Therme Vals
The 7132 Therme Vals (formerly Felsentherme , new name 7132 Therme ) is a thermal bath in the Grisons municipality of Vals , which was designed by the architect Peter Zumthor and opened in 1996. The thermal baths have been under cantonal monument protection since 1998.
The history of the spa is linked to the history of the Vals mineral water . The residents of the community have been drinking the water as a remedy for bladder diseases since the spring was discovered . During the time of the first spa house with bath and hotel from 1893 to 1958, the water was also drunk. It was not until 1960 that the treatment of the water as mineral water was separated from the actual spa operation as an independent company.
The thermal bath is located in a building complex from the 1960s, consisting of hotel buildings and residential buildings. The bathroom is supposed to be reminiscent of a quarry from which cuboids were cut. The remaining blocks and the cavities in between form the building. To encase these blocks, 60,000 stone slabs made of Vals gneiss , each one meter in length, were used. They come from the nearby quarry.
There are various baths in the facility, such as a warm bath, a cold bath, a flower bath or steam baths. The architect reduced the bathing experience to the essentials and so there are no adventure pool elements such as slides or whirlpools in the thermal baths. The Therme Vals is fed by the St. Peters spring, the water of which rises from the ground at around 30 ° C. 350 liters per minute are used for the bath. Half of the captured springs are used by Valser Mineralquellen AG and half by the bath.
business
The thermal bath offers space for 150 bathers. The guests of the associated hotel have free access at all times. The residents of Vals can use the thermal baths at reduced rates. The day guests who must have reserved in advance add to these visitors. The new bathing establishment is nowadays also frequented by younger and less affluent guests who do not come for the supposedly healing effects of the mineral water, but only want to relax and unwind.
The entire building complex of the thermal baths belongs to 7132 AG owned by the Chur real estate billionaire Remo Stoffel.
history
The previous bathhouses
When the thermal baths were built in 1893, a prehistoric cistern came to light. Since the Vals Rhine flows through Vals , it is not very plausible that it was built for purely drinking water . It could not be determined whether they were bathed in it. Bones of cattle, pigs, goats, sheep and horses as well as some pot shards from the Bronze Age were found in the cistern. It is therefore also possible that it served as a sacrificial site.
The first documented mention of the Vals spring comes from the year 1670. More are only found again in 1851 and 1852, when the right to use the spring changed hands. Finally, the former pastor of Vals from 1818 to 1824 and later Bishop of Chur, Nicolaus Franciscus Florentini , received the rights to use the spring and had a "bathing tower" built in 1854. It was called the Malakoff Tower and had a walled spring basin 6 to 8 feet wide and 12 feet deep.
In 1864, the hotelier Peter Jakob Berner from Chur acquired all rights to the springs, the existing buildings and the property. Between 1880 and the First World War , the European upper class discovered the mountain regions of Switzerland and made the construction of a spa complex with a bath and hotel economically attractive.
On March 16, 1891, the public limited company Therme in Vals was founded. The first bathing complex with a hotel was built in 1893. The newly founded company not only advertised the beautiful landscape, the possible hikes in the area and the pretty new buildings, but also praised the beneficial effects of water on tuberculosis , anemia , scrofula , muscle wasting , neuropathy , Respiratory diseases , joint pain, rheumatism , sciatica and chronic rashes .
The wood for the construction had to be procured in the neighboring municipality of St. Martin because of the federal forest conservation law; the stones, however, came from Vals. The main chalet-style building stood on a plinth made of tuff blocks of different colors. The tuff came from the deposits of the thermal spring itself. Valser gneiss and white marble were also used. 20 larger and smaller wooden balconies and boxes completed the basic structure. The kitchen and cellar were on the lower ground floor, while the pine-paneled dining room, a restaurant, a ladies' salon and the offices were on the first floor . 22 balcony rooms and 18 bedrooms in between were distributed over the upper three floors and were furnished with simple furniture.
The bathhouse, 12 meters to the side, was connected to the hotel building by a covered gallery. It comprised a laundry room, a “lingerie room” as well as several bathrooms and shower rooms. Pumps transported the water from the spring 20 meters from the spa house via a high pressure pipe into the hydrants and fountains and supplied the spa hotel and the baths with thermal water. An additional water supply was not necessary as the water from the mineral spring was also used to flush the toilets. The residents of Vals were able to visit the bath house in a bath room intended for them. Allegedly it was used little and was badly contaminated. An open swimming pool with separate dressing rooms for men, women and children was only planned when it opened.
