Len your SAF ot Muscinen, push of into she lake of thought, and leave the breath of heaven to swell yowe sal, With your eves open. awake to what isabout or within you, and open eonsersation with yourself For sul is all meditation: H is however nts conversation in words alone, Fa iis ilstrate ikea Toctiee with diagrams ad with wsporinents. ‘Charles S. Peirce The Pneumatic Bathroom Marco Frascari Ua IN EHS TEG In) PROMOTING AN ANGELIC VIEW OF FLUMBING As everybody can tell by walking through a newly completed building, con reas a harmful smell. This curious ph temporaty architee ymenon is, part of at intellective process that Peirce calls the play of *musement Progressing into the play. the mephitic properties of contemporary archi tecture are understandable, but not acceptable. To Fight ths fetid condition | penned the following essav, which | perhaps should ttle: The Spiritual Enigma Of The Origin Of Humanity And The Happiness Bathroom Imagination Reflected In My Design For A Dream House Tt Originated In A Curious Examination OFC. Searpa’s Design Of Bathroom ble with the ones used by Lina \Wertmuller in her macatonic movies, is too long, Notwithstanding the fact ‘This title, which is commensui that Lam interested in macaronic language and its influence on creative criticism, 1 cannot impose it on my wonderful readers. The short ttle I have selected instead possesses its own arty spirit. This is because the real value of a bathroom for human existence can only be understood through the power of the ars macaronica.* Ostensibly, at this point, I should sum ‘mon for help the same powerful must evoked by Giordano Bruno in his La Cena Delle Comer(Or qua te gh dole Malina che x le musa di Merin Coat By now 1 veally need thee. sweet Mafelina, who ate the muse of Merlinus Coca | need the euphonious muse of Merlinus Cocaius—Teofilo Folengo’s pen-name—the conteiver of the macaronic att, to give me the ‘oratorial flair necessary to carry on this "exercise." I need Mafelina’s gift ‘to unfold my musing and analogical thoughts on plumbing, 1 have graphically elaborated these thoughts on plambing in a recent conception ofthe design for the bathrooms of a Dream Tower. | am. going to use them as pretest for construing architecture as the source of vita brata: and to air the idea that the work of the architect is to design @ place for “happiness.” & beautiful existence, a vita beata, is a way of life free from impairment caused by psychic activity." Architecture promotes a beatific life when it increases her inhabitants” potential for investing in psychic ability. Unfolded in a macaronic progression, my thoughts on the bathroom as the pneumatic core of a house for vita beata aim to stimu: late someone else's architectural spirit Dreaming up buildings is the best way for putting together an architecture conducive to a vita beata.” Macaronic wondering is always a constructive dream, demonstrating that the architectural discipline is stil and will always be sustainable, exible, and fertile. As Ihave already noted, this macaronic musing is based on the house tower I designed for an exh bition at the Contemporary Art Center in Cincinnati called “The Archi tect’s Dream: Houses for the Next Millennium.”? My notion of the bathroom asthe enicety of the house-tower results from oneiromancy. By predictive dreaming, | do not mean Freudian spor, but rather a creative manner set in the Peurceian mode, ofthe lume naturale. These are images | generated during the wakefulness of slumber, in ray daydreaming.® I will work my macaronic way surreptitiously, with the hope that iy crusade in favor of bathrooms will help to ring architecture back to ts original function.” My aim isto restore within the art of building its orig nal scope: the production of numinous rooms"® where a vita beata, 4 happy” life, can take place.” Before consulting the oracle of Trophonios at Bolatia visitors used to drink from two fountains which were called the water of Lethes (Forget Falness) and the water of Mnemosysne (Memory ater they were to set upon a char called the throne of memory (Thronos Mremosvsne). Pausanias 9.39.83, Under the spell of the modern goddess Hygiene, bathroom hie design has lost its capacity to become the focus of relaxing. ps activity. Inste metonymic space—a closet of secret constrains."' The bathroom is no the bathroom has become a place—or better, a longer considered signifying place where a sacred spring or a mundus é located, but