The cinder-block walls and windowless offices of IUPUI’s Cavanaugh Hall have aged rather gracelessly over more than four decades. The utterly functional brutal modernist building will inevitably meet the wrecking ball someday, but in the meantime administrators extend the decaying structure’s life with a host of makeshift changes. The most recent renovations have come to a series of women’s restrooms (men’s apparently will undergo similar changes soon), which are now appointed with new tile, another set of toilets, and a slightly different floor plan. None of those changes has prompted more fevered discussion than the installation of a labyrinth entrance; that is, the new bathrooms have no doors. The labyrinth design is intended to minimize germ transmission and make restrooms more secure spaces, and nothing is literally visible from the adjoining public hallway; nevertheless, the absence of doors and the sonic amplification provided by the tile have unleashed a host of anxieties that illuminate the unmentionable, underscore the divisions between public and private spaces, and highlight the limits of functional restroom design.
The definitive study of the washroom is perhaps still architect Alexander Kira’s 1966 masterpiece The Bathroom. Based on extensive research between 1958 and 1966, Kira ambitiously approached the bathroom as an architectural, functional, ergonomic, and social space. Kira pilloried architects’ sloppy bathroom designs and the century of architectural planning that viewed bathrooms as mere afterthoughts. Kira instead ethnographically delved into the “bathroom experience” as a design issue with concrete social and psychological dimensions that needed to be placed at the heart of spatial planning. Among other things, Kira systematically dissected such hither-to unexamined issues as the physics of urine trajectories, the space between urinals, the physiology of seated positioning, the cleaning ineffectiveness of toilet paper (a passage not for those apprehensive of cooties), and the anxieties created by the acoustics of elimination. Read the rest of this entry