The spa complex had little success, and so it went bankrupt in 1910. In 1913 the Vals hotelier Philipp Anton Schnyder bought the land and rights of use after the dissolution of the stock corporation. He and his business partner Joseph Albin ran the Kurhaus as directors and wanted to help it recover. They advertised the water as a fountain of youth with healing properties, and they also emphasized the good cuisine of the house. However, the First World War thwarted the two of them, as European tourism collapsed on a lasting basis. Schnyder left the company in 1924; his former partner Albin sold the hotel in 1934. The new owner then ran it for two years.
The opera tenor Alfred Grüniger-Bodmer bought the Hotel Therme in 1936 and had the long-planned outdoor swimming pool built. He ran the spa until 1952. His successor managed the hotel and the spa for two years. Because of his insolvency, the house fell into the possession of the mortgagee Marie Melanie Bodmer. The Hotel Therme was closed six years later.
In 1960 the German entrepreneur and multimillionaire Kurt Vorlop bought the plant. He arranged for the old well to be re-drilled and for new mineral water to be developed through another well. Vorlop set up a mineral water bottling plant (today's Valser ) that was separate from the bathing establishment , which he sold to a brewery shortly afterwards. He had a new hotel infrastructure (Hotel Therme) and apartment complexes with 345 relatively small apartments built for the spa complex, and the majority of the units were sold to Germans. Vorlop campaigned heavily in the Federal Republic of Germany to increase the number of hotel room bookings with foreign spa guests.
In 1969 Kurt Vorlop sold the spa to Ulrich B. Erpenbeck, a Munich tourism entrepreneur. Some time after the takeover, he had to file for bankruptcy because of dubious business in Greece, and so the company fell into the hands of the Swiss Bank Corporation . She appointed a bank clerk to continue running the company and paid for the deficits for eight years. She wanted to sell the facility because it was outdated and could no longer compete against modern wellness facilities, and therefore put pressure on the community to buy the facility and to take care of the future of the thermal baths and thus the most important branch of the economy Tourism, which accounts for half of the income of the residents of Vals.
History of the Felsentherme
The municipality of Vals acquired the facility from the Swiss Bank Corporation in October 1983 after difficult negotiations for 2.8 million francs. Of this she used 1.3 million to cover debts. She used the rest for the equity of the incorporated company.
Since the municipality of Vals did not want to continue operations with the existing system, they commissioned a commission of around 20 people for a new building project. The members included, for example, the quarry operator, the forester, the manager of the local cable car company and an employee of the Valser water bottling company. The committee had no concrete ideas about the form and function of the building, but only gave the order that the thermal baths should be built exactly on the previous sources between the existing buildings from the 1960s and that the view from the existing hotel complex should not be through the new building could be impaired.
In 1986 the commission announced a project competition for the new building, which the architect Peter Zumthor won. His proposal was for a new bathroom and a new four-star hotel. In the late 1980s, he had to completely revise the plans, as numerous wishes and requirements for the operation and organization still had to be taken into account. This increased the planned costs to CHF 44 million and exceeded the financial resources of the community.
In 1990, Vals placed the order for an independent thermal bath ( called solitary ) without an additional hotel building. This solution cost half of the original sum of 22 million francs. The adaptation work required a further 2.4 million francs. The community took over twelve million francs and had to vouch for another two million. The federal government, the canton, the Graubündner Kantonalbank , the Schweizerische Kreditanstalt and the Schweizerische Gesellschaft für Hotelkredit were responsible for the rest . On March 18, 1994, Peter Zumthor presented his project in detail at a community meeting. On December 14, 1996, the new thermal baths were inaugurated with a large folk festival and many prominent guests.
Since the community could no longer use the thermal baths and the associated expansion of the infrastructure, they had been looking for a suitable investor since 2009 to take over and expand the complex. There were initially various local interested parties in the race. At the end of 2012, real estate entrepreneur Remo Stoffel prevailed with surprising clarity in the referendum against the interest group led by Peter Zumthor.