rather a space where water is present and should be swiflly removed with hydraulic efficiency: tt isa space that can be determined on the one hand by what the Germans call existenz minimun,"* or on the other by the partial or total refusal of that code, and by construing the spice under the mandate of 4 “de luo” design lavishness. In other words a bath can be conceived within Spartan rigor or as tasteless ostentation of ‘material wealth." This ambiguity reveals that oue moder attitude toward bathrooms is Manichaean, grounded in what Louis Kahn would have prob ably called the “volume zero” of the crumbling history of architecture. My curiosity about the nature and design of bathrooms arose dur ing my professional training, which took place in Verona. «city abundant with Roman hydraulic dreams.” In the office of Arrigo Rudi Architetto, during the development of any design, ous first task was the meticulous refinement of the plan and sections of the bathrooms and the layout of the ceramic tiles. These bathrooms never employed plan diagrams published in the lalian graphic standards, the Manual dell Archiretto. Instead they were custom-designed every time, the result of a slow process of refine: ‘ment that often took the same amount of working time as the remaining part of the design. At the beginning, I was annoyed by this waste of time. However, a few years later, during an after-dinner consideration, while 1 was eyeing Carlo Scarpa’s plans for the Fondazione A. Masieri in Volta Canal” I came to realize the importance and the transcendence of the design of bathrooms. Like Paul on his way to Damascus, it dawned on me that the bathroom was the ideal place for fostering a beatific life It is the tunly metaphysic place left within the mundane metaphytic house, the last locus of architectural union between voluptas and venustas, between sacred woonyiog anowinaug ays + ravasvesand profane."* The bathroom, in current architecture, isthe terminal sta tion of the pneuma that leads our lives toward a beatific state, the last domicile of Synesius’ phantasikon pneuma,"® of Bruno's. spiritus Jantasticus:*® This preuma or spirius dwells in the bathrooms as a reminder of when the pneuma freely flowed through the totality of the house, making human dwellings always nurainous places What was it that struck my soul as I looked at Scarpa’s design of bathrooms? It was the relationship between the placement of the bath rooms and the plan of the building. In most of the buildings 1 had col- lected for my design library, a bathroom was successful fit didn't stick out like a sore thumb in the layout of the plan. It did not matter if they were de-luxe or minimum existence bathrooms, The geometry of the bathroom was subdued; it fit the dominant theme of the plan configuration. Scarpa's bathrooms ignore this convention. Inthe plan of the Fondazione Masier as in many ofhis other designs, the bathrooms are the domi tural theme within the symphony ofthe plan. A 1915 advertisement by Trenton Potteries demonstrates exquis- architec: itely this understanding of the bathroom pneuma (Fig. 1} The ad depicts a luminous and ethereal bathroom at the heatt of a house shown in silhou: ette. This bathroom, projected into the house through a clever manipula tion of scale and perspective, is not lit by the light that comes from a window or an electric fixture: itis illuminated by the divine radiance of the spiritus fantasticus. What this commercial image visually proves is that the bathroom is a numinous place. The numinous manifests itself as a power or a force that is different from the forces of nature.” Musical instru e195 advonisement foe Trenton Potteries Company ‘ments, architectural forms, beasts of burden, vehicles of transportation, and prostheses have been and will always be numinous objects. ‘The bath numinous place.** During the everyday use of the bathroom, hierophanies can take place. A hierophany separates the thing that manifests the sacred oom is a place of numinous objects and itis in itself from everything else around it. Hierophanies can become symbols that are then translated into symbolic forms, These forms become sacred, because they embody ditectly the spirit or power of transcended beings. For exam ple, the pearl throughout history serves as a symbol or a numinous object representing a cosmological center that draws together key meanings asso ciated with the moon, women, ferility, and birth, The same can be said about the bathroom and its objects, since they can draw together meanings of initiation, love (both profane and sacred}, beauty and ugliness, mutation and transformation, and birth, The bathroom manifests mundus (Greek di) and walk out kosmos): ve walk in unclean (in lalian, rhetorically: imo clean (again. in Htalian: mondi."