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•The knee joint •is the most complicated and largest joint in our body •bears enormous weight and pressure loads while providing flexible movement. When we walk, our knees support 1.5 times our body weight; climbing stairs is about 3-4 times our body weight and squatting about 8 times. •connects the femur, our thigh bone and longest bone in the body, to the tibia, the second longest bone •. There are two joints in the knee—the tibiofemoral joint, which joins the tibia to the femur and the patellofemoral joint which joins the kneecap to the femur. These two joints work together to form a modified hinge joint that not allows the knee to bend and straighten, but also to rotate slightly and from side to side. •The knee is part of a chain that includes the pelvis, hip, and upper leg above, and the lower leg, ankle and foot below. All of these work together and depend on each other for function and movement.
The human knee-anatomy
anatomic terms
The human knee
Anterior this is the front of the knee Bones
Ligaments
Muscles
Tibia stbilize the knee relieves friction, protects the knee joint Femur capable of i)walking ii)jumping
Posterior —this is the back of the knee
Quadriceps (front) very powerful muscle group (4) straightens the knee in activities like standing up, running or going up stairs
Collateral ligaments
Tibial (inside) Fibular (outside)
Medial — the side of the knee that is closest to the other knee • Lateral — the side of the knee that is farthest from the other knee (opposite of the medial side)
Limit the sideways motions
Anterior cruciate limits rotation and forward motion of the tibia Posterior cruciate limits the backwards motion
Fibula provide an attachment for muscles supportive strength to the lower leg
Hamstrings (back) control the bending movement, support activities like pushing, sprinting
Patellar aids stability The Iliotibial band limits the lateral movement of the knee Meniscus protect the joint and allows the bones to slide freely on each other absorbing some of the load of the joint Bursa helps the muscles and tendons slide freely as the knee moves
The knee’s Muscles
Knee anatomy-Ligaments of the knee
Structures of the Knee •The main parts of the knee joint are bones, I. ligaments, II. tendons, III. cartilages and IV. a joint capsule, all of which are made of collagen. •(Collagen is a fibrous tissue present throughout our body. As we age, collagen breaks down.)
Tibia —help stabilize the knee.
•The muscles in the leg keep the knee stable, well aligned and moving Bones of the knee •The bones give strength, stability and flexibility in the knee. • Four bones make up the knee 1. Tibia 2. Patella 3. Femur 4. Fibula
Patella—It’s function is to relieve friction between the bones and muscles when the knee is bent or straightened and to protect the knee joint
•There are two main muscle groups—the quadriceps and hamstrings.
•The function of ligaments is to attach bones to bones and give strength and stability to the knee as the knee has very little stability. •Ligaments are strong, tough bands that are not particularly flexible. Once stretched, they tend to stay stretched and if stretched too far, they snap. Anterior
•The quadriceps •are responsible for straightening the knee by bringing a bent knee to a straight position.
•The hamstrings •control the knee moving from a straight position to a bent position. Medial Collateral Ligament (tibial collateral ligament) •limits sideways motion of your knee.
Lateral Collateral Ligament • limits sideways motion of your knee.
• Femur—commonly called the thigh bone; it’s the largest, longest and strongest bone in the body. The round knobs at the end of the bone are called condyles. Femur bone is capable of walking and jumping.
Fibula—long, thin bone in the lower leg on the lateral side, and runs along side the tibia from the knee to the ankle. Fibula provide an attachment for muscles supportive strength to the
•The Calf muscles •affect knee movement and stability •Support activities like pushing and sprinting
•The Iliotibial band •helps limit the lateral movement of the knee.
Lateral
Anterior cruciate ligament – •It limits rotation and forward motion of the tibia.
Posterior
Posterior cruciate ligament •It limits the backwards motion of the knee.
Lateral meniscus
Patellar ligament - aids stability
Medial meniscus
Meniscus (lateral and medial) protect the joint and allows the bones to slide freely on each other absorbing some of the load of the joint
•The pair of collateral ligaments keep the knee from moving too far side-to-side. •The cruciate ligaments crisscross each other in the center of the knee. They allow the tibia to “swing” back and forth under the femur without the tibia sliding too far forward or backward under the femur. Working together, the 4 ligaments are the most important in structures in controlling stability of the knee. •There is also a patellar ligament that attaches the kneecap to the tibia and aids in stability.
The knee as a join and as an architectural element –different ways of movement The knee as a joint has the ability to connect different parts of the body and at the same time, except of stability and weight support, to allow movement. An interesting point, is the idea of a joint like the knee to be able to do movements at every direction and also to be able to extent beyond its scale by adding more parts or by extending its own parts. The same principles can be applied in the same way for architectural purposes in order to transform the space and to create by the transformation new spatial conditions.
