Paraisthisi thesis basel tachwali by Basel.Tachwali

Hallucination The Insanity

A thesis book for the Final Architectural Project submitted to the Department of Architecture School of Architecture, Art, and Design, American University in Dubai In partial fulfillment of the requirements for the Degree of Bachelor of Architecture Fall 2015

Approval of the Thesis Book for Final Architectural Project, Department of Architecture, School of Architecture, Art, & Design, American University in Dubai.

Studient’s Full Name: Basel Tachwali

Thesis Book Title: Paraísthisi

Thesis Abstract: Paraísthisi, which is hallucination in Greek, is a project with a goal to educate people about a topic that is considered a taboo in this region. There is a social stigma associated with hallucinations and mental illness in general due to the lack of suffecient knowledge about it. The intent of this project proposal is to break this stigma make raising awareness about the topic through architecture. This project also accounts for the trearment of mentally ill people to aid them become a productive member of this community. This thesis book suggests a proposal on how to approach an issue that exists in the region through architecture, with intention of restoring hope to mentally ill people and build a healthier future society.

Students Signature

Advisor’s & Professor’s Name

Dr. Georges Kachaamy

Date:

Date: 9

I dedicate my humble work to my entire family for their constant support that allowed me to complete this book. Special thanks to my brother Eyad Tachwali who gave up his comfort for mine. Deepest gratitude and affection to my professors and mentors, Dr. Tala Vaziri and Dr. Georges Kachaamy, for their constant support and for giving me the extra push I needed to make this book happen, and earn the knowledge I earned throughout my years in university. Most importantly, I dedicate this book to all strong people who are suffering from mental illness, coping with it, and refuse to give up.

Table of Contents Section I Chapter 1 - Misinterpreted 1.1 - Alice in Wonder 1.2 - Outcast 1.3 - Re-Educate & Rehabilitate 1.4 - Reconstruct

18 20 22 24

Chapter 2 - Through Their Minds 2.10 - Philosophy of Hallucination 2.11 - Centuries of Misinterpretation 2.12 - Art of Misinterpretation 2.13 - Types of Hallucination 2.14 - The Trigger 2.15 - Similar Phenomenon 2.16 - Psychology of Space 2.17 - Architecture of Illusory 2.21 - Distortion in Nature 2.22 - Experiencing Hallucination

28 32 40 56 74 90 94 98 102 112

Chapter 3 - Case Studies & Analysis 3.10 - Frank Gehry - Louis Vuitton Foundation 3.20 - Frank Gehry - Vitra Design Museum & Factory 3.30 - Daniel Libeskind - Denver Art Museum 3.40 - BIG & JDS - Helsingor Psychiatric Hospital

120 154 174 206

Table of Contents Section II Chapter 4 - Spatiial & Data Analysis 4.10 - Project Program 4.20 - Project Service Program 4.30 - Occupancy Load 4.40 - Area Comparison 4.50 - Bubble Diagram 4.60 - Relationship Matrix

224 226 228 229 230 232

Chapter 5 - Site Analysis 5.10 - Locating The Project 5.20 - Historical Context 5.30 - Surrounding Districts & Zones 5.40 - Surrounding Major Roads & Highways 5.50 - Surrounding Landmarks 5.60 - Route to the Site 5.70 - Solar Analysis 5.80 - Wind Analysis

236 240 242 244 246 248 250 252

Chapter 6 - roject Summary, Context, & Site Correlation 6.10 - Summary & Synthesis

256

Section III Chapter 7 - Design Approach 7.10 - Design Proposal I 7.20 - Design Proposal I

262 264

List of Figures

Section 1

Figure 1.1 - Alone In A Sea Of People - Edited http://galleryhip.com/alone-in-a-sea-of-people.html

Figure 2.1 - Nagarjuna - Edited https://sites.google.com/site/ctkohl/

Figure 2.2 - Two Silhouettes

https://commons.wikimedia.org/wiki/Commons:Featured_picture_candidates/Log/November_2009

Figure 2.3 - Stairs

http://www.sven-fennema.de/wp-content/uploads/2014/06/tales_of_yesteryear_vorstellung.pdf

Figure 2.4 - Asclepiades - Edited

http://fineartamerica.com/images-simple-print/images-medium/3-asclepiades-of-bithynia-ancient-greek-science-source.jpg

Figure 2.5 - Hallucinating Doctor http://bobdillon33blog.com/2014/06/

Figure 2.6 - Alexander Crichton

https://upload.wikimedia.org/wikipedia/commons/5/57/Alexander_Crichton.jpg

Figure 2.7 - Felix Plater

https://upload.wikimedia.org/wikipedia/commons/5/5b/Hans_Bock_%E2%80%93_Felix_Platter_1584.jpg

Figure 2.8 - The Mad House

https://www.sartle.com/sites/default/files/images/artwork/1000011.jpg

Figure 2.9 - Jean-Etienne Esquirol

http://2.bp.blogspot.com/-AP7zzkmR8Us/Tlqz4LKNt2I/AAAAAAAAAgk/C_h1M-b0WQU/s1600/ESQUIROL%2BJean%2BEtienne%2B3%2B%2528BIUM%2529.jpg

Figure 2.10 - Francois De Sauvages

https://upload.wikimedia.org/wikipedia/commons/thumb/a/a1/Sauvages_de_Lacroix_1706-1767.jpg/600px-Sauvages_de_Lacroix_1706-1767.jpg