Architecture of the thermal bath
The architect was commissioned to build the thermal bath directly at the location of the spring tapping, within the building complex from the 1960s. Peter Zumthor decided not to use the existing houses as a model, but to design a building that is related to the geology and topography of the area. The new building should give the impression that it has belonged in the town for much longer than the adjacent buildings. Peter Zumthor always develops a “strong image” for a building project, which he describes as the first naive spatial conception of the building and then develops it further into a complex architecture. Based on initial ideas about Roman and also Turkish bathing culture - Zumthor names the Rudas bath in Budapest from 1566 as a source of inspiration - he developed the model for the thermal baths "Boulders stand in the water", the idea of a quarry from which individual blocks were cut, so that caverns are created between the stacked and cut blocks. The blocks carry tabletop-like roof sections that form a roof. It took three years before this image became concrete architecture. Today the building looks like a porous, hollowed stone. Shapes that can be found in the Alpine regions and in particular around Vals served as further models for the final architecture of the thermal baths. Examples of this are the many stone walls and rock heads, but also contemporary engineering structures in the Alps, avalanche protection galleries and the accessible cavities for maintenance and control in the nearby Zervreila dam .
The thermal baths are connected to the hotel complex by an underground corridor and can only be reached through it. It stands on a rectangular area and is set into the mountain a little. The building is divided into a bathing level above and a therapy and operating level below. The blocks, which each carry a horizontal roof plate and put together the entire thermal bath, are separated from each other by joints in the floor and ceiling. On the one hand, these joints are statically necessary movement elements and, on the other hand, allow the play of light in the thermal baths through the incidence of daylight. The blocks expanded with roof panels form a spatial continuum by means of their interstices and are divided around two pools of different sizes. The central bath is located in the center of blocks within the building envelope, which is closed off by the glass facades set back in the cavities. The larger outdoor pool opens onto a terrace towards the head of the valley and also towards the firmament. After entering the actual bathroom through the pump room and changing rooms, the visitor takes a tour of a stone gallery there, which he can walk from block to block according to his own preferences and thus experience the bathroom in his own way. When it comes to bathing, Zumthor does not speak of an adventure pool , which he associates with a pool with many tubes, nozzles and slides, but describes it himself as an "experience pool ". On the other hand, he did not want to imitate nature with realistic waterfalls or grottos, because he believes that the essence of nature cannot be reproduced. He wanted to reduce bathing to the essentials and thus leave behind simple sensory impressions. For example, in one block the guest feels the impression of hot or cold water on the skin, in another he perceives the sound of dripping water. Due to the particularly charged atmosphere, the multi-layered architecture and the exceptionally high-quality execution, the building is often compared with sacred buildings in architectural theory.
construction
Fifteen cuboids (blocks) five meters high, each three to five meters wide and six to eight meters long, form the thermal baths. The cuboids consist of several layers like an onion. The core is a “concrete house” that was made from colored concrete in a single cast. This is followed by a sheathing made of extruded polystyrene rigid foam for moisture-resistant thermal insulation, and finally the block is closed with the characteristic composite masonry made from Vals gneiss. Each block carries a concrete roof section that protrudes up to six meters in some places. Since the blocks below are smaller than the roof panels, there are spaces through which the bathroom can be walked on. The blocks also form the facade of the building. Steel cables stabilize the towering concrete roof panels. They are attached to tie rods inside the block that divert tension vertically into the ground. The cables and tie rods on the roof and in the side walls were finally completely cast in concrete. The roof sections form a complete roof without touching each other; they are about eight centimeters apart. The resulting light joints are covered with glass and are heated in winter so that light can still enter the bathroom even when the roof is covered with snow. Only the panel of the central bathroom with the sixteen windows made of blue Spanish glass, reminiscent of Murano glass, has to be held by the adjacent roof panels. Above each window there is a bell-shaped lamp so that blue light can enter the central bathroom in the evening and at night. The roof panels are extensively planted with grass and thus integrate into the landscape.
