345 000 monthly(In our current economy this equates to around +-R60 000) and even those that earn well below the national average are able to afford going to sentōs nightly. (GaijinPot, 2019). The process of using a sentō can differ from bath to bath but normally involves the following: you enter, get greeted by the owner or manager and then pay your entrance fee. From there you are given a key for your locker, which is normally a water proof chain that can be worn within the baths themselves, and then directed to the appropriate gender changing room(Most sentō practice gender-separated areas but you can still find some of the older ones that allow mixed-gender bathing). Once within the changing room, you remove your clothing, stow away your valuables, and head off to the baths. Often regulars will bring their own bathing amenities(such as shampoo, conditioner, shaving cream, razors, etc.) to these public baths but guests that aren’t familiar with this practice are able to purchase the necessities they need within the change room. Once you enter the bathhouse itself you are expected to sit down on plastic stools and basically lather, scrub, and then rinse yourself thoroughly. If you have friends or a close relative, they normally assist with the hard to reach areas. From there you may choose to use any of the assorted baths within the bathhouse. This is where the regulars would strike up conversations and make small talk. This is especially the case if they are part of the regular neighbourhood clientele. (Ota City Sento, 2016). There are also scrubbing beds where attendants/ masseuse will, for an additional fee, scrub you down till you are pink, from head all the way to your fingers and toes. While the feeling might be a bit painful at first, it with time dissipates. It is extremely beneficial as the scrub removes a lot of your dead skin cells leaving you soft and feeling invigorated for days afterwards. (Talmadge, 2006). This is where the journey would normally end in the more traditional sentō bathhouses but recently a trend called the ‘super sentō’ has arisen. The super sentō takes all the qualities of its predecessors and basically upped the formula by a magnitude of 10. Within a super sentō you can find an additional number of varying facilities and services once you have finished taking your bath in the open-air outside bath(a rotenburo) or perhaps within a bubbly massage bath. You can go check out the multitude of different beauty treatments on offer or sample their high tech saunas then maybe go for some light refreshments or tea and then relax with a game of ‘shogi’ or ‘go’ whilst discussing their everyday happenings.(Wynn, 2014). As Time Out Tokyo, a famous website that helps people find fun and unknown activities within Tokyo, states, “The so-called super sentō has emerged to engage younger demographics, evoking imagery more in line with the electric Tokyo cityscape than traditional or neighbourhood bathhouses.”(Time Out Tokyo, 2015). It is no wonder why this still remains such a popular activity today even amongst the rise of private bathrooms(ofuro). Not only are you being hygienic, but you are also getting a great experience that has a social factor for a very affordable price. Fig 2.13 The interior of a 1929 sentō at the Tokyo Open Air Architectural Museum. Page 21Alan Kow|535203 Fig 2.14 A sento in Isaka Japan, 1910. Page 22 Alan Kow|535203 The Bath Saga|2.2.5|Public bathing and the bathhouse in history To bathe in China The earliest records of public bathhouses in China date as far back as the late Song dynasty, approximately 960-1279 CE. (Yau, 2019). One such example was depicted in the painting Along the River During the Qingming Festival by 12th Century artist Zhang Zeduan. Although most of the oldest bathhouses in China have long since been demolished due to Chinas rapid move towards Modernity, the typology itself still exists and if anything has been upgraded to cater towards the people of today. (ibid.) Modern public bathhouses today are split into two general groups in China, the first being the 澡堂 (zǎotáng), the more affordable bathhouse that is used by most locals in the community and secondly there is the more upmarket spa-style bathhouse, the 洗浴 (xǐyù). There is little to differentiate the two they both generally offer the same facilities you would find in any bathhouse but what you’re paying for in the xǐyù is the greater ambiance and the size of the space in the establishment. Architecturally speaking, what differentiates a Chinese bathhouse from others is the sheer grandioseness of it’s interiors . There is an element of decadence and luxuriousness to the spaces that would even impress royalty. You would often find expensive materials such as marble or faux gold and silver located at every turn. The height of the internal volumes within most of these bathhouses give a sense of being in a shopping mall, as if you weren’t cooped up in a steamy wet room with a bunch of other random people. A recent trend is the adding of artistic murals whether they be paintings on the walls or pictographic tiles in the baths themselves. This has been seen as a way to make it seem as if you are away from the city and to distract the mind.. One other aspect that I picked up within the baths is that they allow natural light and ventilation to come through via high placed windows. Thus, the need for mechanical ventilation in these areas seems to be non-existent. Some xǐyù go further and provide personal attendants to their customers. These attendants show their guests around and help undress and provided waited services at any moment. Bathhouses in China can also cater to niche audiences, for example in some xǐyù you can even find prostitutes lined up in the arrival lounge who provide the same services as a normal attendant and for an additional fee provide sexual relief to those who seek it. (Arcaro, 2006). That is however more of an outlier than that of the mainstream where most people would simply go and use a zǎotáng due to its availability and cheaper cost. Xiong Zhizhong, a resident of Beijing, describes why he uses the local zǎotáng,“We come from a rural part of Jilin, where people don’t have bathing facilities at home. In winter we filled a basin with water to take a bath at home. In summer we washed ourselves by jumping into the village fish pond.”