Figure 2.11 - The Mad House II - Edited

https://img.4plebs.org/boards/hr/image/1431/00/1431003529349.jpg

Figure 2.12 - MC Escher - Edited

http://s2.thingpic.com/images/74/rTua2bTjAYfktQX7wDTzUFBY.jpeg

Figure 2.13 - Still Life & Street

http://c300221.r21.cf1.rackcdn.com/mc-escher-maurits-cornelis-escher-still-life-and-street-1422621382_b.jpg

Figure 2.14 - House of Stairs https://k34.kn3.net/91E947164.jpg

Figure 2.15 - Relativity

http://i1.wp.com/blasphemoustomes.com/wp-content/uploads/2014/03/Escher-Big.jpg

Figure 2.16 - Penrose Triangle

http://www.pocketplayers.info/images/reviewspics/monument_valley/monument_valley_0001.png

Figure 2.17 - Belvedere

http://zedlande.free.fr/album/tableaux/Esher,%20Stephen/1958%20-%20belvedere%20b.jpg

Figure 2.18 - Impossible Cube

https://lh3.googleusercontent.com/-Ofe_nqn8wzw/VbsQ2qjVH2I/AAAAAAAAARw/GRXgatkL_Mg/w1989-h2048/2000px-Impossible_cube_illusion_angle.svg.png

List of Figures Figure 2.19 - Drawing Hands - Edited

http://galleryhip.com/alone-in-a-sea-of-people.html

Figure 2.20 - Reflecting Sphere - Edited https://sites.google.com/site/ctkohl/

Figure 2.21 - Alex Grey - Edited

Figure 2.22 - Sacred Mirrors

http://www.sven-fennema.de/wp-content/uploads/2014/06/tales_of_yesteryear_vorstellung.pdf

Figure 2.23 - Psychic Energy System

http://fineartamerica.com/images-simple-print/images-medium/3-asclepiades-of-bithynia-ancient-greek-science-source.jpg

Figure 2.24 - Dying

http://bobdillon33blog.com/2014/06/

Figure 2.25 - Praying

https://upload.wikimedia.org/wikipedia/commons/5/57/Alexander_Crichton.jpg

Figure 2.26 - Net of Being

https://upload.wikimedia.org/wikipedia/commons/5/5b/Hans_Bock_%E2%80%93_Felix_Platter_1584.jpg

Figure 2.27 - Interbeing

https://www.sartle.com/sites/default/files/images/artwork/1000011.jpg

Figure 2.28 - Camera Man - Edited

http://2.bp.blogspot.com/-AP7zzkmR8Us/Tlqz4LKNt2I/AAAAAAAAAgk/C_h1M-b0WQU/s1600/ESQUIROL%2BJean%2BEtienne%2B3%2B%2528BIUM%2529.jpg

Figure 2.29 - Hallucinating Man - Edited

https://upload.wikimedia.org/wikipedia/commons/thumb/a/a1/Sauvages_de_Lacroix_1706-1767.jpg/600px-Sauvages_de_Lacroix_1706-1767.jpg

Figure 2.30 - Guage - Edited

https://img.4plebs.org/boards/hr/image/1431/00/1431003529349.jpg

Figure 2.31 - Double Eye - Edited

http://s2.thingpic.com/images/74/rTua2bTjAYfktQX7wDTzUFBY.jpeg

Figure 2.32 - Visual Effect

http://c300221.r21.cf1.rackcdn.com/mc-escher-maurits-cornelis-escher-still-life-and-street-1422621382_b.jpg

Figure 2.33 - Charles Bonnet Syndrome https://k34.kn3.net/91E947164.jpg

Figure 2.34 - Man in the Mirror - Edited

http://i1.wp.com/blasphemoustomes.com/wp-content/uploads/2014/03/Escher-Big.jpg

Figure 2.35 - Voices in my head - Edited

http://www.pocketplayers.info/images/reviewspics/monument_valley/monument_valley_0001.png

Figure 2.36 - Dark Piano - Edited

http://zedlande.free.fr/album/tableaux/Esher,%20Stephen/1958%20-%20belvedere%20b.jpg

Figure 2.37 - Impossible Cube

https://lh3.googleusercontent.com/-Ofe_nqn8wzw/VbsQ2qjVH2I/AAAAAAAAARw/GRXgatkL_Mg/w1989-h2048/2000px-Impossible_cube_illusion_angle.svg.png

Figure 2.38 - Impossible Cube

http://2.bp.blogspot.com/-AP7zzkmR8Us/Tlqz4LKNt2I/AAAAAAAAAgk/C_h1M-b0WQU/s1600/ESQUIROL%2BJean%2BEtienne%2B3%2B%2528BIUM%2529.jpg

Figure 2.39 - Out of Body Experience - Edited

https://lh3.googleusercontent.com/-Ofe_nqn8wzw/VbsQ2qjVH2I/AAAAAAA/AAAA/OBE.jpg

Figure 2.40 - The Nightmare

http://bobdillon33blog.com/2012/06/01

Figure 2.41 - Finger Experiment - Edited

https://lh3.googleusercontent.com/-OfAAAAARw/GRXgatkL_Mg/w198e_nqn8wzw/VbsQ2qjVH2I/AAAAlFinger.png