The composite masonry of the blocks is formed by 60,000 stone slabs cut to a length of one meter from Vals gneiss (metamorphic rock made of feldspar , quartz and mica ). The gneiss is traditionally used for the roof tiles of the houses in the area and is still the mandatory roofing of the Vals houses today. It is characterized by high breaking strength, frost resistance, abrasion resistance and its tolerance for large temperature fluctuations. Gneiss consists of so-called "eyes" made up of individual mineral sprouts around which the basic tissue wrapped around 300 million years ago. These eyes were finally elongated, rolled and deformed by the pressure of up to 15 kilobars and by the heat of up to 500 ° C from the continental drift 50 million years ago, and so nowadays you can sometimes read the direction of movement from them. The stone slabs of different thicknesses were stacked by hand, with the thickness of one layer running through the whole building at the same height. To the viewer, the sequence of panel thicknesses appears to be random. However, since a simple construction was required, the outer layer consists of a sequence of three panels, which together make up 15 centimeters.
Bathing level
Peter Zumthor says that he is interested in concrete architecture with rooms with a certain presence and mood. The rooms are then surrounded by certain materials and the housing is like an instrument. Every block of the bathing level in the thermal baths is hollow and creates a contrast to its hard, solid and geometric outer shape with its individual and sensual interior. The visitor experiences an encounter with the water in the blocks (for example by showering, drinking, water baths at different temperatures or by steam baths) or has the opportunity to relax and recuperate (lying down, sound baths or massage).
The visitor enters the thermal baths through an entrance on the mountain side. The therapy level can be reached by a branch on the right hand side and down a staircase. The disabled visitors will find two specially equipped cloakrooms and a disabled toilet at this junction . If the visitor does not branch off but goes through the turnstiles, he passes a boudoir and finds himself in a corridor ( drinking hall ). Five wells ( stalactites ) adorn the right wall of this hallway. Ferrous mineral water flows from them, giving the gray gneiss and the floor a coppery color. To the left are two men's, two women's and one for families. The cloakrooms are separated from the pump room and the bathing area with black, leathery curtains. The boxes have shiny doors made of red, mahogany wood and together form the wall cladding. In the middle of the cloakroom is a black leather couch. There are also two changing rooms.
The toilet and shower area follows after the cloakrooms and the pump room. In the same direction there is a corridor to the two steam baths. In front is the entrance to the steam stone and behind the entrance to the hot sweat stone . The toilet area is located in the middle between the two shower rooms separated by sex. The shower chambers have six cells with five showers and a foot disinfection system. The wall of the shower room is black and the floor consists of an unpolished terrazzo floor made of pebbles.
If the visitor continues along the long side of the building, he will find himself in a corridor that resembles that of the cloakroom. There are three copper-colored stalactites hanging on the right wall. On the left there are two entrances to the steam baths. The rear steam room is a nude area. Each sweat stone has an entrance room with two showers. After the shower room there are three black chambers of the same size, which are only illuminated by a pale skylight. The chambers are arranged one behind the other and separated by a black curtain. Each chamber has a black stone for sitting or lying on the left and right, which can be cooled with cold water from a black hose. In the last room is the brass-colored steam generator; the three chambers are flooded with steam with decreasing intensity in the direction of the shower room.
In order to get to the bathing area, the bather can go down a staircase immediately after the changing rooms and the shower area. At the end of these stairs on the left is the entrance to the 35 ° C sound bath . It is also called a resonance room , spring grotto , resting grotto or simply grotto bath . In order to get into the actual resonance chamber, the visitor first has to go around a corner twice and then wade through a narrow and low passage. The resonance chamber has a square base with a width of 2.6 meters. This relatively small area brings out the height of the five-meter-high interior. In contrast to the walls in the other areas, the walls in the room do not consist of layered, milled gneiss slabs with a smooth side surface, but of layered broken slabs. It therefore looks very grotto . The walls appear natural due to the uneven fault lines on the one hand, and very artificial on the other because of their exact horizontal stacking. The light comes from below the surface of the water, so that a moving pattern appears on the walls. The walls have a brass railing just above the waterline to lean on or hold on to. The room has its own acoustics. It amplifies, changes or delocalizes the sounds (for example the hum of the visitors) and is reminiscent of singing bowls or alphorns .
