Therme Vals, Switzerland, by Peter Zumthor, part 2

This time the bath building in Vals by Zumthor (that we mourned last week) took a decidedly more ethereal flavor. Rather than the dark, heavy, and goth(ic) interpretation by Liricas Analas, Janet Jackson floats through turquoise veils and light filled rooms. The divergent style and content of these artists is somehow supported by this one building. The architecture has the magic of being both visually tactile, holding the eye to its surfaces and forms, but at the same time being neutral enough to be inhabited and interpreted in distinctly different ways. Why? What are the characteristics that let it be both specific and general? Undoubtably, the architect intended this possibility, but why? How dos this adaptability serve the design of a bathing facility?

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