Chapter Chapter Chapter 1 Chapter 1 Chapter 11 1

Misinterpreted

CHAPTER 1 - Misinterpreted

1.1 Alice in Wonderland

““Mad Hatter: “Why is a raven like a writing-desk?” “Have you guessed the riddle yet?” the Hatter said, turning to Alice again. “No, I give it up,” Alice replied: “What’s the answer?” “I haven’t the slightest idea,” said the Hatter”

“

-Lewis Carroll, Alice in Wonderland

Alice in Wonderland Everyone read or at least heard about the story about Alice in Wonderland, the story about a little girl who winds up in a rabbit hole that changes her world. Alice’s world gets completely distorted and changed. She ends up speaking to animals, meeting odd people, talking to cards, and even experiences worlds with different proportions, both up and down scaled. Things around her keep changing rapidly allowing her to perceive things she never has before. This story may sound full of fun and games making everyone who hears it wish to be in Alice’s shoes. However, what if that rabbit hole is actually some people’s reality? That world is very real and is lived by mentally ill people. Waking up every morning hearing voices in your head, seeing things that do not exist, or even feeling things that are not there either. That world is no longer fun when it prevents mentally ill patients from living a normal life in the real world, making them act in an absurd manner that society does not understand. This

made mental illness and hallucinations a taboo in our society creating a stigma associated with it. People are general afraid of things they do not understand, mental illness happens to be one of them. Society fails to understand that these conditions are just like any illness, except that it is in the most complex organ of the body; the brain. Society needs to also acknowledge that hallucinations are indeed a fact and can sometimes be helpful in expanding ones creativity. Many successful people like Einstein, Marilyn Monroe, Picasso, Alex Grey, and Van Gogh all suffered from a kind of mental illness or experience hallucinations at some point. What aided them in coping with it is them accepting it as a norm, hence using it to expand their creativity and success. People in our society will have that kind of acceptance only when society itself accepts mental illness and hallucinations as a norm.

CHAPTER 1 - Misinterpreted

1.2 Outcast

Outcast Over the past years, the UAE’s success and prosperity has attracted immigrants from all around the world. All these people came to the country for various different reasons. Some saw in the UAE a business opportunity, while others saw a new home for themselves and their families. Ever since its independence in 1971, the UAE witnessed a %3374 increase in its population from approximately 272,000 to 9,450,000 inhabitants. It is inevitable that all these new people, who came from all around the world, brought along new and different ideologies, beliefs, values, and rituals that played a big role in molding the country’s identity. The population increase does not just stop here as the Expo 2020 that will take place in Dubai is expecting to increase the city’s population by 1.2 million. It is true that such growth is good for the country, however, one cannot argue that a lot of problems will come to rise because of it. It is also important to note that Dubai’s geographical position makes it an important business hub and trade route. This also makes the city attract other kinds of problems like drug trafficking. Furthermore, Dubai is trying to maintain the city’s and country’s conservative nature while adapting to the rapid growth it is experiencing. With this in mind, it would make sense if some people in Dubai face mental instability due to cultural shock, illness, drug and alcohol abuse, or even stress caused by the demanding nature of

Background Figure 1.1 - Alone In A Sea Of People

work in such a competitive city. Such instability could be the gateway to many issues like criminal activity and abuse, which can be avoided if the right measures were taken. The city’s conservative nature causes it to have zero tolerance for such issues and made their discussion a taboo amongst its people, which in turn made Dubai one of the safest cities in the world. Currently, anyone conducting any offence would either be sent to jail or get deported if they were not local, which may not remain as a viable solution at the growth rate Dubai is experiencing. What if some of these offences happened due to a problem between the person’s mental bubble and the world? What if some of the people being thrown in jail or getting deported can play a big role in the development of the city with the adequate help? Would we not be abandoning valuable resources? If the core essence of the problem was tackled, would we not be able to prevent a cascade of other issues? The core of this problem is the mental wellbeing of the inhabitants of the city. It is crucial for us to study the perception of any troubled person and understand the reasons behind their actions that may be illogical to everyone else. Should we not help anyone who lost touch with reality by reconnecting them to it and teach them how to adapt with their problems for the greater good of the city? Mentally ill people should not be abandoned and treated like outcasts.

CHAPTER 1 - Misinterpreted

1.3 Re-Educate & Rehabilitate

Re-Educate & Rehabilitate The human mind is a complex and powerful tool that is possessed by every individual. Studying this tool could be the key to understanding peopleâ&#x20AC;&#x2122;s actions and the reasons behind them. Any irrational actions could then be explained, justified, and if they were dangerous then they would be prevented. Many people underestimate the capability of their brain forgetting how much of a complex processing unit it is, leading to the failure to identify mental disorder. Unlike the common misconception, the term mental disorder does not necessarily mean psychosis. A mental disorder is simply any kind of malfunction in any of the properties of the brain and the senses associated with it. Societyâ&#x20AC;&#x2122;s lack of information about mental illnesses and hallucinations is causing mentally ill people to be abandoned by society making it even more difficult for them to live a normal life. This project is meant to serve two functions, one is to raise awareness, and the other is provide therapy and treatment for mentally ill patients. The project will raise awareness by 24

educating people about hallucinations in general. This will be achieved in multiple ways through architecture. The project will house a spatial exhibition which will allow visitors to experience the world of a mentally ill person through space and deception. After such an experience people will either realize that hallucinations can be beneficial to expand oneâ&#x20AC;&#x2122;s creativity and horizon, or will make them understand how tough it is already for some mentally ill people to live a normal life. Since art is a universal language understood by everyone, the project will also contain exhibition spaces and galleries will be displaying information about the topic, or may display some of the works of patients during art therapy sessions. The therapeutical sector of the project will provide treatment and therapy to mentally ill patients that do not require hospitalization. Since architecture can shape habits and people, appropriate spaces will be designed to provide the best suitable atmosphere for such a function.

