Tamina Thermal Baths by Smolenicky & Partner Architecture The architects at the Zurich based Smolenicky & Partners, designed the Tamina Thermal Baths for the Grand Resort in Bad Ragaz, Switzerland.
Full description after the photos….
Photography by Roland Bernath, Walter Mair, and Smolenicky&Partner
Description of the Tamina Thermal Baths project by Joseph Smolenicky:
COMPETITION
The project for the Tamina thermal baths is the result of a two-stage competition from 2003. The aim of the first phase of the process was to coordinate the large pending architectural interventions in terms of town planning. Where should the new five-star hotel be located, where should the extension of the medical centre be set, and how should the new public thermal baths be accessed from the site? The plan was to invest and coordinate a total of SFr. 160 million in new constructions and structural alterations.
The second part of the competition involved designing the project’s two major new constructions – the hotel and the thermal baths. The architectural office Smolenicky & Partner won the project for the Tamina thermal baths, Hilmer & Sattler and Albrecht Architects the project for the new hotel.
LANDSCAPE SITUATION
The town-planning character of the resort is dominated by large representative buildings set in an expansive park landscape. To this extent the resort clearly distinguishes itself from the identity of the village of Bad Ragaz. During the belle époque this principle of building monumental hotels in close vicinity to a village was successfully applied to a number of locations in the Swiss Alps. The most important examples are Interlaken, St. Moritz and Gstaad. In Bad Ragaz two cul-de-sacs fork off from the main road that runs through the golf course connecting Bad Ragaz and Maienfeld. In the new project the thermal baths were deliberately located on the cul-de-sac accessing the resort’s public facilities, such as the new conference centre in the renovated spa spring hall, the casino and the golf club house. The second cul-de-sac running along the park has been kept free to provide access to the three grand hotels, and emits a more private and calmer atmosphere.
FORM AND EXTERIOR SPACE
Instead of being freestanding, the form of the building volume emerges from the enclosing of exterior spaces. In the area of the open-air baths, for instance, the volume of the building is stepped back and opens out the sunbathing lawn to the wooded slopes of the mountain ridge. The view extends past the existing buildings, screened by newly planted groups of trees. The guests experience a park landscape that melts into woods and mountain slopes.
The predominant landscaped, park-like atmosphere remains intact despite the compact manner of building. Thus the resort remains characterized by its park. The main entrance to the thermal baths, the spa spring hall, is set on the visual axis of the cul-de-sac in order, from the main road, to mark its presence in the depth of the site as a public facility.
CRITERIA OF THE BUILDING
The Tamina thermal baths is explicitly conceived as a part of the grand-hotel culture. The cultural and aesthetic identity of the project seeks an affinity to both Swiss tradition and the grand hotels of the Baltic coast, such as Heiligendamm.
For this reason the building volume has a monumental character, in order to stand out as an institution equal to the other buildings in the resort. Simultaneously the thermal baths are intended to relativize the almost “urban” stonework character of the spa spring hall. This explains the snow-white woodwork of the thermal baths, lending it the pavilion-like character of the architecture of a historical holiday resort.
This strategy of using an explicit resort architecture is underscored in the building’s formally fanciful oval windows. Seen from the inside, the windows have the effect of over-dimensional picture frames. Oval picture frames were widespread in the Victorian era for landscape scenes, whereby the intention in the current project is to give specific expression to the view over the relatively neutral landscape by means of the gesture of the frame.
INTERIOR SPACE AS A “FOREST”
Metaphorically the creation of the interior spaces of the project has an analogy in cutting clearings in the pattern of a forest by felling individual trees. This is the reverse of the common design process. The exterior spaces are similarly created by “felling” supports on the periphery of the building volume. Structurally the building can be more or less seen as a forest, created out of columns instead of trees – a total of 115 supports using the timber of 2,200 fir-trees (this amount of wood is regenerated in Switzerland in two-and-a-half hours).
EXPRESSION AND MATERIAL
Materially the project possesses the same appearance internally and externally. The snow-white timber battens are carried over internally as wall surfacing. In this sense there is no actual interior architecture to the building, but instead only a whole architecture of the building.
The timber structure of the building is not merely determined by the criteria of the span of the supports. Instead of a focus on the engineering of the function of the supports and the reinforcement of a construction, the structure concentrates far more on spatial phenomena, creating a beauty and a ceremonial atmosphere. Bathing is celebrated as a cultivated activity.