The human joints -The knee as a joint
Knees movements and body actions
KNEE’s Movements diagram
The knee as a ball-and-Socket joint
From the side
The knee as saddle joint
The knee as Ellipsoid joint
From in front
Leg’s Area of Action
KNEE’s Movements diagram with alternative joints
Movements of the Knee Joint The principal movements occurring at this joint are flexion and extension of the leg, but some rotation also occurs in the flexed position. Flexion and extension of the knee joint are very free movements. Flexion normally stops when the calf contacts the thigh. The ligaments of the knee stop extension of the leg. When the knee is fully extended, the skin anterior to the patella is loose and can easily be picked up. This laxity of the skin helps flexion to occur. The knee "locks" owing to medial rotation of the femur on the tibia. This makes the lower limb a solid column and more adapted for weight bearing. To "unlock" the knee the popliteus muscle contracts, thereby rotating the femur laterally so that flexion of the knee can occur.
Development of New area of Action From the side
From in front
Red colour:new directions
The knee as a join and as an architectural element –connecting different surfaces/changing the scale
The human knee as an architectural element: Joining of surfaces
Changing of the analogies In small scale Observations related with the number of joined parts and the scale of the different surfaces. conditions
Applications: like a prosthetic For humans
Normal height Increasing the dimension of femur and tibia
Decreasing the dimension of femur and tibia
In bigger scale
Extra height
Decreasing of height
Applications: joining transformable surfaces for the creation of spaces
Normal analogy of parts
Joining more than two parts
Creating a system
Related with the human scale
Human body/the knee -movement /axis of movement/negative space A linear translation of the human body and its space
Movement and (linear) axis of movement
Movement of body and its “supported” outline Movement and the negative space
Artists I get inspired from Interpretation of human movement in space through “art”
‘…preoccupation with mass and volume.’ ‘….. emphasized shapes and positions ‘
Etienne Jules Marey William George Wadman Heidi Thompson Howard Schatz Joseph Butch Rova Keith Thompson Art Lucy and Bart Marie Chouinard Muybridge Oskar Schlemmer
Peter Pjansen
Oskar Schlemmer's dances were dances that only a painter could have choreographed. Schlemmer, a German painter who lived from 1888 to 1943, both taught and created dances for the Bauhaus, the innovative artistic institution of the 1920's that, in Weimar and later in Dessau, sought a unification of arts, crafts and technology. What made Schlemmer's dances a painter's dances was their preoccupation with mass and volume. In most of them, dancers wearing helmets and encased in costumes resembling the suits of deep-sea divers crossed a stage hung with black curtains, and these bulky costumes emphasized shapes and positions rather than flow or dynamics. The choreography for ''Figure in Space'' and ''Space Dance'' consisted primarily of moving from point to point and assuming pose after pose. However, the most striking dances united human performers with objects. ''Metal Dance,'' one of the new reconstructions, was dominated by metallic shapes that glaringly reflected the stage light. Into this dazzle a dancer appeared like an animated piece of metal. But the work was so brief that it had the effect of being an apparition, rather than an actual dance. The cast of ''Form Dance'' carried spheres and wands. The soloist in ''Hoop Dance'' made a set of hoops resemble such things as geometrical figures, the rings of Saturn and a peacock's tail, and the soloist in the even more ingenious ''Pole Dance'' wore black so that he virtually blended with the curtains until all that was fully visible were the intricate designs traced in space by the white poles he manipulated. Although Schlemmer's dances derived from serious theories, they were often playful in manner. ''Gesture Dance'' parodied formal parties and the ridiculously agitated way the performers in ''Flats Dance,'' the second of the new reconstructions, kept appearing from and disappearing behind rectangles made their antics resemble those of mismatched lovers chasing one another in a farce. When everyone in ''Block Play'' built a Tower of Babel, one knew that the dance had satirical implications. Yet when that tower teetered but never fell, one also remembered that the Bauhaus fostered utopian visions. The dancers who gave reality to Schlemmer's visions were Brian Hanna, Jan Hanvik, Juliet Neidish and Nancy Ellen Stotz. All deserve congratulations.
Visual perception of the environment from people with disabilities
Knee function and people with disabilities The knee has limited movement and is designed to move like a hinge.
Visibility
The Quadriceps Mechanism • is made up of the patella (kneecap), patellar tendon, and the quadriceps muscles (thigh) on the front of the upper leg. •The patella fits into the patellofemoral groove on the front of the femur and acts like a fulcrum to give the leg its power. The patella slides up an down the groove as the knee bends. • When the quadriceps muscles contract they cause the knee to straighten. • When they relax, the knee bends. •In addition the hamstring and calf muscles help flex and support the knee.