CHAPTER 1 - Misinterpreted

Reconstruct goal of the project is to educate people about a topic that is considered a taboo in this region. There is a social stigma associated with hallucinations and mental illness in general due to the lack of suffecient knowledge about it. The intent of this project proposal is to break this stigma make raising awareness about the topic through architecture. This project also accounts for the trearment of mentally ill people to aid them become a productive member of this community. This thesis book suggests a proposal on how to approach an issue that exists in the region through architecture, with intention of restoring hope to mentally ill people and build a healthier future society. The main

1.2 Outcast

Chapter Chapter 2 Chapter 2 2 Chapter 1 2 Chapter

Through Their Minds

CHAPTER 2 - Through Their Minds

2.1 Philosophy of Hallucination

Philosophy of Hallucination With the advancements of technology and medicine, we are uncovering more information about the human mind and its capabilities. These discoveries are aiding scientists in understanding how human beings perceive and interact with the real world they live in, hence making them capable of

This phenomenon is called hallucination.By definition, hallucination is a perception in the absence of an external stimuli that mimics some or all qualities of real perception. In other words, it is sensing something that is not there. Unlike the common misconception that hallucination is a

providing explanations for any unusual behavior some may have. Since we are such a diverse species, it is normal for everyone to have different perceptions of reality; however, there are major universally agreed upon perceptions like the sky being blue and the summer being hot. What is considered abnormal then? Simply, when people start perceiving things that are independent of what actually exist in reality.

state of mind that is strictly either drug induced or caused by a mental illness, it is actually much more common than what people think. Hallucinations occur when the brain suffers from any kind of neurological disturbance. Before we can understand how one can perceive what is not really there, we need to know how human beings perceive reality first.

CHAPTER 2 - Through Their Minds

People go through their daily lives living in two parallel worlds; the first one being everything that exists in front of them that they can sense, and the other being how they interpret and perceive everything. Sensation and perception are the key elements that build up our reality. Our mind uses sensation to obtain raw information from everything that surrounds us then uses perception to understand and process this data creating a virtual model of reality in our heads. A malfunction (sensory and neurological disturbance) in this process will cause a wrong or inaccurate virtual model, or hallucinations. Since these two aspects of reality and how they work with one another are responsible for a human beings actions towards and reactions to external stimuli, it is crucial for us to study and understand them. Even though hallucination is a phenomenon independent of any external stimuli, it has many aspects to it, some that one can control, and some that one canâ&#x20AC;&#x2122;t. It is the resultant of the two aspects of realities that one experiences mentally and with the

Background Figure 2.2 - Two Silhouettes

2.1 Philosophy of Hallucination

CHAPTER 2 - Through Their Minds

2.1 Philosophy of Hallucination

outside world. When people get too overwhelmed by their own mental bubble, they tend to misinterpret information received from the outer world leading to wrong judgement and actions that we deem illogical. On the other hand, if one gets too occupied by the outside world and loses touch with their subconscious, all the input they provide to the world will be blank and stripped from its human factor. This may drive the person straight to depression or other inner problems. One needs to achieve the perfect balance between these two aspects. It is therefore important to understand how human beings perceive things on a mental state since there is a fine line between appropriate interpretation and delusion, especially when many people donâ&#x20AC;&#x2122;t realize when they have crossed that line. One cannot completely debunk the fact that everyone acts based on perceptional evaluation of situations that may seem illogical to others, making us all illogical wanderers roaming the earth trying to understand the play that we see through the theater of our minds.

CHAPTER 2 - Through Their Minds

2.11 Centuries of Misinterpretation

Centuries of Misinterpretation The idea of hallucinations is not new to humanity as descriptions of hallucinations can be found in written documents since the beginning of recorded history. People where always interested to understand the capability of someone’s eyes to see what no other eye can see, hear what no other ear can hear, or even sensing what no one else can sense. How could this be possible when we are all humans who have the same senses with the same capabilities? This question provoked many philosophers to come up with theories to explain these phenomenon. Eventually, the topic of hallucinations found its place in medicine and psychiatry and laid the foundations to explaining many disorders like schizophrenia. [1]

Ohayon, Maurice M. “ .” History of Hallucinations. Sleep Eval. Research, 05 Nov. 2012. Web. 15 Oct. 2015. [1]

Figure 2.3 - Stairs

CHAPTER 2 - Through Their Minds

2.11 Centuries of Misinterpretation

Drawing of Asclepiades (c.130-40 BC), after a statue by Forestier

It all began when Asclepiades of Bythinia created a clear distinction between hallucinations and delusions in 124-40 B.C. The Greeks used to refer to both these phenomena as phantasia or visum in Latin. Asclepiades achieved this distinction by stating that during a hallucination people perceive what is not really there, and during a delusion people have an inaccurate perception of what exists. Asclepiades’ theory’s foundations were placed by previous philosophers like Aristotle, Zeno, and Chrysippus. All These philosophers were interested in questioning reality, existence, and perception. They suggested that one may have altered perception of reality under the right circumstances.[1]

Figure 2.4 - Asclepiades

Ohayon, Maurice M. “ .” History of Hallucinations. Sleep Eval. Research, 05 Nov. 2012. Web. 15 Oct. 2015. [1]

CHAPTER 2 - Through Their Minds

Caricature, number 15 in the series, depicting a physician having hallucinations, hand-coloured lithograph.