In the middle of the inner area of the thermal baths there is the 32 ° C central bath with sixteen blue prisms in the ceiling, accessible on each side by stairs. The basin, like the walls, is made of gneiss slabs and, like all the baths in the thermal baths, has lighting inside the water basin, so that the visitor always moves towards the light when he enters the water. In the blocks around the central bath, the cold bath (14 ° C), the flower bath (33 ° C), the shower stone with three different showers and the sound stone are arranged in a wind turbine arrangement. The cold bath is in a relatively small block. It has a blue wall that reflects the temperature impression of the water in color. The bottom of the pool is a smooth terrazzo floor. The petals of yellow marigold blossoms swim in the flower bath . Two to three handfuls are needed every day. The walls above the water level are colored black and white in the water basin. The color combination gives the petals even more value. There is a shower in the entrance area so that visitors can get rid of any petals on their skin.
The 42 ° C warm fire bath and the drinking stone are located on the border of the outside and inside area . In the interior facing the front there are two relaxation rooms and a massage room. The fire bath is reminiscent of a Japanese onsen due to its high water temperature . The walls are appropriately colored red. Like the cold bath, it has a smooth terrazzo floor. The entrance to the cold bath is located directly opposite so that visitors can cool off immediately after the fire bath. A room is hidden in the drinking stone that can be reached by stairs. The walls consist of stone blocks about one cubic meter in size, polished on the side facing the interior, but broken at the edges. The square surfaces show the different patterns, shimmering and gray tones of the gneiss. The blocks are kept at a distance from each other with brass blocks about ten centimeters in size. On the wall facing the outside basin, a brass pipe is attached between the blocks and the water from the new borehole for the St. Peters spring flows down in a continuous stream into a small drain basin in the floor. Around this basin is a railing with attached and chained brass cups. These can be used to catch the water and drink it. The water is unfiltered and, unlike bottled water, has an iron-rich taste.
The bathing guest can get to the outside area in two ways: Either he climbs to the right of the fire bath via an entrance directly into the outside pool, or he goes through a door first onto the outside plateau. There is a shower room with two showers in one block and a relaxation room in another block. A staircase leads to the stone with several wooden loungers. In the middle of the outside area between high walls, the guest will find the outside bathroom. It seems to have been let into the mountains. With the stone island in the middle, it looks like a natural pool. Two entrances line the stone island, which serves as an additional lying area in summer. Water is let into the pool through three large brass taps (massage showers). The temperature of the water in the outdoor pool is regulated depending on the season. In summer it is slightly cooler (30 ° C and 33 ° C) than in winter (36 ° C).
At the beginning, the thermal baths lacked a public clock because Peter Zumthor did not want to give space to the dominance of time in everyday life in his thermal bath. However, the client insisted on a clock, and so the architect gave in and had two clocks made, each mounted on the end of a one meter long brass rod set vertically into the floor. They have the diameter of a pocket watch . One of the bars is in the shower area at the entrance to the pump room, the other next to the door to the outside pool. They should appear unobtrusive and are adapted to the brass railings within the bathroom.
Therapy and operational level
There are waiting and resting areas on the therapy level. A room for therapeutic gymnastics and for underwater massage is located on the facade. Five rooms are set up for classic massage. There is a room for the stretching board as well as four rooms for a mud treatment and a mud kitchen. Two rooms are equipped with medicinal baths (whirlpool baths). The remaining rooms are inside the building and have no windows. Inhalation therapy is offered in a separate room, and in another there is a 36 ° C exercise bath.
The remaining rooms on this level belong to the organization and operation of the thermal baths. There are toilets, a tea kitchen, a laundry store, a cleaning room, storage rooms for chemicals, the technology for the flower bath and the fire bath, the electrical center, the sanitary distribution, the ventilation center, ozone treatment and storage of carbonic acid as well as a fresh water and a waste water reservoir.
Comparison with a Roman bath
The German art historian Katja Marek compares the Therme Vals with a Roman bath . The Therme Vals has many analogies, but also differences, to the Roman bathing culture as it was to be found in the area of today's Switzerland, for example when bathing on the Bernese Engeh peninsula . The Roman baths consisted of a warm bath ( caldarium ), a swimming pool ( piscina ), a passage room ( tepidarium ) and a cold bath ( frigidarium ). There were different rooms for the cloakroom, the stay, the rest and the massage. You and the bath water were heated by a hypocaust (floor heating). The thermal baths mostly had windows facing south or south-east. The flanking relaxation and massage rooms as well as the window front are comparable to today's Therme Vals. Likewise, the opposite cold and warm water pools, which are separated by a short corridor, correspond to the Roman bathing culture. There, too, the two pools were connected by a short heated spiral corridor. However, there are differences from an architectural point of view, as no sequence of baths is prescribed. The Roman thermal baths mostly had an axially symmetrical structure and therefore a predetermined sequence of special baths.