In a n Open space
In an Open space/ visual boundaries
In a Narrow /public space
In a Private/ interior space
A normal person has full perception of the environment
Normal position
Almost full perception of the environment from a person with a prosthetic knee
Position of person with prosthetic knee
Loosing of informations / feeling of the space more narrow
Position of person walking on crutches
X-rays pictures/the different angles of the knee
Very bad position. Almost no visual informations from the environment Position of person on wheelchair
The knee controls the posture of the body
The transformation of the human body and the transformation of its spatial condition
conclusions
Normal position
Position of person with prosthetic knee
Position of person walking on crutches
Perception of the horizon/total point of view
Close environmentdetail of objects
Visibility decreases as the point of you is at a lower position Movement of joints and positioning of parts
1,80cm 1,70cm 1,55cm 1,25cm
Normal position
Position of person with prosthetic knee
Position of person walking on crutches
Position of person on wheelchair
People with knee disabilities and the position of the body
Position of person on wheelchair
Perspective moments
Perspective moments
Perspective moments
Visibility of the disable people and materiality Case study from Jeppe Hein (artist)
‘””…the work isn’t anything on its own,it is only what the public informs it with. The viewers’ role brings the piece to the centre of attention…””
–communication -senses -conditions -light
Mirrors/human body and space
Using the mirror direct to the human body: -changing the perception of the space by the user but also by the audient -informations from different parts of the environment -increasing the communication -lighting -changing the outline/shape of the human body
Ideas/moments for interior spaces Materiality as the main concept of the development
Study of space/light/conditions
Moments Perspective drawings and moment models MOMENTS OF THOUGHT/SPACE/CONDITIONS MAIN ISSUES: PRIVATE/SEMI/PUBLIC CONDITIONS VISIBILITY-MATERIALITY DISABLE PEAPLE LIGHTING CONDITIONS COMMUNICATION
scenario1
scenario2 scenario3
THE IDEA
DEVELOPMENT
Vertical use of the system - Introduction of the idea of mirrors -observation of interior moments in space -movement of parts development of private/semi/public
Horizontal use of the system -Recording the space developed by the movement -movement of parts and creation of moments in space
Changing the area-material of the joined parts n horizontal way -the scale of the surfaces , the material in relation with their movement change the possibilities of the spaces. -new environment/new moments each time -different conditions
Body/sense extension -the apparatus
an extension of the human body-performance
Side elevation Front elevation
Top view
A ‘box’ becomes a part and an a extension of the human body. •Movable parts can open and close the three sides of the box. •The inside surface covered from mirrors. •Movement/changing of the angle gives to the human the opportunity to ‘extent in” the space •the box by its opening gives the possibility of Private/semi/public conditions
Private condition
private/semi/public conditions
Colombo-Sri Lanka The area of the site
The actual site
road
factory
Actual area of the site
bridge
Programmatic requirements Spaces and volumes
Ground level
First level
Second level
Process of thinking and development
Educational center and experiential space, for war victims, with knee disabilities in Sri Lanka. As a result of previous studies and research, the main goal of the Center, which is located in Colombo, Sri Lanka, is the mental support of people with Knee disabilities as well as their gentle involvement and return in the society group. The “rooms” for painting, music and theatre ( performance), yoga and meditation will provide the disable people with the opportunity to mingle with the people and take part in classes/ meetings which will help them get over their problems, mainly the mental ones such as PTSD: posttraumatic stress disorder. Green areas inside as well as outside the building will create a relaxing and calming atmosphere. Moreover disabled people will be able to receive care and treatment for extra education and learning. The river, which adjoins the site of the Centre as a public bath will also allow them to be involved with people and practice swimming/ physiotherapy in the river at the same time.
The moving system inside –outside, at the top –at the bottom, is a unified system of ramps, (inclination of 6%), through which people on wheelchairs will have the same opportunity as everybody else to enter the different spaces and equally participate in all events. Moreover, the circulation, which is one of the main elements of the designs concept, has been designed to attract all passers-by and by allowing them to walk around the building they will have the feeling of being able to participate in all the events/ classes that will take place in the Center. Through this procedure, the places were divided into two levels mainly, 0m-4m and 4m-8m. There is a green area at the at the top of the building which can also be used as an observatory, as a recreation place and as a place for horticultural education. There are amphitheatre- shaped classrooms to serve the purposes of painting and music- theater lessons. A movable panel in the middle gives he chance to the space to be transformed into a big place that public performances and shows could take place. The bar as well as the cafeteria is on the second level on the east side in order to attract people in the main areas of the building and take advantage of the view from the top. All reception areas, lobby, research space, wc’s can be found on the ground floor towards the south easterly side of the building. The building personnel will involve disable persons to serve the target of the whole programme. Thus, their involvement in the society will be achieved in a more productive and equal way.