* The bathroom is the last architectural artifact where an understanding of the cosmos is present as a symbolic expression of a human cosmo: ‘The cardinal role of architecture is to make our life congenial and ny anid cosmetic quintessence, satisfying, in other words. to make ita numinous place fora vita beata. The proper professional should be concerned with the constitution of these ‘numinous places. The numinows place is a particular place dealing with tion—the holy dimension of the canonical dimensions of inhabit dwelling, Such a place emits a sense of well-being. A numinous place is a special ambit that stands fora holy place, minus both its moral and ratio hal aspects. It is a non-rational place of well-being, In numinous architee ture, buildings are therapeutic, and within them we can have a beatific life. ‘Andtea Palladio's villa, perfect places for the vita beata, are idylic demonstrations of a numinous architecture. Their numinous rooms are the result of a triple integral of numinous constructions. Their measures, decoration, and proportion concern time, place, and personality. Palladio’s rooms—in Italian, his stanzas—ae therapeutic places where someone can enjoy a respite from the worries of human and environmental negotiation. “They are places for the non-rational presence of otium, the spiritual sine qua non of the vita beata, In these spiritual villas, no one room is labeled “bathroom”; the majority of these rooms were numinous. Consequently, the performance waoonyiog aH0uinang 244on wed Lt en Volta di Canal, Venice, ab of bathing or other bathroom activities could take place in any of the rooms, The virtuously happy owners of a Palladian villa could enjoy beatific ablutions or discharges, in the “room of the muses” or in the “room of Seasons.” They could do it looking out in whichever dixeetion was more visually nd thermally delightful, or even having the slipper-bath ot the commode dragged before an open fire."* The beginning of the industrial revolution and the invention of cheap plumbing and bathroom fixtures fixed the location of the bathroom, a necessary space in the back. No longer would the residents ofthe house lose breath carrying hot water from the kitchen to the portable bathtub; no longer would they have to look for the chamiber-pot under the bed or in the night-stan. In Halian, we say that a building is of a “large breath” (di largo respiro). Numinous places are always of large breath, since they are truly expressions of pneumatic architecture. My use ofthe term pneumatic is clear by now: I do not mean inflatable or mezely aerated architecture, but architecture where preuma or spit is a living presence. The building or the roomn then becomes either a deity or a machina, a pneumatic machine. The bathrooms of Scarpa’s Fondazione Masieri (1968) are exem- platy pneumatic machines Fig. 2); they ae small rooms but they make the place of large breath. The cylindrical bodies ofthe bathrooms determine completely the space of the upper floors of this small building. The origi nal program, housing for architectural students, required an environment ‘that could foster architectural creativity. In these bathrooms, necessaty fix tures become sacred fonts, the springs where the nymph Egeria displays her phenomenological expressions. Tectonically, these bathrooms are cylinders coated on the outside with 3 gleaming and wonderfully colored stucco lucido, which on the inside resembles a womb. They provide the ‘means of creative ogress.” In their tectonic power and in their lustrous plaster omnipotence they reveal the lustral power ofa font, where water is analogous to the amniotic liquid within which life originated and which facilitates birth. These bathrooms are perfect analogical details far a lunar building consecrated to the training of the mother-architect.“* In these bathrooms dwell the extraordinary scented spirit of architecture. Scarpa is an architect who knows how to deal with the affairs of water in a building. Unlike many of his professional peers, lhe has not forgotten the joy of water, nor he has overcome his fear."