Hotel complex
The hotel complex consists of a main building with 22 rooms and the House of Architects with 71 rooms connected to the main building .
Before the renovation by the current owners, the semicircular main house from the 1960s had various rooms furnished by Peter Zumthor with a view of the thermal baths and the valley. The rooms were called makeshift arrangements; Their basic equipment included black lacquer furniture designed by Peter Zumthor . The other furniture was different in the individual rooms. The furniture was designed by Eileen Gray , Mies van der Rohe , Le Corbusier or Jasper Morrison . The silk curtains were color-coordinated with the carpet and differed in color from the other room furnishings. The bedclothes were made of linen .
Today there are three penthouse suites designed by the Japanese architect Kengo Kuma on the top floor . On the three floors below there are 19 further suites and double rooms, which were renovated in 2017. Furthermore, the entire restoration is located in the hotel. The Silver restaurant with 2 Michelin stars and 17 Gault Millau points and the Red restaurant and the Blue Bar. The lobby next to the Red contains a bar and is used for musical performances. The main house is connected to the thermal baths by stairs and a lift.
The seven-story House of Architects from the 1960s is connected to the main building by a two-story bridge. The Blue Hall of the main building is on the seventh floor and the thermal baths on the sixth floor. Since the renovation, the building also has three meeting rooms, the largest of which has 30 seats. The rooms in the "House of Architects by 7132" are all planned by star architects. Ten from Peter Zumthor, 18 from Tadao Ando, 22 from Thom Mayne, 23 from Kengo Kuma.
The Zerfreila house is located south of the thermal baths and is connected to the thermal baths by a path.
The nine-storey house Tomül from the 1970s has small apartments with a ship-like interior and a small kitchen each.
reception
The new thermal baths in Vals were reported in detail while it was being built, and shortly after it opened, numerous bathing and architectural tourists from home and abroad flocked to the bath. While most newspaper reports after the opening highlighted the positive aspects of the thermal bath, for example bathing that was reduced to the essentials or the special sensory experiences, the thermal bath, which was often overcrowded and sometimes very noisy, was sometimes criticized and the calm and contemplation were missed.
In 1998, two years after the opening of the Therme Vals, Peter Zumthor received the culture award of the Canton of Graubünden with a value of 15,000 Swiss francs. The Graubünden cultural promotion paid tribute to his architectural work, which is characterized by "its high, uncompromising quality standards in terms of form, design and ideas", as well as his teaching activities, which have contributed to the "international reputation of contemporary architecture in Graubünden". In the same year, the government of the canton placed the thermal baths under a preservation order, which the municipality of Vals regarded as an award. The thermal baths were also used in 1998 as the backdrop for the music video for the song Every Time by Janet Jackson from her album The Velvet Rope .
literature
- Sigrid Hauser, Hélène Binet , Peter Zumthor: Therme Vals . Scheidegger & Spiess, Zurich 2007. ISBN 978-3-85881-181-3 .
- Ivica Brnic, Nahe Ferne: Sacred Aspects in the Prism of Secular Buildings by Tadao Ando, Louis I. Kahn and Peter Zumthor Park Books, Zurich 2019. ISBN 978-3-03860-121-0 .
- Katja Marek: National identity and Swiss homeliness made by Peter Zumthor . VDM Verlag Dr. Müller, Saarbrücken 2007, pp. 76–77, ISBN 978-3-8364-5291-5 (also master's thesis at the University of Frankfurt am Main 2004)
- Üse Meyer, Ulrike Schettler, Reto Westermann: Hike architecture . Werd Verlag, Zurich, 2007. ISBN 978-3-85932-605-7 .
- Duri Blumenthal, Armin Caduff, Curdin Casualta, Peter Schmid: Cultural guides - Val Lumnezia and Vals . Fundaziun da cultura Val Lumnezia, Domat-Ems, 2000.