(Yau, 2019). Nevertheless it is increasingly becoming more popular for the younger generations to discover and use the bathhouse. It can be a location where young Chinese couples go for a date or where you just meet up with your friends after a stressful week to gather and chat. (Muir, 2012). Fig 2.15 Customers using a traditional zaotáng. Fig 2.16 The interior of a xiyù with attendants. Page 23Alan Kow|535203 The Bath Saga|2.2.6|Public bathing and the bathhouse in history The state of bathing in Gauteng Like previously discussed, the Japanese evolved from using bathing for a spiritual/ religious purpose in the form of Shinto rituals to today most homes owning their own Ofuro, wet bathrooms where the act of bathing has been privatised. So, the question becomes what form has bathing or public bathing taken on in a Johannesburg or South African context. If we look at a traditional African context, a lot of bathing pre-colonialism, takes its form where pools of water are normally located, specifically lakes and rivers. This is by no means an African only idea, if anything you could argue that humans at the start of every civilization used this method. That is the founding of settlements in territories and areas that contain water. As animals, plants and other vegetation need water to survive too, this makes it an ideal location for human settlements. (Balek, 1977) Once settled Africans would use these rivers, watering holes or other places of large amounts of water to drink, wash their clothing, play in the river to cool off from the harsh African climate and wash and cleanse themselves. (ibid.) This also extends to religious/spiritual purposes as African traditional healers also use the river as a form of cleansing, healing and to introduce themselves to River Spirits. You can also use that same water to sprinkle around the house to ward off the evil spirits. (Mboweni, 2016). Moving forward to today, whilst you may still find the odd township or settlement using the river in these past forms here and there, the form of bathing has evolved with the times. This is due to a much more educated society that has learnt from imported cultural norms and from the arrival of modern- day technology like plumbing which has drastically reduced the need for settlements to be placed near rivers anymore. (“History of Water and Sanitation in South Africa,” 2009)Most townships in Gauteng have benefited from this evolving world. You will find that the informal housing that normally is piled upon each other with no respect to boundary lines actually works in favour in terms of bathing. What often happens is that due to the lack of proper infrastructure in these settlements, a lot of communal sharing has evolved. You will find a communal tap located on the edge of one street where all the residents from that street go to collect water for example. The informal houses that are not lucky enough to own their own privatised bathrooms make use of communal areas specifically dedicated to bathing or using the loo. (Jacobs et al., 2014)This cuts down on the need for better infrastructure and allows most of the residents an opportunity to clean themselves. Fig 2.17 Lack of adequate water infrastructure within the township of Alexandra. Page 24 Alan Kow|535203 The Bath Saga|2.2.7|Public bathing and the bathhouse in history Fig 2.19 Modern day gym facilities offer pools and saunas Spas, Gyms, Saunas. The emergence of modern-day luxury bathing. The advent of technology has also allowed the public bathing scene to evolve and adapt with the times too. Today, in Johannesburg you can find ‘mini-baths’ located in your everyday gym or spa. The ritual is slightly different from that of an authentic public bathing experience but there are definite similarities one can find when investigating. For instance, in the gym, after a sweat-filled workout you would head into the locker room, strip naked and head into one of the shower stalls to clean yourself. Some gyms even offer steam and sauna rooms that you can use to sweat even more calories away. Conversations about daily on goings can happen within these shower rooms or the actual locker room itself. Some people use the gym shower rooms instead of visiting the ones in their own home due to the simple fact that it saves them money and time.(Larson, 2017). As author John Kelly writes, “Leaving the gym sweaty is never very appealing. A shower leaves you feeling fresh and relaxed and washes away the sweat and waste matter you secrete during a workout.” (Kelly, 2014). Spas have developed in such a way that they are also a branch of the bathing evolutionary tree. People head into spas to relax by getting a massage, steaming within the saunas, de-stressing in hot tubs or a plethora of other services on offer, although they are much pricier than that of their public bathhouse origins. (Okech, 2014). There are also social aspects about heading within a spa itself, such as going with a few friends or your significant other to enjoy the experience much like that of going into a traditional bathhouse. These are all sub-branches of bathhouse culture but the one that is most close to that of the original bathhouse itself within Johannesburg is probably the gay bathhouse. Gay bathhouses represent a subculture, often belonging to those of the LGBTQ communities. Whilst South Africa is one of the most progressive in terms of constitutional rights for the LGBTQ community there still exists negative stigma surrounding them. (Almack and Henderson, 2016). This has led to the subculture having very private and closed communities and businesses. The public bathhouse has been one of the forms for these communities to express themselves and so the bathhouse has taken the social image of that community within Johannesburg. This means that even though public bathhouses do exist within Johannesburg, they are seen as places that only cater to that of the LGBTQ communities. Their characters are personified by the community and often lead non-LGBTQ people to believe that they are not understood, shady and dangerous and so they would prefer not to involve themselves with that. (Halkitis et al., 2017). This means that in order for bathhouse culture to be accepted within Johannesburg, the perception of bathhouses needs to change. Fig 2.18 The Recroom, Jozi is a gay bar and sauna. Page 25Alan Kow|535203 Fig 2.20 Spas offer a similar experience to past bathhouses. Page 26 Alan Kow|535203 The Bath Saga|2.3|Perception and Experiences Fig 2.21 Phenomenology can be experienced through multiple forms. What emotions does this image of freshly made dumplings evoke within yourself ? 