PETER ZUMTHOR

THERME VALS
Analysis
In his project of building Therme Vals, Peter Zumthor has incorporated and realized
phenomenology. This particular building displays his understanding of modernist construction and
detailing as means to create architecture that engages all senses. He has explored tactile and
sensory qualities of spaces and utilized them to create a dramatic and experiential atmosphere,
while maintaining a minimalistic feel. As a result, the spa’s architecture produces intangible
experiences by playing with physical materials as well as light and shadow.

The architectural philosophy of Therme Vals can be analyzed by exploring various aspects of its
construction, structure, material and location and also on the basis of how they are perceived.
Firstly, it is necessary to acknowledge that the architecture of Therme Vals, despite being visually
rich and captivating, does not impose a bias towards vision and suppresses other senses. Instead, it
somehow incorporates the entire cosmic body to create a multi-sensory experience. This is done by
balancing and contrasting all elements of the architecture so as to invite the senses of the spectator
to aggressively seek the created drama rather than passively receive it.

The building has been designed in such a way that it dominantly contrasts Vision (by playing with
light and shadow so as to create distance and separation and therefore, inviting the person to
survey and investigate) and Touch (by giving special attention to materiality, detail so as to create a
feeling of intimacy and approach). Additionally, the sound of water as it interacts with stone in the
otherwise silent interior creates a calming auditory experience. In my opinion, the architect has
considered to add to the ambiance by carefully articulating the interaction of different materials.
For example, stone and water, steam and light combine to create something unique and nostalgic.

The building has a very natural appeal to it as it is constructed from natural elements like stone,
water, heat and light in a very non-conventional combination. The idea was to form a cave-like
structure and avoid any artificial integration. Therefore, Peter has imbedded the building with the
mountain landscape. This has been achieved by sensual stimulation building the structure of the
facade with stone extracted from within the same valley. Moreover, the roofs are grass-topped so as
to mimic the surrounding meadows. Apart from the intentionally created geometricity to reveal its
presence, the rest of the exterior harmonizes with the landscape in terms of its solidity, rigidness
and color palette. Deliberate attention to the tactility of the façade has achieved this effect. This is
perfectly in accordance with the purpose of the building ie; to provide a natural but intimate space
around the naturally occurring hot springs at the rear .The architect’s intent was to revive bathing
as a spiritual ritual as it once had been in mythological times.

While analyzing the floor plan of Therme Vals, the individual rooms, showers and different bathing
zones initially seem to be very haphazardly placed. However, on observation one realizes that the
circulation of the interior space has been very thoughtfully articulated. There is a sudden desire for
discovery as soon as one enters. This unknown desire is aroused due to perception of tunnels as
mysterious and directionless. The narrow entrance corridor which can be only be accessed by the
interior of a nearby hotel suddenly opens to an expanse of water. The plan does not give
instructions or automatically direct the visitor to a particular direction. This must give a sense of
freedom. The modelled path of circulation leads bathers to predetermined points but lets them
believe that they are choosing their own paths. This effect has been achieved by using varying zones
of light and dark.

To let the atmosphere of the architecture penetrate the consciousness and give a spiritual
experience to the viewers, light has been accentuated. The overall lighting is dim and mellow which
makes depth and distance ambiguous. I think this evokes a trance-like, meditative state. However,
natural light penetrates the space through gaps between the roof units. These rays of light not only
have a sense of tactility to them but they create smooth contrasts between bright and dark. The
gaps on the roof make the heavy ceiling seem light and floating deceiving the fact that the space is
under heavy mass. This combined with the immense height of the ceiling creates an open and
dreamy feel despite the space being enclosed, underground. Peter has very dexterously
manipulated the senses of the observers to perceive the contrary.

Zumthor has also taken into account the temperature of water and has combined this with lighting
and colour to create different zones. The lighting and colour of each zone is designed with relevance
to the haptic qualities of water. The baths where the water is hot, calm red lighting is used and
concrete walls are tinted red, while where the water is cold, the lighting is blue. The size of the
pools is also varied. This has an implication on the acoustics apart from creating a cave-like
experience. The varying intensity of sounds in different sizes of pools enhances plasticity of the
experience. Interestingly, the varying echos must instead create a sense of connection and unison
among the outdoor and indoor pools.

Therme Vals is truly connected with tactit wisdom of the body. Its appealing outlook first invites
the eye and then stimulates muscular sensations into a state of tranquility. The walls give the
impression as if the building has been made stone by stone and that the construction itself is guided
by haptic senses. The concept connects us with the old traditions of bathing holding the visitor
detained in time and in awe. The experience of solitude connects the archirecture to the self.

AREEJ

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