2.11 Centuries of Misinterpretation

Lâ&#x20AC;&#x2122;Imagination, by HonorĂŠ Daumier, 1833.

Figure 2.5 - Hallucinating Doctor

CHAPTER 2 - Through Their Minds

It is important to note that Asclepiades only differentiated between hallucinations and delusions. He explained what each phenomenon is, but did not manage to explain the causes of these phenomena. People were still debating the reasons and sources behind them. During the middle ages, hallucinations were thought to be caused by demons or angels possessing people. People completely disregarded the fact that hallucinations can be due to mental illnesses. Any religious or powerful person experiencing hallucinations would be considered a saint or an enlightened person. On the other hand, ordinary people who would suffer from such phenomena would be considered possessed by a

2.11 Centuries of Misinterpretation

demon or cursed by God. Unfortunately, the Arab culture among several others still believe so till this very day. In 1572, the work of the Swiss theologian Ludwig Lavater introduced the word “hallucination” to the English language. He used it to explain “ghosts and spirits walking at night”. The word itself was derived from the Latin verb halucinari or alucinari, which means “to wander” or “to be absent minded”. With progression of medicine and psychiatry, the word “hallucination” was also documented in those fields as a scientific term to describe the effect or the symptoms of certain mental disorders.[1][2]

Some notable scholars who marked the beginning of the scientific use of the word “hallucination”

Alexander Crichton (1763-1846), Scottish Physician. ; similar use to our modern time

Felix Plater (1536-1614), Swiss Anatomist. ; used it in reference to all mental illnesses

From Left to right Figure 2.6 - Alexander Crichton Figure 2.7 - Felix Plater

[1]

Ohayon, Maurice M. “ .” History of Hallucinations. Sleep Eval. Research, 05 Nov. 2012. Web. 15 Oct. 2015. [2] Blom, J. D. “Hallucination.” Academic Dictionaries and Encyclopedias. Academic Dictionaries & Encyclopedias, 1 Jan. 2010. Web. 14 Oct. 2015.

CHAPTER 2 - Through Their Minds

2.11 Centuries of Misinterpretation

The Madhouse, Francisco de Goya, C. 1812 - 1819

Jean-Etienne Dominique Esquirol, (1772-1840), French Psychiatrist. ; state of mind (different types) caused by certain mental disorders From Top to Bottom Figure 2.8 - The Mad House Figure 2.9 - Jean-Etienne Esquirol

Figure 2.10 - Francois de Sauvages

Franรงois Boissier de Sauvages, (1706-1767), French Physician. ; used it to describe perceptual probelms caused by physiological problem 39

CHAPTER 2 - Through Their Minds

2.11 Centuries of Misinterpretation

Among the aforementioned scholars, Jean-Estienne Dominique Esquirol had the most influential use for the term. It is actually the closest out of these scholars to our modern use of the term. Esquirol’s first used the word in a publication in 1817 in the following manner:

“A mad person who has the thorough conviction of an actually perceived sensation, while no object suited to excite that sensation is present within the range of his senses,

“

abides in a state of hallucination. He is a visionary. He then used it again in another revision in 1837 as follows:

“A person is said to labor under a hallucination, or to be a visionary, who has a thorough conviction of the perception of a sensation, when no external object, suited to excite this

“

sensation, has impressed the senses.

This marked the birth of hallucination in the world of medicine. Over time, doctors, psychologists, psychiatrists, etc. are uncovering more about this state of mind and providing more logical and credible information explaining the causes of these effects. However, the main difficulty that medicine faces with this topic is that they are studying a fallacy. Patients who hallucinate are almost always facing people who dismiss their perceptions. This means that estimating the number of sufferers of this phenomenon is based on people having perceptions not confirmed by

others. Another problem medicine is facing is the fact that hallucinations is seen as stigma in society due to lack of awareness. Most people who suffer from this phenomenon are often reluctant to seek help in fear of being considered mad or being rejected by society. Due to these factors, it is fairly difficult to obtain perfectly accurate data and numbers to explain how common these phenomena are.[2]

Blom, J. D. “Hallucination.” Academic Dictionaries and Encyclopedias. Academic Dictionaries & Encyclopedias, 1 Jan. 2010. Web. 14 Oct. 2015. [2]