2.3.1 Phenomenology The term phenomenology is a complex theory that first came along in the study of humanities and in particular philosophy. To understand the theory of phenomenology I’d like to examine an opposing theory and that is Cartesianism. Cartesianism boiled down to its essentials is a form of rationalist thinking. It is the thought that through science and logical deductive reasoning the world can be understood. Any ideas or emotions or any other cracks in our understanding of the world are to be considered distractions from the truth. Modern day scholars of the subject like to interpret Cartesianism similar to how academia is depicted, that of a joyless and slightly emotionless undertaking and interpretation of the world.(Nicholas, 2018). However, our experience of the world is not completely scientific or logical. Our senses play a pivotal role in the interpretation of the world around us before any of those semiotic ideals develop. And so, at a very basic level phenomenology is the theory that suggests that meaning in the world can only come into existence through the use of our senses, emotions, and consciousness.(ibid). Phenomenologists like to argue that the meaning for something to exist can only exist once it is experienced through a person or that our awareness of our own consciousness eventually influences our understanding of the world around us. 2.3.2 Architectural Phenomenology Architectural phenomenology later emerged as a post war-ideal that brought to light the study of using architecture as a means to present itself through the mode of human experiences. Therefore, successfully combining the fields of both philosophy and that of architecture. How this was done, for example, was through the use of perceptions of light and shadow, feelings of roughness and smoothness, bodily orientation of up and down. Architects would use real life materials and environments in their designs to convey these feelings of space that previously were seen as simply ornaments in the background. Architectural phenomenology for the first time could be perceived as a way to interpret how the end user could be guided through a complex adventure of subconsciousness and emotions simply by being in a space. However while the theory at the time was quite exciting, the fad quickly became a target of theoretical ridicule. As author Jorge Otero-Pailos, in his chapter titled Architectural Phenomenology and the Rise of the Postmodern, puts it, “Others emphatically reject it – typically the history and theory faculty – as a soft type of history and theory at best, and at worst as a dangerous form of de-theorized history and de-historicized theory, which takes the critical bite out of intellectual work in order to operatively legitimate architecture’s status quo.” (Otero-Pailos, 2010). Thankfully architectural theorists such as Jean Labatut, Charles Moore, Christian Norberg-Schulz and Kenneth Frampton established through decades, the collective discourse that allowed architectural phenomenology to continue to survive till today. It is through their efforts that the people of today can choose to look at it positively as something with potential. Done through the continued use of architectural phenomenology as a design aid of recognising distinct patterns within buildings or to signify the role that sensory experience plays in peoples understanding of architecture. This is why I’d like to focus on one of these people and how he and his team used architectural phenomenology as a means to create a building that not only disproved the naysayers but also as a means to understand how human experiences, consciousness, emotions and perception can provide great architecture. Fig 2.22 The light through the use of architecture helps create special moments within the Turkish hammam. Fig 2.23 A model of the Therme Spa that highlights the experiential aspect of the building “There was something serene, primeval, meditative about it that was utterly enthralling. The rays of light falling through the openings in the starry sky of the cupola illuminate a room that could not be more perfect for bathing: water in stone basins, rising steam, luminous rays of light in semidarkness, a quiet relaxed atmosphere, rooms that fade into the shadows; one can hear all the different sounds of water, one can hear the rooms echoing” — Peter Zumthor Page 28 Alan Kow|535203 Fig 2.24 Diagram showing solid forms, static spaces and movement spaces. Fig 2.25 Diagram showing arrangement of the stone blocks. Fig 2.26 Views that look out into the natural swiss landscape. The Bath Saga|2.4|Precedents This quote taken from his co-authored book titled, Peter Zumthor - Therme Vals, the architect expresses the very essence of architectural phenomenology and its possibilities. Through location, connection to the locality, materiality, light, shadow and water he is able to bring out a building that allows individuals to explore and experience the bath and not merely be an spectator to the activities within. Hotel und Thermalbad Vals AG commissioned Zumthor and his team to design a stand-alone thermal bath and wellness centre. The commissioners wanted it to be a solitary structure built into the slope and loosely connected to the hotel itself. Perhaps the most important factor was that the building was a project that held the interest of the local community and so it was important to make it an important contribution towards tourism within the area. The concept from the start, only revealed itself along the way, was discussed, discovered, and defined in the process of realization. Zumthor and his team produced many sketches throughout this time that only through a step by step analysis unveiling how the final building came to be. The use of materiality has an important effect on the way humans perceive spaces. A rough material that is cold to the touch may invoke a feeling of negativity or where one feels uncomfortable. On the opposite side of the spectrum a material that is bright or smooth can invoke a feeling of welcoming and safety. Materiality plays a big part in the way Zumthor and his team design the baths. The main material that is used is from the local Val mountains is called Val Gneiss, which became popular worldwide after the great reception that Zumthor’s building received after it was built. Zumthor didn’t initially think of using