- Toni Hildebrandt (in conversation with Peter Zumthor): "Architecture, Image and Design" (PDF; 965 kB), in: Rheinsprung 11. Zeitschrift für Bildkritik, 1 (2011), pp. 139–146.
Web links
- Official homepage of the 7132 Therme
- Visitor information for the Therme Vals
- Kulturplatz from April 14, 2009, contemporary alpine building
Individual evidence
- ↑ a b c d e f g h i j k l m Peter Rieder, Vals - Enges Tal, Weite Welt , Terra Gruschuna AG, Chur, 2009, ISBN 978-3-7298-1160-7
- ↑ a b c d e f g h i j Richard Copans, documentary: Les thermes de pierre , ARTE France, Center Pompidou, 2001
- ^ Aargauerzeitung.ch: Hotel investor Remo Stoffel explains how rich he is
- ↑ bilanz.ch: Remo Stoffel's strange business conduct
- ↑ a b c d e f g h i j k l m n o Sigrid Hauser, Helene Binet, Peter Zumthor: Therme Vals . Scheidegger & Spiess, 2007, ISBN 978-3-85881-181-3
- ↑ a b Peter Schmid, in: Stein und Wasser , Hotel Therme newspaper, 2006
- ↑ a b Peter Hartmann, mineral water deposits in the northern Bündnerschiefer area with a focus on the Valsertal , dissertation, 1998
- ↑ a b c d Kur- & Badanstalt, Therme in Vals, Direction: Philipp Schnyder , advertising brochure from 1893
- ^ H. Adam, The Felsentherme in Vals by Peter Zumthor . Neue Zürcher Zeitung, December 14, 1996, features section, p. 45
- ↑ Luigi Monzo: Decision in the Valser Valley: Zumthor is subject to the investor Stoffel (March 11, 2012).
- ↑ On this interview with Zumthor: Star architect fears for his famous masterpiece in Vals. on YouTube
- ↑ a b c Kulturplatz from April 14, 2009, Contemporary Alpine Building ( Memento of the original from July 24, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Ivica Brnic: Nahe Distance: Sacred Aspects in the Prism of the Profane Buildings by Tadao Ando, Louis I. Kahn and Peter Zumthor . Park Books, Zurich 2019, ISBN 978-3-03860-121-0 , pp. 143 .
- ↑ Katja Marek: National identity and Swiss homeliness made by Peter Zumthor , VDM Verlag Dr. Müller, Saarbrücken 2007, pp. 76-77
- ↑ Kengo Kuma and Associates: Therme Suiteroom Vals. Retrieved June 9, 2017 .
- ↑ Wolfgang Fassbender: Authentic cuisine by Sven Wassmer in Vals: Two stars and a feeling of trance | NZZ Bellevue . In: NZZ Bellevue . ( nzz.ch [accessed on August 2, 2017]).
- ↑ 7132 Hotel, official website , accessed January 18, 2017
- ↑ Hotel Therme Vals, information flyer information and prices 2009 | 2010 .
- ^ House of Architects: Ando, Kuma, Mayne and Zumthor Design a Magical New Retreat in the Swiss Alps. Retrieved June 13, 2017 (American English).
- ↑ Tadao Ando & Kengo Kuma rooms in the Design Hotel Switzerland - 7132 Hotel Vals. Retrieved June 13, 2017 .
- ^ Hans-Rudolf Rütti | Hotelier. Retrieved on October 5, 2017 (German).
- ^ Homepage of the interest group of the houses Selva, Zerfreila and Tomül, information house Tomül , accessed August 10, 2009
- ↑ Karin Huber Therme Vals or the lightness of S (t) one , Neue Zürcher Zeitung, January 3, 1997, Tourismus, p. 18
- ↑ Karin Huber, Sensory experiences drown in the flow of people . Neue Zürcher Zeitung, August 28, 1997, Tourism, p. 69
- ^ Website of the Graubünden Cultural Promotion Agency. List of the winners of the Bündner Kulturpreis since 1969. (PDF file; 180 KB) ( Memento of the original from March 22, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Neue Zürcher Zeitung, Felsen-Therme already under monument protection. November 17, 1998, Inland, p. 14
