“Back in the city, the women had to go back to the shade again. Slaves and expatriates also had no right to speak in the city. It was because they were all cold bodies.”
— Richard Sennett, “Flesh and Stone”
 
How has architecture looked at and embraced the cold body? This project is an attempt to hospitalize cold bodies that have been alienated from the city through the language of architecture, and a challenge to find a language in space that looks at the body in a different way than the existing social order.
Various design methods are proposed to induce different views of the human body consisting of social components such as gender, disability, race, and age in the existing social order.
 
Queer was originally a word for “strange” or “unique”, but is now used to cover sexual minorities (such as lesbian, gay, bisexual, transgender, etc.). Queer identity traverses bodies defined by gender concepts. However, cities do not consider bodies whose information about genders is unclear as citizens. The bodies of queers have been so often wiped out of the city.
 
All bodies should be welcomed, and hospitality needs a place. This is because hospitality is a work that recognizes and prepares seats for everyone.
Despite the lack of such hospitality, there are cases in which cultural and social minorities voluntarily gather in certain areas of the city to cultivate their lives and cultures. Examples include Jongno 3-ga, Itaewon, and Mapo in Korea. Jongno and Itaewon have a long history as a space for entertainment and gatherings of queers, mainly gay and transgender, and Mapo is a space for female queers and has been a place where many community activities have been carried out by progressive groups.
Queer spaces are widely distributed within the region, Mapo. Through mapping, I found that the queer space was in contact with the lives of residents in Mapo and defined it as an invisible queer space and selecting it as a site.
 
Located in Yeonnam-dong, the building originally consists of several shops, residential spaces and the baths in the basement floor. The design was carried out by preserving a unique facade with classical style and elements of an old bathhouse as a shell, and constructing a new interior space using the existing grid.
 
The dressed bodies are the first to pass through the arched door and enter the peristyle. Peristyle leads people to a yard or dressing room. The first floor is a space that introduces this building and a declarative space. From the inner square on the first floor, you can see the bottom of the two-story bath on the ceiling. The silhouette of the flesh seen with water fluctuates as if noticing an experience in this space. In addition, there is a changing room on the first floor, and by entering here, people will choose to experience the building soon. This is because other spaces in this building can only be used through the changing room on the first floor. The second floor is a space with a main bath, and various bodies are mixed in a large-scale public space. Before that, you go through your personal shower room and let your body soak in the water. On the third floor, the scale is a little smaller. The bodies get closer, and the space is divided into small pieces. The bodies that are mixed and intimate once on the second floor reach the third and fourth floors or the first basement floor to experience various programs related to bathing.
 
On the first basement floor, you can listen to music or enjoy performances in the water. The stairs from the first basement floor to the second floor are deliberately designed to have a narrow width, so people face each other at a close distance enough to touch each other. On the fourth floor, there is a book cafe and terrace where you can rest while reading books or lie down in the sun. The naked body, the hidden body, the wet body, and the dry body move around this building and face each other and mix. The steam from warm water and the sound of water surrounds various bodies.