CHAPTER 2 - Through Their Minds

2.11 Centuries of Misinterpretation

The Madhouse, William Hogarth, 1773

Background Figure 2.11 - The Mad House II

Art of Misinterpretation

Background Figure 2.75- Distorted Face

CHAPTER 2 - Through Their Minds

2.12 Art of Misinterpretation

“We adore chaos because we love to produce order.“ -M.C. Escher

Background Figure 2.12 - MC Escher

CHAPTER 2 - Through Their Minds

2.12 Art of Misinterpretation

M.C. Ecsher Maurits Cornelis Escher (1898-1972) is one of the world’s most famous graphic artists. His art is enjoyed by millions of people all over the world, as can be seen on the many web sites on the internet. He is most famous for his socalled impossible constructions, such as Ascending and Descending, Relativity, his Transformation Prints, such as Metamorphosis I, Metamorphosis II and Metamorphosis III, Sky & Water I or Reptiles. He also made some wonderful, more realistic work during the time he lived and traveled in Italy. M.C. Escher, during his lifetime, made 448 lithographs, woodcuts and wood engravings and over 2000 drawings and sketches. Like some of his famous predecessors, Michelangelo, Leonardo da Vinci, Dürer and Holbein-, M.C. Escher was left-handed. Apart from being a graphic artist, M.C. Escher illustrated books, designed tapestries, postage stamps and murals. He was born in Leeuwarden, the Netherlands, as the fourth and youngest son of a civil engineer. After 5 years the family moved to Arnhem where Escher spent most of his youth. After failing his high school exams, Maurits ultimately was enrolled in the School for Architecture and Decorative Arts in Haarlem which he left after one week to study Graphic Arts. Many of these sketches he would later use for various other lithographs and/or woodcuts and wood engravings, for example the background in the lithograph Waterfall stems from his Italian period, or the trees reflecting in the woodcut Puddle, which are the same trees Escher used in his woodcut “Pineta of Calvi”, which he made in 1932. He played with architecture, perspective and impossible spaces. His art continues to amaze and wonder millions of people all over the world. In his work we recognize his keen observation of the world around us and the expressions of his own fantasies. M.C. Escher shows us that reality is wondrous, comprehensible and fascinating.[3]

M.C. Escher.” M.C. Escher Biography. M.C. Escher, n.d. Web. 12 Dec. 2015.

[3]

CHAPTER 2 - Through Their Minds

2.12 Art of Misinterpretation

Geometries Although Escher did not have mathematical training, his understanding of mathematics was largely visual and intuitive. His art had a strong mathematical component, and several of the worlds which he drew were built around impossible objects After 1924, Escher turned to sketching landscapes in Italy and Corsica with irregular perspectives that are impossible in natural form. [4]

Still Life & Street - 1937 - Woodcut

This image is a classic example of Escherâ&#x20AC;&#x2122;s plays on perspective. In it, the horizontal plane of the table continues into the distance to become the street, and the rows of books on the table are seen to lean against the tall buildings that line the street. Still Life and Street is a woodcut print by the Dutch artist M. C. Escher which was first printed in March, 1937. It was his first print of an impossible reality. In this 46

Figure 2.13 - Still life & Street

artwork there are two quite distinctly recognizable realities bound together in a natural, and yet at the same time a completely impossible, way. Looked at from the window, the houses make book-rests between which tiny dolls are set up. Looked at from the street, the books stand yards high and a gigantic tobacco jar stands at the crossroads.[5]

CHAPTER 2 - Through Their Minds

2.12 Art of Misinterpretation

House of Stairs - 1951 - Lithograph A total of 46 “wentelteefje” (imaginary creatures created by Escher) are crawling on the stairs. The wentelteefje has a long, armored body with six legs, humanoid feet, a parrotlike beak and eyes on stalks. Some are seen to roll in through doors, wound in a wheel shape and then unroll to crawl up the stairs, while others crawl down stairs and wind up to roll out. The wentelteefje first appeared earlier the same month in the lithograph Curl-up. Later that month, House of Stairs was extended to a vertical length of 55½” in a print titled House of Stairs II by repeating and mirroring some of the architecture and creatures.[5]

[4]

Figure 2.14 - House of Stairs

Seckel, Al. Masters of Deception: Escher, Dalí & the Artists of Optical Illusion. Illustrated ed. Vol. 1. N.p.: Sterling, 2004. Print. Ser. 1402705778. [5] Escher, M. C., J. L. Locher, and Marjolijn De Jager. The Magic of M.C. Escher. New York: Harry N. Abrams, 2000. Print.

CHAPTER 2 - Through Their Minds

2.12 Art of Misinterpretation

Relativity - 1953 - Lithograph

It depicts a world in which the normal laws of gravity do not apply. The architectural structure seems to be the centre of an idyllic community, with most of its inhabitants casually going about their ordinary business, such as dining. There are windows and doorways leading to park-like outdoor settings. All of the figures are dressed in identical attire and have featureless bulb-shaped heads. Identical characters such as these can be found in many other Escher works. In the world of Relativity, there are three sources of gravity, each being orthogonal to the two others. Each inhabitant lives in one of the gravity wells, where normal physical laws apply. There are sixteen characters, spread between each gravity source, six in one and five each in the other two. The apparent confusion of the lithograph print comes from the fact that the three gravity sources are depicted in the same space. The structure has seven stairways, and each stairway can be used by people who belong to two different gravity sources. This creates interesting phenomena, such as in the

top stairway, where two inhabitants use the same stairway in the same direction and on the same side, but each using a different face of each step; thus, one descends the stairway as the other climbs it, even while moving in the same direction nearly side-by-side. In the other stairways, inhabitants are depicted as climbing the stairways upside-down, but based on their own gravity source, they are climbing normally. Each of the three parks belongs to one of the gravity wells. All but one of the doors seem to lead to basements below the parks. Though physically possible, such basements are certainly unusual and add to the surreal effect of the picture. This is one of Escherâ&#x20AC;&#x2122;s most popular works and has been used in a variety of ways, as it can be appreciated both artistically and scientifically. Interrogations about perspective and the representation of three-dimensional images in a twodimensional picture are at the core of Escherâ&#x20AC;&#x2122;s work, and Relativity represents one of his greatest achievements in this domain.[5] Escher, M. C., J. L. Locher, and Marjolijn De Jager. The Magic of M.C. Escher. New York: Harry N. Abrams, 2000. Print. [5]