this stone as the material but through continual engagement with the local community he saw that the use of the stone could be beneficial in his vision for what he wanted. Stone is unyielding in its form only through lots of processing does it conform to the desires of its sculptors. The stone also invokes a sense of heaviness and is often cold to the touch when no outside factors are involved. It is after discovering these qualities that Zumthor decided to use stone as his main material. The building uses masses of stone collected from the mountains, in the shape of slabs, in the shapes of external cladding, and in the shapes of giant blocks to inform the spaces within. These stones are an integral part of the understanding one experiences when journeying through the bathhouse. When you walk within you are instantly greeted with the feeling that you are isolated. There is no set path for one to take, you are on a journey of not only the internals of the bathhouse but of self-discovery. For architects you start understanding how the use of mass and Page 29Alan Kow|535203 Fig 2.27 A section through the anteroom showing the use of light and the playing of different levels. Fig 2.28 Different sections through the building showing the different spatial conditions. The Bath Saga|2.4|Precedents hollowness, openness and compactness, rhythm and disruption, repetition and variation lends to the experience. The blocks of stone strategically placed so that light enters within certain angles or so that you get a framed view of the external valley landscape. How this material when left alone is cold but when introduced to the warm waters take on the properties of that water and its warmth. Every room curated to a different experience all due to this one material. Stone isn’t the only material that is present within the bathhouse. When you first enter the bathhouse you are invited into an antechamber which acts as the changing room before you enter into the actual baths themselves. This room is clad in a red panelled timber. Timber is a material that has great insulation properties, is versatile in its use, has great strength when appropriately applied and has an appealing soft aesthetic that provides a feeling of warmth and comfort. The room acts as a break room, it allows the user to feel relaxed before releasing them into the very different world that is outside its walls and once a traveller has adventured into that wilderness and seeks refuge, it provides a safe haven for their return. Zumthor says he got the inspiration for the room when he visited a Turkish Hammam, where the large domed spaces within the baths act as an area where a person is received, where they are able to change their clothes, where they are able to rest and relax after bathing, where they are able to drink tea and converse. All these factors stirred Zumthor and his team to design a room where one was able to take off ones clothes with a similar atmosphere of warmth and welcome but in keeping with a westernised cultural context. The way one makes use of water can also provide many health benefits to the mind and the body. Zumthor makes use of water in different ways within the building. He tries to use all material forms of water to direct the experience of users. Whether it be using the natural cold and frigid ice and snow from the outside to subconsciously guide the user away from that territory and into an area that provides them warmth and shelter. Or when looking at the different pools that he has created, for instance the ‘Fire Baths’ are a 42 degree Celsius set of steam filled pools that are not used for cleansing but for relaxing. That is the act of relaxing the weary body and the tired mind which is contrasted by the ‘Ice Pool’, a chilly 14 degrees Celsius, pool of water that one jumps into to cool off, become alert and reinvigorate the mind. These pools also make use of colours and light to further deepen ones Page 30 Alan Kow|535203 The Bath Saga|2.4|Precedents Fig 2.29 Section through a bath showing the use of light wells. Fig 2.30 Plans and sections through different baths within the bathhouse Plan Plan Section Section experience. For instance the colour blue symbolises cold, water, air and the infinite which so happens to illuminate the ‘Ice Pool’ and similarly the colour red which symbolises hot, passion, warmth and comfort illuminates the ‘Fire Baths’. There is also the ‘Flower Bath’, that infuses warm water in conjunction with the fragrant smells of elder blossom, rosemary, chamomile and sweet clover amongst other things to provide the feeling of being lost outside in nature — a sure fire way to relieve ones mental stress. Within the ‘Sounding stone’ chamber, a small enclosed area surrounded by the Val stone, is a singular bath that completely isolates the user. Within you hear nothing, as if the noises of the outside world have been switched off. As you sit in the darkness surrounded by nothing but water that reaches up to your neck you are reminded how simple life is away from the busy distractions and on goings of life on the outside. Within you are only left with your own thoughts, a place for true tranquillity. Mr Nejati, an academic who has visited the baths, describes his relationship with the sounds within, “Listening to the music of water from a silent situation such as a calm and tranquil lake, to the most clamorous condition similar to the tides of the sea and falling water can present diverse mood and feelings.” (Nejati, 2011). The final aspect that I’d like to talk about is Zumthors use of light. Light brings clarity, sincerity and purity to space. The use of light can relay feelings of joy, hope and happiness to an otherwise dark space. Zumthor carefully directs where lights should be presented and thus completes the users end experience. Combining all these elements is what architectural phenomenology should aim to achieve – to bring the end-user on a journey. In the end, Zumthor describes it best, “Contained within the blocks of stone are intimate spaces that are reserved for bathing, cleansing or relaxing — each a separate world that holds its own surprise… The wish to ensure a delight in experiencing water at different temperatures and in different spatial situations with variations in the lighting, the colours, the climate, the materials, and the sound; close contact with stone and water; immersing oneself in water for relaxation, as a ritual. Purification. Peace. Serenity. No noisy attractions, no intrusive stimulation, only the sensation of one’s own body undergoing subtle change.” 