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Day Spa & Bathhouse Design
A spa is not decorated. It is choreographed. From the moment a guest steps off the street and into your care, the space is either helping the body let go or quietly working against it.
Nataly Karavay is a Los Angeles spa interior designer who designs day spas and bathhouses around how the human body actually responds — to heat, to light, to sound, to texture. Over fifteen years, that work has spanned a Japanese ofuro bathhouse in Minsk, a hammam retreat inside a Riyadh villa, and an award-winning sensory spa in Seattle. Every surface is chosen for what it does to a guest's nervous system, not only for how it photographs.
How should a bathhouse move guests between hot and cold?
The thermal journey is the spine of any bathhouse design — it decides the whole arc of a visit. A well-designed sequence lets the body warm, release, and recover in an order it can follow without thinking. Get the order and the transitions right, and guests stay longer and leave deeply calmed.
Heat is only restorative when the path between rooms is legible. For the Japanese Ofuro Spa — the first Japanese bath spa in Belarus, still in operation more than a decade later — the ritual was built around two wooden soaking tubs held at different water temperatures, a warm fermented sawdust bath, and a hot stone bath, resolving into a massage room and a retreat room for tea. The point was contrast paced gently: each stage prepares the body for the next, so heat becomes a descent into calm rather than a shock.
That same logic shaped the Calming Cove Spa in Riyadh, where a traditional Turkish hammam anchors the wet zone for steam and heat therapy, then opens onto a decompression area screened by a gauzy white curtain — a deliberate cool-down threshold before a guest re-enters the world. A bathhouse without that final soft landing sends people back to their cars still half inside the ritual. The design has to carry them all the way out.
Why does lighting decide how relaxed a guest feels?
Light is the first thing to reach a guest's nervous system. The eyes are the most overstimulated sense in daily life, so lowering and warming the light is often the quickest way to signal safety. Before a guest consciously notices a single finish, the light level has already told their body whether to brace or unwind.
The Obsidian Oasis Spa in Seattle was built entirely on that principle, and it won Architectural Design Wellness (SPA, Yoga, Retreat) at the LIV International Awards. On entry, near-darkness quiets the visual field so the other senses can wake up; a low, dark palette calms the eyes and heightens touch and hearing instead. It is a spa a guest is meant to feel their way through rather than survey at a glance.
Not every project calls for darkness — the Calming Cove treatment room works in the opposite register, using soft, calming light to hold a gentle, intimate mood. The discipline is the same either way: light is set to a job, not a brightness. Every fixture answers a question about how present, private, or drowsy a guest should feel at that exact point in the journey.
What role does sound play in a space meant for silence?
Sound is architecture you can't see. Guests read a room's acoustics as safety or exposure long before they could name why, and a single carrying voice or clattering door can undo a whole treatment. In a spa, managing sound is as structural as managing sightlines.
Sound can also lead. In the Obsidian Oasis Spa, with the visual field intentionally dimmed, calming music at the end of a corridor becomes a form of wayfinding — it draws a guest forward through the dark when their eyes can no longer do the work. Sound stops being background and becomes part of the floor plan.
Elsewhere it marks a threshold. The Japanese Ofuro Spa closes its bathing ritual in a quiet retreat room set aside for tea — a deliberately hushed room that tells the body the active phase is over. Zoning loud and quiet functions apart, and buffering the rooms that must stay silent, is what lets those moments actually land.
How do materials and texture change the experience under a guest's hands and feet?
In a spa, guests touch everything — floors underfoot, benches, tub rims, walls in a dim corridor. Natural, tactile materials read as calming and grounding to the body, while the wrong texture in a wet, barefoot environment reads as cold or unsafe. Materiality here is felt before it is seen.
The Obsidian Oasis Spa made touch the entire premise: raw slate grounds the feet on entry, and the space is built to be explored by hand, surface by surface, so texture carries the experience that dimmed light sets aside. The Japanese Ofuro Spa took its warmth from tradition — soaking tubs in Hinoki and cedar, woods chosen for the way they feel and smell in heat, not only their appearance. At the Relovi sugaring studio in Pasadena, honey-colored wood warms a small treatment space and quietly echoes the sugaring paste at the heart of the service.
This is where biophilia does its real work — not as a decorative green wall, but as wood, stone, and other natural materials the body recognizes and settles into. A spa should reward the hand as much as the eye.
Does the floor plan itself help guests unwind?
Circulation is invisible when it works and exhausting when it doesn't. A guest who has to wonder where to go next, or who feels exposed crossing a room, never fully lets go. The layout has to carry people through the ritual so instinctively they never have to make a decision.
That was the discipline behind the Obsidian Oasis Spa, where zoning divides the space into functional areas that protect privacy while creating an illusion of spaciousness — and the plan is arranged so guests are navigated instinctively through the ritual, moving without needing to be told. In the Calming Cove Spa, sequence does the same job: treatment room, hammam, salon, and a curtained decompression area, ordered so the visit has a clear beginning, middle, and gentle end.
Good flow also comes from understanding how a space is actually run. For the Japanese Ofuro Spa, the plan was developed in close collaboration with the spa's management and therapists to find better ways to handle flow and functionality — because a layout that ignores the staff's daily choreography will fight them every shift. The Sanatorium Spa, a gut renovation that turned a Soviet-era bath sanatorium into a modern 2,500-square-foot spa, was proof that the underlying plan, not the surface, is what makes a wellness space work.
Questions
Frequently asked questions
- Can you design the wet and thermal areas — hammam, sauna, soaking tubs, cold plunge?
- Yes. Thermal and wet zones are central to this work — from the Turkish hammam in the Calming Cove Spa to the wooden soaking tubs, sawdust bath, and hot stone bath of the Japanese Ofuro Spa. These areas are planned around the guest's thermal journey and around how the space is operated day to day, in coordination with the specialists a wet build requires.
- Do you take on existing buildings, or only new construction?
- Both. The Sanatorium Spa was a full gut renovation of an older building into a modern spa, and the Relovi studio kept its existing walls, floors, and ceiling entirely — the design was carried through furniture, materials, and detail alone. An existing footprint is a starting point, not a limitation.
- Do you work with spas and bathhouses outside Los Angeles?
- Yes. The studio is based in Los Angeles and works globally, with completed spa and wellness projects across the United States, the Middle East, and Europe. Nataly leads each project's creative and strategic direction, drawing on a network of independent specialists when a build calls for it.
- What does the spa interior design process cover?
- The full interior design service runs from programming — requirements, site analysis, codes research, and space planning — through concept design, photorealistic renderings, and complete construction documentation. It is a step-by-step path from first walk-through to a buildable set of drawings, with the studio staying alongside the client through completion.
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