Figure 2.15 - Relativity

CHAPTER 2 - Through Their Minds

2.12 Art of Misinterpretation

Penrose Triangle he Penrose triangle was first created by the Swedish artist Oscar Reutersvärd in 1934. The mathematician Roger Penrose independently devised and popularised it in the 1950s, describing it as “impossibility in its purest form”. The Penrose stairs was created by Lionel Penrose and his son Roger Penrose. A variation on the Penrose triangle, it is a two-dimensional depiction of a staircase in which the stairs make four 90-degree turns as they ascend or descend yet form a continuous loop, so that a person could climb them forever and never get any higher. M.C. Ecsher used this geometry in many of his “impossible construction” work.[6]

Belvedere - 1958 - Lithograph In this lithograph, Escher uses two-dimensional images to depict objects free of the confines of the three-dimensional world. The image is of a rectangular three-story building. The upper two floors are open at the sides with the top floor and roof supported by pillars. From the viewer’s perspective, all the pillars on the middle floor are the same size at both the front and back, but the pillars at the back are set higher. The viewer also sees by the corners of the top floor that it is at a different angle than the rest of the structure. All these elements make it possible for all the pillars on the middle floor to stand at right angles, yet the pillars at the front support the back side of the top floor while the pillars at the back support the front side. This paradox also allows a ladder to extend from the inside of the middle floor to the outside of the top floor. There is a man seated at the foot of the building holding an impossible cube. He appears to be constructing it from a diagram of a Necker cube at his feet with the intersecting lines circled. The window next to him is closed with an iron grille that is geometrically valid, but practically impossible to assemble.[7]

Impossible Cube The impossible cube was invented by M.C. Escher for Belvedere, a lithograph in which a boy seated at the foot of the building holds an impossible cube.[6]

Top to bottom Figure 2.16 - Penrose Triangle Figure 2.17 - Belvedere

Francis, George K. A Topological Picturebook. New York U.a.: Springer, 1988. Print. Poole, Steven. “The Impossible World of MC Escher.” The Guardian. The Guardian, 20 June 2015. Web. 2 Nov. 2015. [6]

Figure 2.18 - Impossible Cube

[7]

CHAPTER 2 - Through Their Minds

2.12 Art of Misinterpretation

Levels of Reality Escherâ&#x20AC;&#x2122;s artistic expression was created from images in his mind, rather than directly from observations and travels to other countries. His interest in the multiple levels of reality in art is seen in works such as Drawing Hands (1948), where two hands are shown, each drawing the other. [5]

Drawing Hands - 1948 - Lithograph Drawing Hands is a lithograph by the Dutch artist M. C. Escher first printed in January 1948. It depicts a sheet of paper out of which, from wrists that remain flat on the page, two hands rise, facing each other and in the paradoxical act of drawing one another into existence. Although Escher used paradoxes in his works often, this is one of the most obvious examples.[5]

Figure 2.19 - Drawing Hands

Escher, M. C., J. L. Locher, and Marjolijn De Jager. The Magic of M.C. Escher. New York: Harry N. Abrams, 2000. Print. [5]

CHAPTER 2 - Through Their Minds

2.12 Art of Misinterpretation

Hand with Reflecting Sphere - 1935 - Lithograph Hand with Reflecting Sphere also known as Self-Portrait in Spherical Mirror is a lithograph print by Dutch artist M. C. Escher, first printed in January 1935. The piece depicts a hand holding a reflective sphere. In the reflection, most of the room around Escher can be seen, and the hand holding the sphere is revealed to be Escherâ&#x20AC;&#x2122;s. Self-portraits in reflective, spherical surfaces are common in Escherâ&#x20AC;&#x2122;s work, and this

image is the most prominent and famous example. In much of his self-portraiture of this type, Escher is in the act of drawing the sphere, whereas in this image he is seated and gazing into it. On the walls there are several framed pictures, one of which appears to be of an Indonesian shadow puppet. [5]

Figure 2.20 - Reflecting Sphere

CHAPTER 2 - Through Their Minds

2.12 Art of Misinterpretation

Alex Grey Alex Grey was born in Columbus, Ohio on November 29, 1953, the middle child of a gentle middle-class couple. His father was a graphic designer and encouraged his son’s drawing ability. Young Alex would collect insects and dead animals from the suburban neighborhood and bury them in the back yard. The themes of death and transcendence weave throughout his artworks, from the earliest drawings to later performances, paintings and sculpture. Alex went to the Columbus College of Art and Design on full scholarship from 1971-3. Grey dropped out of art school and painted billboards for Columbus Outdoor Advertising, 1973-4. Grey then moved to Boston to study with and work as studio assistant for conceptual artist, Jay Jaroslav, at the School of the Museum of Fine Arts, Boston in 1974-5. At the Museum School, Alex met his life-long partner, the artist, Allyson Rymland Grey. At their meeting in 1975, an entheogenically induced mystical experience transformed his agnostic existentialism to a radical transcendentalism. The Grey couple continued to take “sacramental journeys” on LSD. For five years, Alex worked in the Anatomy department at Harvard Medical School preparing cadavers for dissection while he studied the body on his own. He later worked for Dr. Herbert Benson and Dr. Joan Borysenko as a research technologist at Harvard’s department of Mind/Body Medicine, conducting scientific experiments to investigate subtle healing energies. Alex’s anatomical training prepared him for painting the Sacred Mirrors and for working as a medical illustrator. Doctors at Harvard saw images of his Sacred Mirrors, and hired Alex for illustration work.[8]