2.4.1 Therme Baths Page 31Alan Kow|535203 Fig 2.31 The spacing of the roof blocks allow light through at certain angles. Fig 2.32 The use of the slate rocks and materials from the local context. Page 32 Alan Kow|535203 Fig 2.33 The transition from one level to another. Fig 2.34 How water is used to further the experiential aspect of the bathhouse. Page 33Alan Kow|535203 The Bath Saga|2.4|Precedents Fig 2.35 The entrance takes you through a comfy courtyard 2.4.2 Ofuro Ousama Ebina The ‘Ofuro Ousama’ or translated ‘King of Baths’, Ebina branch is the next precedent I’d like to talk about. Ofuro Ousama is a chain of affordable sentō type bathhouses located in and around Japan. Their core ideal revolve around the acknowledgement of Japan as a society that values the nuclear family with an increasing amount of aging population. That their nation is also promoting an ethos that is discoursing the interaction of families and local residents. In such an era, “Ofuro no Ou”(shortened version of Ofuro Ousama) originally opened a unique store for Japanese bath lovers, and not only enjoy the bath, but also “beauty, health, and contact”. They promote 3 beliefs in all their bathhouses. The first being a facility that enhances local cohesion, contact and healing. One of the ways that they achieve this is every month, they hold unique events for each bathhouse that promote local unity and build relationships within their local neighbourhoods. The second being a facility that can support the beauty of mind and body. This is achieved through the offering of different body-care, shavings, and beauty treatments as one of the in-house services . Through doing this one is able to support their body and mind, forgetting about their daily routines and enjoying their lives as soon as they leave. The third and last of their values is that each facility should be aiming for health promotion and preventive medicine. This is achieved through their actual bathing facilities that are specifically made to promote fatigue recovery and erase fatigue. For instance this can be seen in their high-concentration carbonated springs, which are recognised for their health and medical benefits. I have specifically chosen to look at their Ebina branch. Programme The programme of this bathhouse shows the plethora of different bathing options for the user that one can achieve within a bathhouse. They have separated the genders and therefore have similar bathing facilities for both. However, each gender seems to have a unique facility made for them. I do believe that this is a bit bias as it seems the better facilities(View of outer city bath and the medicinal steam sauna) are more skewed towards the males which is probably an indication of the patriarchal society that they live in but that is another essay altogether. They have also included a restaurant that is attached to the bathhouse so that they are able to serve food which is also quite interesting. Circulation The general circulation for the building seems to go as follows: • Arrival in the parking lot • Go through the front yard -Option 1: Go to the baths -Option 2: Go to the restaurant • This shows that while both of these typologies are part of the same building, that they can function alone as well as together. • With either option you are then greeted by a front desk, from here it the bathhouse has a bit more diversity when compared to the restaurant. • After paying at the front desk reception you are then split based on gender. Each gender has similar facilities, so the circulation is more or less the same. You first enter a ‘Change Room’ where you proceed to take of your clothes and shoes. After you are supposed to go to the ‘Wash-room’ to scrub yourself clean from all the impurities that are on your body. From there you are allowed to enjoy the myriad of bathing options. Skipping straight from undressing to bathing is not allowed and extremely frowned upon. • After enjoying the bathing you can then redress yourself and then head to the restaurant for a meal or you can go straight to your car. Page 34 Alan Kow|535203 Precedent Study - Ofuro Ousama Ebina Branch Introduction For more information refer to https://www.ousama2603.com/ with Google Translate on (Aida, 2020) Fig 2.36 A front elevation of Ofuro Ousama Page 35Alan Kow|535203 The Bath Saga|2.4|Precedents Fig 2.37 Corridors are long but the negative feeling is negated by large windows that look into a garden. Operations For a bathhouse to be successful you have to look at how they operate. In the case of this precedent you can see how they run a successful business. They charge relatively affordable prices(+- R120-R160) for entry, cheaper on the weekdays and more expensive on the weekends. This includes your entry fee to the baths and most of the facilities. They start charging for extras like towels or hygiene toiletries if you don’t have one on your person. However, this is not where they make most of their money. I believe that the main source of their money comes from the other paid extras which include body care, foot care, facials, full body scrubs and finally haircuts. The prices of these services can range from the 100’s to the 1000’s of equivalent Rands. This is then also offset by the selling of food in the restaurants which brings even more cash-flow into the business. Photo Analysis 1 – The surroundings The front desk of the restaurant is shown with a lot of Asian signs. When ordering food you need only pay the machine for what you want and then people will bring you your order when you sit. This saves on costs as it means you don’t have to employ extra staff. You can see in the background of the same photo that people are dressed in their everyday wear. This shows us that people go from here to the bathhouse or when they’ve finished bathing change and then come here to eat. The picture with the lockers show us that you are required to take off your shoes before entering the bathhouse. The bottom picture shows the key that you keep on your person at all times to access your personal locker. The picture with the restaurant shows the general architecture of the space within the restaurant. Catering to both traditional and todays seating standards. There is a clear influence of Japanese architecture with the expressions of timber on the floors and ceilings, however