? For instance, Scarpa’s design for the Fondazione Quenn-Stampalia in Venice does not prevent the aqua aita, the high tide water that constantly floods this maritime city, from entering the building; here he employs neither visible nor invisible waterproof barriers or restraints. His architecture 8 lets it back out of the building when the tide lowers." In the bathroom, this dimension of water becomes sacred. In this inner aedicula the detail ing of the floor is analogous tothe detailing ofthe ground floor of Querini Stampalia, ready to deal with the aqua alta caused by the shower or an overflowing toile. The bath is a microcosm, a model ofthe macrocosen of the edifice. The combination of shower, basin, and toilet within the cylindri cal bathrooms of the Fondazione Masieri becomes a stanza da bagno (coom for bathing). To a superficial eye reading the plan, the circularity for the baths will appearas a presence of monoblocs expressing the smooth: ness of prefabrication. They are not interstitial spaces that have become overgrown columns. Within the triangular plan ofthe existing shell they become stanzas for and of thought, just like stanzas composing a poem.“? This idea of the bath as a stanza is revealed clearly in another design of Scarpa, the Villa Ottolenghi (1974-79) in Bardolino near the Lake of Garda, To enter this house it is necessary to descend within allows the water to come in, making it part ofa joyful event, thenvs 1 closet (shaded srea at appe ly Cal Srp Plan for Vila Otolengh he lake of Card nc Second Solio baths fom as an oval (shaded sea at upper le) mother earth. Inside, the “r00m for bathing” is the stanza ofthe stanzas making the poem of the house. The Ottolenghi house isa highly therapeu tic edifice. Itis a chthonic villa, the roof of which is a threshing floor. a cos ‘ological representation under which the dwelling takes place.” ‘Scarpa achieved the solution for the master-bedroom bathroom through a long process of design refinements. First, the bathroom wes present as the traditional solution, that ofa closet added to the bedroom such that it has no presence or influence within the body of the house [Fig. 3" The bathroom then went through three stayes of design durin which it evolved from a private space to a numinous place that interacts with the torality of the house (Fig. 4} Having received our ablutions in memories and dis nembering Tow turn to memory’s odoriferous throne. The nature and location ofthe ‘odor of sanctity” has always fascinated me, always caused me to put ny ‘macaronic thinking to work, especially since we live in a society that is superciliously proud of heing odorless. as the many, absessive c cials for deodorants on television continually remind us. In this redolent paranoia, hundreds of products that claim to sanitize air and surfaces em an odor of sanity in order to eliminate the odor of sanctity. Such habit proliferate miasmic buildings, an unwholesome architecture, bard :0 deplore because it is odorless. [n ont contemporary cult odor is bad (most deodorants are scented, even unscented ones. which always have some presence of scent). We deodorize our houses the same way we deodorize our bodies. * What kind of sme question with my macaronic grandmother, who su religious education"! she answered: the fragrance of roses and incense, However, fon the annual visit ducing Ognisanti (Halloween) to many holy corpses kept in the churches of Mantua, my nose told me that the odor of sanctity was not a fragrance, but a musty odor mixed with the stench of old incense and cleansing oils. This strange odor is the odor of the pneumatic begin. ning of the principle of our humanity. Gianbattista Vico, in his New Science, argues it bounds human reason, which he identifies with the burial of the dead and, therewith, the immortality of human soul: “After ward, the god-fearing giants, those settled in the mountains, must have become sensible of the stench fiom the corpses of their dead rotting on the ground near by, and must have begun to bury them." For Vico, the odor of sanctity? When I raised the ervised 1our being human begins with the act of covering the putrid bodies of the ancestors with humus, The smell is their ignmortal soul, their spit For Vico, the preuma is a sacred ador of memory. Smell, the strongest sense of memory. isthe key tothe door of the mundus imaginal From this point of view. bathrooms are the modern lo us of the odor of sanctity, an aroma for mental sanity. pneumatic iconostases, the