Process of thinking-thresholds Thinking the relation between the bridge and the site
The existing road and its consequences for the general concept of the design.
Part 2 part1
A possible visual connection between the center and the bridge’s passerby's. In consideration pollution and noise.
The existing road splits the site at the ground level at two parts. Parameters of pollution and noise take into consideration..
Process of thinking and development: study model 1 sections
plans
Third level
Second level
First level
On the first trial of the design, there is an initial approachment of the site placements, having the bridge as the highest point in order for it to serve as an access point to the centre as well. Problems such as the ascension, the noise and the pollution do not evolve the whole plan. Ground level
Process of thinking and development: study model 2
Sections
plans Ground level
First level
Second level
a. Longitudinal
The second trial is an outside-to-the-inside trial approach in a shape which is directly influenced by the previous studies of the knee and its anatomical perspective and understanding. The design evolution requires a change in important priorities concerning some of the functional elements of the program; that is why it has been abandoned at an early stage.
b. transverse
Process of thinking and development: study model 3
The third attempt is a direct contact with the volumes found in the places and the relationship between them. The evolution of the third attempt can be seen in the fourth one where the elements are gradually starting to bind. The absolute course towards the movement as well as the weakness in the congruous connection of each place between them on the outside and on the inside lead to the fifth and final attempt. The program principles are, on a large scale, achieved in the latter attempt on a functional and aesthetic level. plans
Roof plan
Ground level
Underground level
Process of thinking and development: study model 4 Thinking about the circulationSide view
Perspective view
A circulation system based on continuous ramps
elevations
Ground level -yoga class,-w.c,-lobby & reception,-store room -two entrances
North elevation
First level-bar & cafĂŠ,-communal space,-art/music/theater class
South elevation
Third level -roof garden,-meditation room East elevation
West elevation
Process of thinking and development: study model 4
sections
transverse
Section cut 3 Section cut 1
Section cut 2 longitudinal
Process of thinking and development: study model 4 plans
Second level
First level
Ground level
Process of thinking and development: study model 5:FINAL MODEL The final design of the centre derives from a series of continuous attempts which aimed at combining a total unit of specific sites through which the above-mentioned program of activities could be realized. That would have continuous principles which would include all the previous studies in a direct or an indirect way along with real parameters like the specific dimensions of the place where the centre would be designed, the square meters according to the initial invitation, the position of the centre in relation to the where is the sun is and where it is heading to during the whole period as well as the difficulties of the disable people especially concerning their movement. The required square meters of the places in relation to the dimensions of the plot as well as its division into two parts due to the motor way which is in their middle led to the necessity of using two storeys above the ground, something which created another problem which needed to be solved immediately: the problem of movement and accessing the places especially those above the ground level.
With the evident need of having levels above the ground along with the people's knee disability, the solution concerning their sheer movement required the exclusion of staircases specially for the cases where people can only move on wheelchairs. Excluding the staircases only meant that the solution could only be achieved either with the usage of an elevator or with the creation of ramps; or with a combination of both. However, the elevator usage was rejected so that the creation of ramps, as the sole means of people's sheer movement, could simultaneously offer an audio visual experience which would ensure a continuous flow of movement. Apart from the entrance which unites the different sites on the ground level, there is another entrance on the eastern side which signifies the ascension to the first level through a ramp. The ramp, which goes along the cafeteria and the bar on the eastern side of the first level proceeding to the western side, reaches a place where it is finally divided and follows two routes (on the eastern and western side). The two routes finally end up on the western side where there is a park unfolding in front of you and which is on the same level of the first level of the building due to the altitude difference. This creates another entrance point. On the inside of the building, the route allows you to observe the city scenery on the north and the south, and in the middle, the place is evolved into an amphitheatrically site which can be used as a meeting point, covering 200 square meters, and simultaneously function as a wide ramp which leads to the upper rooms where the roof is. The aim and target of the program was to choose environmentally-friendly and people-friendly material, material relevant to the Shrilankan culture which can indicate the relations and communication between different countries. The idea behind plating the first level lies in POMBOU. POMBOU is a local and common material which is friendly and interwoven-attached to the Shrilankan environment and culture. Its placement can be done in such a way that the penetration of light and air inside are allowed. So, there is always natural light and aeration. The moving amber panel on the first level in combination with the visual contact one might have with the green as his view can be really breathtaking. The way various kinds of experience from the different sites can be mingled together audiovisually can equally be unique. Green areas such as the roof, the meditation room as well as the on-the-spot sites become conscious options based on the culture of the place and on their utilization concerning the successful attainment of the program, especially on a psychological level. The roof is transformed into a green garden which can offer the opportunity for various activities as well as for peace and quiet. The continuation of the ramps in the same 6-degree inclination also ensures successful access for the disabled people and for the rest.