it has a contemporary feel to it due to the suspended ceiling that hides the air vents and also the thin steel columns and beams. The overall interior is a good expression of nature and warmth. Photo Analysis 2 – The baths The second photo analysis shows the actual bathing facilities within the bath. They advertise at least 23 different types of baths or water facilities which is impressive to say the least. The outside baths have water pumped directly from natural hot springs which is something that is not possible within my site. However the photos of the internal baths, which are baths that aren’t connected to natural hot springs, show that they aren’t lacking in any form as compared to the outer baths. It is also easier to maintain and clean the baths on the interior as opposed to the exterior due to the different process required when having constructed the two. However, they do explore the possibility of using artificial means to create a bath outside which can be seen when looking at the ‘sleeping water’ bath. They have created facilities that are specifically for females or males however I think these are a bit superficial and rather an afterthought in the original design. The baths on the interior are mostly constructed with a stone masonry type material, tiles, and galvanised steel. Of course all other materials within are probably water proof or at least have a high resistance to water and bacterial growth. The area seems that is has slightly larger than a normal volume of space. On the exterior is where you can see a clear expression of the Japanese Onsen architecture which as we know tries to imitate nature or make one feel as if they are in a natural environment. Therefore the materials used on the exterior are mostly left exposed or kept in their natural forms as much as possible. Precedent Study - Ofuro Ousama Ebina Branch Programme Analysis Main Bathhouse 1 Kokochi Hot Water Bath 2 Pot bath 3 View of Outer City(Men Only) 4 Salt Sauna(Women only) 5 Kakeyu 6 Carbonated Natural Hot Spring6 Carbonated Natural Hot Spring 7 Hot water whirlpool jacuzzi 8 Electric Drum(bath) 9 Seat Massage 10 Relaxation Bath 11 Jet Bath 12 Shape-up Bath 13 Super Jet Bath13 Super Jet Bath 14 Hot Water Bench 15 Water Bath 16 Natural Hot Spring for Circulation 17 Natural Hot Spring More Circulation 18 Sleeping Bath 19 Sleeping Hot Water 20 Health Walking Bath20 Health Walking Bath 21 Cool Water Foot Bath 22 Dry Sauna 23 Medicinal Herb Steam Sauna (Men only) Refresh facility/ Restaurant 24 Glossy Skin Zone 25 Beautiful Skin Zone(Women Only) 26 Hair Salon26 Hair Salon 27 Healing Relaxation Room 28 Foot Relaxation Area 29 Restaurant For more information refer to https://www.ousama2603.com/ with Google Translate on Change Room Female Staff Room Staff Room Coin Massage Common Area Restaurant Outside Seating Reception Entrance Parking Courtyard Bath Deck Approach Front Yard Reception Change Room Male Bath Deck Hot Spring Rest Area WashroomWashroom Sky Space Page 36 Alan Kow|535203 Fig 2.38 An analysis of the overall program within the bathhouse Precedent Study - Ofuro Ousama Ebina Branch Circulation Analysis Main Bathhouse 1 Kokochi Hot Water Bath 2 Pot bath 3 View of Outer City(Men Only) 4 Salt Sauna(Women only) 5 Kakeyu 6 Carbonated Natural Hot Spring6 Carbonated Natural Hot Spring 7 Hot water whirlpool jacuzzi 8 Electric Drum(bath) 9 Seat Massage 10 Relaxation Bath 11 Jet Bath 12 Shape-up Bath 13 Super Jet Bath13 Super Jet Bath 14 Hot Water Bench 15 Water Bath 16 Natural Hot Spring for Circulation 17 Natural Hot Spring More Circulation 18 Sleeping Bath 19 Sleeping Hot Water 20 Health Walking Bath20 Health Walking Bath 21 Cool Water Foot Bath 22 Dry Sauna 23 Medicinal Herb Steam Sauna (Men only) Refresh facility/ Restaurant 24 Glossy Skin Zone 25 Beautiful Skin Zone(Women Only) 26 Hair Salon26 Hair Salon 27 Healing Relaxation Room 28 Foot Relaxation Area 29 Restaurant For more information refer to https://www.ousama2603.com/ with Google Translate on Change Room Female Staff Room Staff Room Coin Massage Common Area Restaurant Outside Seating Reception Entrance Parking Courtyard Bath Deck Approach Front Yard Reception Change Room Male Bath Deck Hot Spring Rest Area WashroomWashroom Sky Space Page 37Alan Kow|535203 Fig 2.39 A diagram of the overall circulation within the building. Precedent Study - Ofuro Ousama Ebina Branch Operations For more information refer to https://www.ousama2603.com/ with Google Translate on Optional Extra Paid Services Restaurant - Body Care - Foot Care - Facials - Akasuri (Full Body Scrub) - Haircuts Page 38 Alan Kow|535203 Fig 2.40 A compilation of aspects that are critical to the overall life operations of the bathhouse. Precedent Study - Ofuro Ousama Ebina Branch Photo Analysis 1 (Tripadvisor, 2015) (Tripadvisor, 2015) (Tripadvisor, 2015) (Tripadvisor, 2015) (Tripadvisor, 2015) For more information refer to https://www.ousama2603.com/ with Google Translate on Page 39Alan Kow|535203 Fig 2.41 Compiled Photos showing the non-bathing facilities within the building. Precedent Study - Ofuro Ousama Ebina Branch Photo Analysis 2 - Baths Kokochi hot water bath Medicinal Herb Steam Dry Sauna Sleeping Water Natural Hot Spring Salt Sauna(Ladies Only) View Bath(Men only) Indoor Baths Hot Water Bench Hot Water Pots Dry Sauna For more information refer to https://www.ousama2603.com/ with Google Translate on Page 40 Alan Kow|535203 Fig 2.42 Compiled Photos showing the bathing facilities within the building. Page 41Alan Kow|535203 List of Figures|References Fig 2.1: PRI, 2016. Sheikh Salah (Center) Is Baptizing One Of Several Dozen Mandaeans At Lake Quinsigamond In Worcester, Massachusetts. [image] Available at: [Accessed 2 September 2020]. Fig 2.2: Rahman, J., 2020. Asian Man Washing Head. [image] Available at: [Accessed 2 September 2020]. Fig 2.3: Lee, H., 2015. Man Floating In Water. [image] Available at: [Accessed 2 September 2020]. Fig 2.4: Clerc, A., 1890. Hygiene Et Medecine Des Deux Sexes. [image] Available at: [Accessed 2 September 2020]. Fig 2.5: Yegul, K., 1992. Reconstructed perspective of the Imperial Thermae of the Diocletian in Rome 298-306AD. New York: The Architectural History Foundation, New York. Fig 2.6: Bathhouses around the world, Authors own drawing. Fig 2.7: Turkish Baths, 2020. Hammam massage table. [image] Available at: [Accessed 2 September 2020]. Fig 2.8: Allsop, R., 1890. Design for a Private Turkish Bath. 37 Norfolk Street, London. Fig 2.9: Kaplan, R., 1994. A Middle-Aged Man Crosses A Courtyard, Swathed In A White Sheet Like A Patrician Roman In A Toga.. [image] Available at: [Accessed 2 September 2020]. Fig 2.10: Le-Barbier, J., 1923. The Harram. [image] Available at: [Accessed 2 September 2020]. Fig 2.11: Koryûsai, I., 1755. In The Public Bathhouse. [image] Available at: [Accessed 3 September 2020]. Fig 2.12: Seki, A., 2005. An onsen(Natural Japanese Hot Spring) in Tazawako, Akita. Tuttle Publishing, Singapore. Fig 2.13: @yusukee_m930. 