le gates to a beatific life have condensed all these concerns for odor and bathroom nmi nosity in the design of the bathroom for my Tower for the Next Millen- rium. The pneumatic spaces | have designed far my dream house have ineffable and impersonal aspects, although they have been planned in very particular way and can be used in a specific and individual manner. They are nurminous bathrooms and the geometry of their plan is maternal, The ‘materials and the lines of these bathrooms ste tuled by the same geoma- ternal procedures that order the design of the rower." My design procedure began with a sketch of a bathtub in which, an epiphany was taking place. | followed this declaration of intention with, a study of details of the different china objects present in bathrooms, Lastly [ studied the zeometry ofthe bathroom “The frst sketch [Fig, 5 shows an angelic vision, as the way for entering the pneumatic world of architectural imagining, the mundus Imaginalis:a world that is ontologically as real as the world of senses and of the intellect. This world requires its own faculty of perception, namely @ powerful. imaginative faculty with a cognitive function, a noetic value that {sas real as that of sense perception or intellectual intuition. Its a basis 1 demonstrating the validity of dreams, This world should not to be con. fused with “fantasy” that is nothing but an outpouring of imaginings. Following Scarpa. | refused to treat the bathroom as a closet or an interstitial place. Instead I played the geomater of the tower bathrooms. in fone case as an enhancement of the stanza, in the other as counterpart of the main column of the structure of the tower. I based the geometry of, these two numinous spaces on curved lines that recall anthropomorphic references to organs and skins. In the more detailed drawings, the study of the bathrooms is present only in the study of a detail, the basin and the mirror, selected as emblems of the numinosity of the place (Fig. 6). In the final drawing, | have studied this detail in parallel with the compass- \weathervane set on the roof ofthe tower (Fig. 7]. Preparatory sheten showing an piphany taking place mee bath Preparatory sheten ofthe bathrooms ric 7 Marco Fase House forthe Nex Mules.” 3th ‘0m basin and tor wth con4 In the bathroom of the master bedroom, the bathtub interacts directly with the main column (Figs. 8 and g]. It becomes the space of transition between the space of the bed and the elongated niche of the bathroom. Both the spaces are vaulted—finished in stucco lucido—only the space above the bathtub is at, and itis a mirror. ! meant 1 reconnect this configuration to the intention expressed in the first sketch showing the angelic vision the world of the image, the mundus imaginal of architec ture. Like the bathroom, the bathtub is a setting that requires its own noetic faculty, This mirror is homologous with the one Filippo Beunelleschi used to conjure up the perspective image of the ancient bap- tistery, an act he performed three braccia beyond the limina of the cathe- dral of Florence, thereby inventing vostruione legittima, Active imagination is the mirror par excellence, the epiphanic place for images. Lying in the bathtub, ubi becomes ant ubigue. By these bathrooms | aim to promote a beatific existence, @ vita beata, a a form of being with no detriment induced by psychic trials. The attainment of a vita beata, a good spirit, is the goal of human existence. This tower is designed as an ensemble of places for lovers of virtue, Its bathrooms are the loci where the imaginal pneuma or spirit of virtuous happiness dwells. This architecture provokes a beatific life by 1 in psychic efficiency. ic plumbing amplifying her inhabitants’ latent talents of invest The body of the dream-iower is odorous again by the a of her bathrooms. {ny Lost, Lost! Mama! I'M LOST! OH! AM LOST! You ate not lost NEMO. Go to sleep and Behave! Hear? Windsor McCay, ite Nemo in Slumberland ric (above) Marco Fase. plan The Oreamn House or the Next Mi levmiun” Rote masterbedroom 1.9 (ate Pan ofthe master bedroom batt, 1 below) Preparatory sketch "howng the volume of he master bedrooms bathroom ooujog 2nownoug ays» vayasves6 1. ChatkesS, Peirce Collate papers of Charles Sanders Pie, 8 vols. ed. Charles Hartshome and Paul Weiss (Cambridge: Harvard Univesity Press, 19-1938) 6.46t. The work of {Charles Sanders Peirce plays a dominant parte this essay. 