说明塔米纳温泉由约瑟夫Smolenicky项目：[/BG][/BG]
竞争[/BG][/BG]
为塔米纳温泉项目是从2003年两个阶段的比赛结果。[/BG] 该进程的第一阶段的目标是协调在城市规划方面的大型建筑前干预措施。[/BG] 应该在哪里新的五星级酒店位于，在那里应该是医学中心扩建设置，以及如何在新的公共温泉是从网站访问？[/BG] 该计划是投资和协调总瑞士法郎。[/BG] 1.6亿新建筑和结构的改变。[/BG][/BG]
是次比赛的第二部分涉及的设计项目的两个主要新建设 - 酒店和温泉浴场。[/BG] 建筑设计处Smolenicky及伙伴赢得了塔米纳温泉，希尔默＆萨特勒和Albrecht建筑师为新的酒店项目的项目。[/BG][/BG]
景观现状[/BG][/BG]
该度假村的城市规划特点是占主导地位的大代表在膨胀公园景观设置建筑物。[/BG] 在这个意义上的度假胜地明确区分了拉格斯村的身份。[/BG] 在这个美丽年代建设紧密不朽酒店附近一个村庄的原则成功地应用到的地点在瑞士阿尔卑斯山的数量。[/BG] 最重要的例子是因特拉肯，圣莫里茨和格施塔德。[/BG] 在拉格斯2尽头囊叉的主要干道，通过高尔夫连接拉格斯和迈恩费尔德当然跑开了。[/BG] 在新项目的温泉刻意位于旁的小路，进入度假村的公共设施，如囊中的装修斯帕斯普林厅，赌场和高尔夫球会所的新会议中心。[/BG] 第二个尽头小路沿着公园跑步一直保持免费提供进入3大酒店，并发出一个更私人和平静的气氛。[/BG]
形式与外部空间[/BG][/BG]
而不是被独立，建筑物的体积形式出现从外部空间包围。[/BG] 在露天温泉区，例如，建筑物的数量是向后退了几步，打开了向日光浴草坪山脊的树木茂盛的山坡。[/BG] 过去的观点延伸现有建筑物，新种植的树木由群体筛选。[/BG] 客人们体验到公园的景观，森林和山地斜坡融化。[/BG][/BG]
这主要园景，公园的气氛依然不变，尽管在建设紧凑的方式。[/BG] 因此，度假仍然受公园的特点。[/BG] 正门的温泉浴场，温泉水疗馆，设置对旁的小路，小路的视轴的顺序，从主要道路，以纪念其在该网站作为一个公共设施的深度存在。[/BG][/BG]
准则的建设[/BG][/BG]
该塔米纳温泉是明确被看作是一种大，酒店文化的一部分。[/BG] 该项目旨在文化和审美特征的亲和力都瑞士的传统和波罗的海沿岸，大酒店等海利根达姆。[/BG][/BG]
基于这个原因，有一个巨大的建设量的性质，以平等的立场，作为一个机构，在度假村内的其他建筑物。[/BG] 同时，热浴的目的是相对化的几乎“城市”春天的温泉大厅石方字符。[/BG] 这解释了温泉雪白木工，出借了一个度假胜地的历史建筑亭子样的性质。[/BG]
使用这种结构的战略是明确的度假村中强调了建筑物的正式幻想椭圆形窗口。[/BG] 从内部看，窗户享有对立体相框效果。[/BG] 椭圆形镜框非常普遍的景观场景，即在本项目的目的是提供具体体现在由该帧的姿态手段相对中立的景观维多利亚时代。[/BG][/BG]
室内空间作为“森林”[/BG][/BG]
比喻了该项目的室内空间创造了一个削减的森林砍伐树木个体模式由结算比喻。[/BG] 这是常见的设计过程相反。[/BG] 外部空间同样创建“砍树”支持对周边建筑量。[/BG] 从结构的建设可以或多或少看到就像一座森林，而不是创造出来的列的树木 - 共支持了115个使用2200枞树（这是木材的木材数量在瑞士的再生在2 -和- 1 -半小时）。[/BG]
表达与材料[/BG][/BG]
重大项目具有同样的外观内部和外部。[/BG] 雪白色木材淡黄的内部结转为壁表面。[/BG] 从这个意义上讲，没有实际的内部架构的建设，而是只对建筑物的全部结构。[/BG][/BG]
该建筑木结构不仅是由大跨度的支持的标准确定。[/BG] 而不是对工
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