2018. Japanese public bath house at Tokyo Open Air Architectural Museum. [Instagram]. 27 July. Available from: https://www.instagram.com/p/Blu924VH_Ee/ [Accessed 03 September 2020]. Fig 2.14: Vaught, C., 1910. A Sento In Isaka Japan, 1910. [image] Available at: [Accessed 3 September 2020]. Fig 2.15: Sina, n.d. Customers Using A Traditional Zaotang. [image] Available at: [Accessed 3 September 2020]. Fig 2.16: Baidu, n.d. The Interior Of A Xiyu With Attendants. [image] Available at: [Accessed 3 September 2020]. Fig 2.17: Sibeko, S., 2019. A Woman Fetches Water From A Tap, Near Sewage In Alexandra Township, Johannesburg, South Africa.. [image] Available at: [Accessed 3 September 2020]. Fig 2.18: Recroom, n.d. The Recroom, Jozi Is A Gay Bar And Sauna. [image] Available at: [Accessed 3 September 2020]. Fig 2.19: Chuzi Fitness, 2016. Modern Day Gym Facilities Offer Pools And Saunas. [image] Available at: [Accessed 3 September 2020]. Fig 2.20: SA Home Owner, 2014. Spas Offer A Similar Experience To Past Bathhouses.. [image] Available at: [Accessed 4 September 2020]. Fig 2.21: Chaudhary, P., 2018. Phenomenology Can Be Experienced Through Multiple Forms. What Emotions Does This Image Of Freshly Made Dumplings Evoke Within Yourself ?. [image] Available at: [Accessed 4 September 2020]. Fig 2.22: Riboud, M. 1955. The light through the use of architecture helps create special moments within the Turkish hammam. [image] Available at: [Accessed 4 September 2020]. Fig 2.23: Binet, H., 2007. A model of the Therme Spa that highlights the experiential aspect of the building. Scheidegger & Spiess, Switzerland. Fig 2.24: Kow, A., 2020. Diagram showing solid forms, static spaces and movement spaces. [sketch] Fig 2.25: Kow, A., 2020. Diagram showing arrangement of the stone blocks. [sketch] Fig 2.26: Kow, A., 2020. Views that look out into the natural swiss landscape. [sketch] Fig 2.27: Kow, A., 2020. A section through the anteroom showing the use of light and the playing of different levels. [sketch] Fig 2.28: Kow, A., 2020. Different sections through the building showing the different spatial conditions. [sketch] Fig 2.29: Kow, A., 2020. Section through a bath showing the use of light wells. [sketch] Fig 2.30: Kow, A., 2020. Plans and sections through different baths within the bathhouse. [sketch] Page 42 Alan Kow|535203 List of Figures|References Fig 2.31: Binet, H., 2007. The spacing of the roof blocks allow light through at certain angles. Scheidegger & Spiess, Switzerland. Fig 2.32: Binet, H., 2007. The use of the slate rocks and materials from the local context. Scheidegger & Spiess, Switzerland. Fig 2.33: Binet, H., 2007. The transition from one level to another. Scheidegger & Spiess, Switzerland. Fig 2.34: Binet, H., 2007. How water is used to further the experiential aspect of the bathhouse. Scheidegger & Spiess, Switzerland. Fig 2.35: Inagawa, T., 2020. The Entrance Takes You Through A Comfy Courtyard. [image] Available at: [Accessed 5 September 2020]. Fig 2.36: Ofuro Ousama, n.d. A Front Elevation Of Ofuro Ousama. [image] Available at: [Accessed 5 September 2020]. Fig 2.37: Yamada, M., 2020. Corridors Are Long But The Negative Feeling Is Negated By Large Windows That Look Into A Garden.. [image] Available at: [Accessed 5 September 2020]. Fig 2.38: Kow, A., 2020. An analysis of the overall program within the bathhouse. [diagram] Fig 2.39: Kow, A., 2020. A diagram of the overall circulation within the building. [diagram] Fig 2.40: Ofuro Ousama, n.d. A compilation of aspects that are critical to the overall life operations of the bathhouse. [image] Available at: [Accessed 5 September 2020]. Fig 2.41: Tripadvisor, n.d. Compiled Photos Showing The Non-Bathing Facilities Within The Building.. [image] Available at: [Accessed 5 September 2020]. Fig 2.42: Ofuro Ousama, n.d. Compiled Photos showing the bathing facilities within the building [image] Available at: [Accessed 5 September 2020]. Page 43Alan Kow|535203 CHAPTER 3 Phenomenology of the bathhouse 3 Fig 3.1 The movie Spirited Away captures the essence of an Asian bathhouse and presents it to the viewer through great animation, sound design and story. CHAPTER 3 | Phenomenology of the bathhouse Content 3.1 The suburb of Cyrildene 3.2 Phenomenology within Cyrildene 3.3 Life within Derrick Avenue 3.4 A bathhouse in Cyrildene imagined 3.5 Cultural identity as a means of urban regeneration 3.6 Food, taste and memory 3.7 Food as an ethnic identifier 3.8 Experiencing phenomenology through nudity 3.9 Approaching water 3.10 Being Multicultured in a Monocultured world 3.11 Naked Architecture 3.12 The bathhouse, its function and its spatial characteristics 3.13 List of Figures 45 46 48 49 51 53 54 55 58 59 60 63 65 Page Page 45Alan Kow|535203 Phenomenology of the bathhouse|3.1|The suburb of Cyrildene 3.1 The suburb of Cyrildene Cyrildene is an Eastern suburb within Johannesburg. The name Cyrildene was brought about after the key land developer, Mr Cyril Cooper, who bought the rights to the land from members of the Bezuidenhout family who had intended to call the area ‘Northcrest’ instead(Raper,2014). The area is surrounded by the suburbs of Linksfield, Observatory and Bruma and is most notably known as being the location of the ‘New Chinatown’, with its predecessor(now aptly named ‘Old Chinatown’) located in the inner city on Commissioner Street. The area has the advantage of being close to the ‘Ring Road’ highway that surrounds most of the greater Johannesburg area and is relatively close to the O.R International airport making it an ideal location for new travellers to come and visit. However, Cyrildene also has a much deeper history with some records showing it already being an established neighbourhood by the 1930s with a strong middle-class Jewish heritage that still exists today(Doucakis, 2007). In an article by Kathy Munro writes, “It was a beautifully laid out suburb with winding roads and curious turns and link points. It was a