2ple” which began in dd half hour increments bur wil soon be converted to ‘clei study ented “Voglia ‘areas sing storing for the architects ofthe next millennium.” “Muse tment” Fr Pec is not solitary mediation, but pragmatic ad poetic abi that canbe translated ino graphic forms, Foran understanding ofthis laf path of interpretative play. see Pere, Collected papers 6458 106,403) Thomas A. Sebeok Carnival (ew York: Mowon.1984):and Gabriella Fabrics, Sle race de ego (Fence: La nuova, 1986) Reverly {realized | am a macaroni thinker. As any oer macaenic person, such a the progenitor Metlnus Cocais, Lam not eoluonary. My point of vew is incompatible swith any great program fo the recording ofthe wold and ny rica hnkng is beyond polis, eligon. or moras s.r ha ivestiats the basi f our comprehen Fon and represeraton ofthe world. Thea of 3 rly aston person isnot eal tion. but demonstaton that sa permanent presentation of monstrons evidence, The rmacaronic it special manner of wean tht allows a successful investigation of the unemprcal by taking anlage resonate athe mind. A macaronic person knows the poe of edible expression hat. nsead of bei sulted or dssimulated. can be simulated bythe reader, Digestng these resonating nd analogical teances, exders re foreed to ary outa phenomenolageal reading, The rpertnce of ths phenome logical reading lies ins thorough enlightenment of theawatenes of a person wonder struck by the associations bul ato the analogeal image. Anon reformed fir who lived most this ifn Cita neae Mantva (ay) under the paternalistic uling of the Ganzage. Teo Foieng. sed the name Merlin Coca sgn his macaronic wet ing The most famous among hem the Hae, The woe macaroni” was coined by Folengo himlf whose foaronie Book (Liber Macuroncs was published i 157. He plans tht the macaroni at 9 lle fom nataron. whieh s“quoddman pues tum farina. caso, boot compupnation. rossi, rec asteanum,” nd e131) Giordano Bran, The tk Wdmeday Suppe-e and trans. EA Goesseln and Lawrence 5. Leer Toronto: Toronto Press 1995) 18, “4 Vita beats wha she Caos pilosophers all adaimona. The atainment of wit beta 2 sod spi was the flo of human essence, an ure vite). For this understanding of tinuous hapines, ee Helen North Pom My t a: Rfeton ofthe Grek Eh Doe frei iratur ad A ithac: Cornell Une ity Pres, 1979), The only architect who fMdvested the fopc of virtuous happiness in an explicit manner is Antonio AveTio, own a Flare The design ofthis tower house ia set of manic projections transforming non-semiotc rmateriale—such as stone, wood, lass, tee, mops, conjuncions-int indeces, 008 in symbols allowing mental joy and despa although 1am completely responsible for the housetower design, Alice Ghum and Claio Sari contbsted labor and thoughts for The Archies Dream: Howes fr the New Milleium” exbiion atthe Cotempo rary Arts Center in Citcnna, November 191993 January 21994. 6. As Novalis (gsuedonym of Friedrich von Hardenber) has suggested in his Allens Broullon, dreams insract us on hefty of our spin penetrating every object and transforming elf in every objet. Novalis, Phlsophial Writing (Albany: State Univer: sity of New York Press 1997): Through daydreaming, the reader can enter my dream oorn Ths the onl eal way to ead drawings of architecture, No othe procedure ‘How a to ranomte the composton of nes describing a future building in a assem ‘vot cenit! oma and deals, Dreaming is the critical, necessary procedure for Ulecigang snd for understanding designs that aim to create an architecture fo > va eaaar is sce Natural Stade of Fraibe Novalis ha indicted tat dreams oi ned inthe peutaltc moversent oft brain snd defined daydreaming as a beatific mate ep), Dreaming is 3 macaroni nite one hand stongiy believe that cl architets should eer fk sbout her ow Cfesige to erplai the theory and the practice of architecture. On theater hand, 1380 voy tact that architect should always present thes dreams, a 3 way tft the ‘esr and the practice ofthe dscipine. The desig presented ere hasbeen a dream Tharelre I can delight in presenting it, On the topic of my drawing see Marca Fras Cina Pill pe Sapnare. Una Casa Mla: Etice Progen. 