Process of thinking and development: study model 5:FINAL MODEL
Communal space (art-music/theatre class)
Bar-cafe
Dock Meditation & yoga room
skylight
Roof garden Point of viewpark zone
Entrance to ground floor
Entrance from the park
road Entrance to the first floor
Pedestrian zone
Process of thinking and development: study model 5:FINAL MODEL
Visual point Roof garden Visual point Park entrance
CafĂŠ -bar
Communal space
road
Town entrance -lobby -reception -office -wc -store room -meditation & yoga room
Dock-visual point
Pedestrian zone
Meditation and yoga room
Process of thinking and development: study model 5:FINAL MODEL
Longitudinal sectionpoints of view and communication between the spaces
Store room
Green areapassage
Meditation and yoga space
Process of thinking and development: study model 5:FINAL MODEL
Transverse section
points of view and communication between the spaces
Process of thinking and development: study model 5:FINAL MODEL Winter position
Summer position
Sun path and lighting studies Sri Lanka :Colombo
The orientation of the sun in relation with the temperatures of Sri Lanka gives the opportunity of large openings at the sides of the center. The aim and target of the program was to choose environmentally-friendly and people-friendly material, material relevant to the Shrilankan culture which can indicate the relations and communication between different countries. .
Colombo
s u m m e r
Coordinates: 6°56′04″N 79°50′34″E
Sri Lankas sun path
Positions of the sun through the year
East view
during Summer
during Winter
Direction of the sun during the day-plan
Summer (June) Time Plan Section (hours) (degrees)
Winter (December) Time Plan Section (hours) (degrees)
7:00 8:00 9:00 10:00 11:00 12:00 13:00 14:00 15:00 16:00 17:00 18:00 19:00
7:00 8:00 9:00 10:00 11:00 12:00 13:00 14:00 15:00 16:00
157 156 154 147 134 100 57 36 28 24 22 22 22
15 28 40 53 65 73 70 60 45 32 20 8 5
24 27 31 45 60 88 112 135 145 150
Summer position
Winter position
Summer position
10 20 34 45 55 60 53 50 42 28
Winter position
The idea behind plating the first level lies in Bamboo. Bamboo is a local and common material which is friendly and interwoven-attached to the Shrilankan environment and culture. Its placement can be done in such a way that the penetration of light and air inside are allowed. So, there is always natural light and aeration.
West view
East South view
East
North view
Process of thinking and development: study model 5:FINAL MODEL Final plans
Green area-PARK- 5m
Green area-PARK- 5m Green area-PARK- 5m
Town entrance
5m 1m
Reception &lobby
Park entrance
5m
1m
7m
9.5m
7m
7m
Library & research
Communal space (art class & theatre-music class)
w.c River level (0m)
River level (0m)
8m
Store room w.c
8m
8m
stage
5m 5m Roof garden River level (0m)
5m
3m 2m
-1m Meditation & Yoga room/class
Café -Bar 5m
2m
River level skylight
8m 1m Entrance – ground level
1m
Water gap
Pedestrian zone
4m
Entrance – first level
1m
5m Pedestrian zone
Pedestrian zone
1m
River 0m
1m
River 0m
River
River
Dock 2m
Dock 2m
Ground level
River 0m
1m
River
dock 2m
dock 2m
First level
1m
dock 2m
dock 2m
Second level
1m
Process of thinking and development: study model 5:FINAL MODEL Side views and circulations Second level-to the roof
South view
First level- to the bar -to the cafĂŠ To the communal space/classes
West view
East view Ground level -to the meditation room -w.c -Library/office -lobby -reception
North view
Moments-the communal space
Process of thinking and development: study model 5:FINAL MODEL
Moments-up to the roof
Process of thinking and development: study model 5:FINAL MODEL
Moments-the meditation space
Process of thinking and development: study model 5:FINAL MODEL
Section qualities
Process of thinking and development: study model 5:FINAL MODEL
Perspective view
Process of thinking and development: study model 5:FINAL MODEL
Section qualities
Process of thinking and development: study model 5:FINAL MODEL
Detail model-meditation and yoga class
Process of thinking and development: study model 5:FINAL MODEL