consciously green suburb from the start with the nearby Harvey Nature Reserve, Oldroyd Park at the top of the hill, a small park on Cyril Crescent and Dixon Park off Aida Avenue.” (Munro, 2019) A very walkable area that she enjoyed taking strolls through when she and her husband had the time. A feature that can still be enjoyed today albeit with caution due to the rise in crime over the past few decades. Fig 3.2 An early undated map showing the initial town planning within the area. Page 46 Alan Kow|535203 Phenomenology of the bathhouse|3.2|Phenomenology within Cyrildene 3.2 Phenomenology within Cyrildene Phenomenology can be analysed through different forms. It can be experienced through the way the residents of different backgrounds interact with each other. These people could be from the Jewish community within the neighbourhood which have vastly different life experiences as compared to the current Chinese residents as compared to the locals who are from neither community but have made this area their home. The sounds of the children playing soccer within the Jewish school on Aida Avenue or the smells of fresh Chinese cuisine on Derrick Avenue or the tranquillity of the neighbourhood parks are all phenomenological factors that could be explored within Cyrildene. The history of Cyrildene also leaves behind remnants of past experiences. Evidence of this can be seen through the residential buildings within the area. Most of the properties are medium to large and have very spacious yards which show that people back then appreciated having a space to enjoy the sunlight touching their skins or perhaps listening to the sounds of nature. When asking some of the residents the question of whether or not they felt safe being in closed environments approximately 75% of the answers were ‘Yes’. This shows that the feeling of safety is an important factor if one were to experience a space. People more often than not enjoy spaces that bring them a sense of comfort and that is what these ‘secure’ spaces provide. Another aspect that is linked to this secureness and phenomenology is the comfort that is provided by being able to walk the streets. Being able to see your neighbour and having an active street front allows users within those areas to not only experience a certain freedom but also provides an experience that not a lot of spaces within Johannesburg provide. These factors more often than not create a positive imprint within our minds and as such acknowledging that these factors exist and are pertinent to explore is part of why phenomenology is such an important design driver. Fig 3.3 The houses are built on a steep slope allowing great views towards the east. Fig 3.4 Cyrildene Shul still serves the Jewish community Page 48 Alan Kow|535203 Phenomenology of the bathhouse|3.3|Life within Derrick Avenue 3.3 Life within Derrick Avenue Derrick Avenue is a street located within Cyrildene. It is one of the main attractions of Cyrildene because it is the home of the ‘New Chinatown’. This Chinatown holds great cultural interest within Johannesburg due to the multitude of East Asian influence contained within its boundaries. For instance, one activity that can be found within is the selling and buying of imported oriental foods and products at affordable prices or perhaps one would like to have an authentic taste of China or even a bit of Thailand through the abundant array of restaurants and street food vendors. Derrick Avenue is also home to some affordable rentable spaces that are often exclusively available via word of mouth. These spaces are inhabited by family members and friends of the existing community within the neighbourhood, thereby creating this cycle of self- sustainability and growth. You can also find the odd massage parlour, tea house and karaoke spot if you know where to look or if you don’t, the locals within the area are always happy to help provided you make an effort to communicate past the language barriers. All is not sunshine and roses in the area though. Numerous complaints are raised within community meetings about the area which include crime, overcrowding, illegal parking, illegal building, and dumping. (Bodasing, 2014). Although this has led to a rather negative attitude even going so far as to promote the departure of residents to other areas within Johannesburg, there has been a recent trend from within the Chinese community itself to combat this. Efforts such as the establishment of a private Chinese policing forum have made it so that not only is there an increase in the safety factor within the neighbourhood but also that there has been an increase in the communication between the local community and the local government. Through this forum, dialogue and diplomatic endeavours are more easily and readily realised within the neighbourhood. (“Chinese community shares challenges with President,” 2013). Fig 3.5 An assortment of activities happen within the street ranging from shopping, eating or perhaps even getting your hair done. Page 49Alan Kow|535203 Phenomenology of the bathhouse|3.4|Bathhouse in Cyrildene 3.4 A bathhouse in Cyrildene imagined As mentioned previously Cyrildene is currently suffering a degeneration due to factors such as illegal building (Mbavhalelo, 2018), lack of maintenance etc. (Vilakazi, 2016). One of the problems of this has led to residents and business owners leaving the neighbourhood for other areas such as Rivonia or Sandton. Although this is but one of the problems that the area faces, the strong cultural presence found within the neighbourhood seems to be the factor that always brings people to it again. Due to the efforts of the current community within Cyrildene, this effort to preserve the cultural presence has largely remained up kempt. Examples of this are the creation of the private community policing forum and the community-funded gates that exist on both sides of Derrick Street. The pair of these 2 gates or arches, costing approximately R2.4 million for the both of them, were privately funded by the community within Derrick Avenue. (Ho, 2013) As such these gates are a cultural representation of the community’s ideals. They are “bold, ornate and deliberately over the top” (Ho, 2013), providing a bit of insight into the mindset of the community itself. From it we can see that there is a proudness of the Chinese heritage, an invitation to others but also a proclamation stating that you’ve now entered an area that is dist