195) 8. Forte Penecian mode of dreaming, se Vincent Colpietro, “Dreams: Such Stiss Meaning ate Madcon Yersus 49 69AN) 579 and Fabrics, Sule rae dele usa stn spn oa ntaion bythe magazine Mel's dr coment om i dest house, Moc sealers referred 2 e024 cottage and sof color scheres. Many eeader aw tre bthroons a ly rl aid wanted JaCuze See Andres Baunan, “How to gt 1 Maca Oxted 123148 to Numinous ose ples inhabited burma of spr that fics mast of he aap sue or memory These paces ae farce iastnees of materia eau The vRuminoae an arhtecurl ari fi, mangle and invsible significance} oper resin mci with heat nabiting te viral world tht sehitxtura sere hemloes, These assoratwons have always had an motional weg hat cof stry The story (havens tol he fan be undertone tli sehitectur det ofthe act in qin, Stores embrai in deta te he ters ow of emotion. ideas, nd belies within a material cute as The ist poctiuonet fo pint out hat the scope of architecture 0 foster vita eta was Tuva Pandit his Four Boos (570) he tates tha arhtecure helps a person. “0, viene those things that make himjher happy (any appiness can be found down Tete) amar quel ase che lo pon rede ic (e a eas tov a8) Tor he relmonship between beats ad happy.” see North From Myth ofan and Aca ie Sabino Sis da aero iita ids (Mian: Com 1971 see aso ‘equiva, Poe la ica Rome: Lteza 1994) ta. See Georges Vigatllo, Le propre ee sale: gine dcp dep ie Mayen Ae (ars Ls Seu 1985) This the ist monograh that deals direct with the correspondence i the change of body perepions and socal cleanliness. The study focuses onthe evolution oatnrcom lie in France since the Middle Ages. The Midale-Age bath that had served stenanon and pleasure ater than hype i perceived sa serous treat forthe OPE fored baroque body whose interior in constant fx and upheaval The work is parc Iaystong on sevetcenth and eighteen ceaury documentation. 15, Set Alan Stewart. “The Ealy Modern Closet Discovered,” Representations 50 (Spring 1955) 1, Wiha the dicipline of architectre the word exten appeared during the Modern Mowe rent anti generally elated othe minimum standart for ving, Extent isa pecaliar wooog suownaug ays WAVDsva{German word hat made te way into architectural thinking in the lesion exten min mam, but ant be ransated ino the English cognate “minimum existence” 1s, The idea of “de hve" design andthe problem of ambiguous atstudes ward bathroom: ‘anons canbe explained by knowing that the idea of lamar asso) devs ftom lechery and ust sr “The thought elaborated here originated during my taining as professional inthe office fof Arrigo Ral. wheze [worked foro yar afer graduation atthe [UAV in Venice fu is the arhitect who helps Carlo Scarpa daring the woek of tansformation ofthe Museum of Catevecchio. in Vsona. Among the people working inthe oie there was the song belie ha this absorption with the bathroom was one ofthe many “carps ‘or Scarpat” tht Rd had im his ago designe. Indeed. Scarpa was completely in Tove with the designing of buenos: One of his ort dinner stories was how wonder trick he was when he vse the ath athe Fou Seasons Hotlin New York. du tng sony tego the US. 17. Anglo Masien a soung atest rom Udine, was s pupil and collaborator of Cato Searps, Masi in carers o his way to pee! study of arehectre with Fran Ula Wight Argon, 1953, Aer is death, the parents who had comms sioned Wright o design tee house m Vota di Canal om the Creat Canal in Venice Changed the ope the des an dis to ul a special residence for students in brehsesture, Ater Wrights design wa refed ya ety administration that could aot Tuaerstand the fie of Venice or the importance of architecture fri the building Stood 3s empty sll unt wachod nea collapse. At that poe, Vleianno Pas, De of the est puis of asp wa commision to design the tudent fly. After Pastor restore the alls the commission was en 9 Calo Searp. Searp ded belore the ompetion fhe ing, It a8 completed by Franca Semi. who ad collaborated ‘nth Scarpa on ths design rm the binning, Today the building serves sa museum Indevhibtn spa which desta alter the magic qualities ofthis aifc or ache tral ifeation 18 A propery numinows bath belongs to what Alberto Sartors calls Arita dell Matus, See Alberto Sartor. cela archtara (Pamphlet Architecture No. to) rane Ty. Gltaker and Diane Ghiardo (New York: Pamphlet Architecture Lid toa) and eee so Santor, Casual de ration hese des arts, 1985). 1g, Syne of CiteneaPltonic phloropher bishop whose acceptance of Christianity Wat provision and emsined secondary this commitment to Neoplatonsm. wrote an inf nial work onthe plenomenon of dreams, This work embodies a theory of allegory together with study ofthe efficacy of dreams forthe at of divination. For ahistorical understanding of Preumna, see Margatt J Osler, Atoms, Pnewma, and Tangy: Ep ‘urea and Ste Themes in European Thought (New York: Cambridge Univesity Press 1990. 20, Imhis De Mapa, Bruno fellows Symesus’s thesis and elates the preurma to the subtle body-—the corp satile—of angels. See Robert Klein, Form and Meaning: Eas on the Renaissance ond Modern Ar tan, Madeline Jay and Leon Woeseter (New York: Viking Press 1979) 54-5. 21 Pioneers i fermolating dene about the numinous element are Cal Jung, Lawrence uber, hota Troward, and Rudolf Ot Oto, + German scholar of lgion, coined the me, Preface by |. Gubler (ars Biblio os term “numinous" 1 derives fromthe Latin numen. By analogy with the word coinage fominsominous." OM coined “nutensnrminous."The word rumen is atin i om ted wit the concep athe sacred [haly,ndiaing the sacred dimension of mac. ‘Guo sav that the dea ofthe uminows does not exist nt modern religion: pr by exten Slon-we can say tha he iea of urinows space is a category of evaluation that does no atin modern design. The subjunctive nature ofthis space s unacknowledged by sad ‘designers, Forte opposition between can and uaclesnness, see “Guilt or problems ad ites of punfeaton. Proceedings othe XI International Congess of he Associaton of History ff Religion, Sep, 965, vl I eden, 1958 This tase natute of bathing was very comfortable. See Tony Rivers, Dan Crskshank al. The Name the Reon andor: BBC Books. 1992, chap. dchlab pas was he nymph eked to ensue a Tate besing of the soon book of is reatse. following in ton Bast Nets tena tatteps later sigents that balding ae live ik mas eis a hat arhet nthe mater whereas he lien x the tther 1 hey dont ao oe iinet pscally pone lo deliver desig he constructed word, Dig the sriceer!prezncy, using tmtasy fantasti the moter architect rows the baby Fhiking tn eae memory After ane or even emonths the txv-bulding 3 mall Atonden soe is born This monster that wi ith prope vernon ade-biling See Fae, Tratat di arctan 40) 295 Foe Sepa paternal sunersanding of architecture, see William fraham und Maceo Frasca, “The CCoomuner i Nehiecit,” Parades 8 (1999) 19-17 For the fev and jy of water sce Gerhard Aver. “Living Wetter, On Consumption of Water inthe owaose” Bao 55 Marc 1998) hie Zon approach tothe predicament of gh tidewater eaten af teenie ought the anes ef ent ec Pete ign Sata sec ase Govan gue, Stars inp Un serine Pre 993 Te gine hs ot deg athe shingle rth coun of the Toa Pal Mote, er Poe Pan or eed Sar isl he Mor nde San becomes in Cas Oolong 2 fal developed oso Thorandr ch ape athe sek ir eoniuos sane tne stand ctu intence sear scala Swat Type Enh Male Cee Dscoveed= Caste are ae of wes pay The promete i ean fs te plc sphere of the hove. Ths conlinon ws Fe POR rhe Reve apn potion ken ew of he hearers of arhitetire meee oe sublet motes andb the Germ nef ens Cen ay htc sats malo expat me eo wowing 2nownaud 24,pleasant odor. Uniornately an analyse of his topics malodorous beyond the scope ff this are For further sequntance withthe question of smell and architecture anda fet of considerations onthe presently aromatic parania. see Annick Le Gueree, Sent rans, Richard Miler (New York: Tate Bay The Myterious and EentialPovers of Smal 00k. 1993) For instar. grandmothers explanation fo the aconyen BOM, found on the doot of many churches was te nperatie"Done Omens Maree (women and men get ma fea). instea ofthe lial "Dome Oris Mund.” which for her meant “Ged cleans af Giana Vico Props Sins Nor (Naps. 744), ESRB 529 ‘The ehcory ofthe mundo mains osely bound up wth theory a maginativ cog ‘majinative Inneton, whi truly central, editing Faneon, is imag. The cog «loi knowledge permit tn vai he sa of current ational, which es us a choice only ialistic terns tether “matter” ot “id” Heney Corbin tines the miss sca, ner, space where ital mapination estab Tishos ue ad sth magnatvepoeepton and an imauitve knowedge, that an rasinatveconscnesres: Hemny Cob, Marais fim the Imaginary jn sat, mater (the) ed meter Th em ws coed ans oe, with ges qeanh inapresnant ancophor describing omer a spine of measure tent. prion sd genes. Fa snaeaer wh cosets snd construes geo maternal ges rand ds wd Those mater the tna sienee nf aber representation) This als sense he oss acorn othe ate of the architectural imag metry tha makes seh nb: body om ‘gsomett thst rakes materia he snarl, These eateries have hen set unfold the maqe-nah ig pent of aechiteette storey and dicta, Thew are not 30 native metaphysics thas Geo much divisions of kind 38 ile ot aects the matt. They erap in ei procedures a share the lg of magica poetics,