Background Figure 2.21 - Alex Grey

Grey, Alex. “Alex Grey Biography.” Alex Grey. Alex Grey, 16 May 2010. Web. 2 Dec. 2015. [8]

“Be an artist of consciousness. Your picture of reality is your

most important creation. Make it powerfully profoundly

“

beautiful. Alex Grey

CHAPTER 2 - Through Their Minds

2.12 Art of Misinterpretation

Painting a Personal Reality Grey’s paintings can be described as a blend of sacred, visionary art and postmodern art. He is best known for his paintings of glowing anatomical human bodies, images that “x-ray” the multiple layers of reality. His art is a complex integration of body, mind, and spirit. The Sacred Mirrors, a life-sized series of 21 paintings, took 10 years to complete, and examines in detail the physical and metaphysical anatomy of the individual. Many of his paintings include detailed representations of the skeleton, nervous system, cardiovascular system, and lymphatic system. Grey applies this multidimensional perspective to paint the universal

human experience. His figures are shown in positions such as praying, meditating, kissing, copulating, pregnancy, birth and death. His work incorporates many religious symbols, including auras, chakras, and icons with geometric shapes and tessellations in natural, industrial, and multicultural situations. Grey’s paintings are permeated with an intense and subtle light that is rare in art history. His highly detailed paintings are spiritual and scientific in equal measure, revealing his psychedelic, spiritual and super-natural view of the human race.[9][10]

The Chapel of Sacred Mirrors The Chapel of Sacred Mirrors (CoSM) is a transdenominational church dedicated to the realization of a shared 1985 vision

to inspire every pilgrim’s creative path and embody the values of love and evolutionary wisdom” he Sacred Mirrors

of the American artists Alex and Allyson Grey to build a contemporary public Chapel as ‘a sanctuary for spiritual renewal through contemplation of transformative art’Conceived to house Alex Grey’s ‘Sacred Mirrors’ (a series of twenty-one art-works that examine the body, spirit, and mind in rich detail) along with other important works of visionary and contemporary spiritual art, CoSM’s stated mission is “Building an enduring sanctuary of visionary art

series, which were created over a ten-year period between 1979 and 1988, were originally inspired by a lysergic acid diethylamide (LSD) vision that Alex and Allyson Grey shared in 1976. (This series of paintings has been exhibited internationally, and are the subject of the 1990 book Sacred Mirrors: The Visionary Art of Alex Grey, which has been translated into 9 languages and sold over 150,000 copies worldwide. [9][10]

Inside The Chapel of Sacred Mirrors Kuspit, Donald B. Redeeming Art: Critical Reveries. New York: Allworth, 2000. Print. [10] Maizels, John. Outsider Art Sourcebook: Art Brut, Folk Art, Outsider Art. , Herts: Raw Vision, 2009. Print. [9]

Figure 2.22 - Sacred Mirrors

CHAPTER 2 - Through Their Minds

2.12 Art of Misinterpretation

Psychic Energy System Figure 2.23 - Psychic Energy System

CHAPTER 2 - Through Their Minds

2.12 Art of Misinterpretation

Progress of the Soul This a series of paintings where Grey expresses his ideologies about different natural aspects of life. These aspects include death, birth, Adam & Eve, and evolution. Greyâ&#x20AC;&#x2122;s style in portraying these ideologies is quite unique. He uses the repetition of basic human elements that create his paintings. [9] Below are some examples of paintings included in the series.

Dying - 2003 - Oil on Linen

[9]

Figure 2.24 - Dying

Kuspit, Donald B. Redeeming Art: Critical Reveries. New York: Allworth, 2000. Print.

CHAPTER 2 - Through Their Minds

2.12 Art of Misinterpretation

Praying - 2002 - Oil on Linen

Net of Being - 2002-2007 - Oil on Linen

Interbeing - 2003 - Oil on Linen

Top to Bottom Figure 2.25 - Praying Figure 2.26 - Net of Being

Figure 2.27 - Interbeing

Types of Hallucinations Since hallucination mimics realistic perceptions, it can take the form of any sensation a person has. It may involve one of or all the senses a person has. This means that a person can see, hear, smell, taste, or even feel a hallucination. Since this state of mind does not need the involvement of an external stimuli, hallucinations are usually illogical. The capability of distinguishing between hallucinations and reality is what differentiates between pathological hallucination (psychotic) and pseudohallucination (nonpsychotic).

Background Figure 2.29 - Hallucinating Man

CHAPTER 2 - Through Their Minds

2.13 Types of Hallucination

â&#x20AC;&#x153;I start to see what you might see on the dash of your car at night, except the numbers begin spinning more and more rapidly. After about twenty seconds, the numbers begin to disintegrate, and the odometer itself falls apart and

â&#x20AC;&#x153;

gradually disappears.

Amy T., visual hallucinations caused by epilepsy.

CHAPTER 2 - Through Their Minds

Background Figure 2.30 - Guage

2.13 Types of Hallucination

CHAPTER 2 - Through Their Minds

2.13 Types of Hallucination

Visual Hallucination A visual hallucination is “the perception of an external visual stimulus where none exists”. Here, a person sees something that does not exist or sees something that does exist but sees it incorrectly. Palinopsia is also considered to be a type of visual hallucination. This condition involves the patient seeing a reoccurrence of images after the stimulus has been removed. Visual Hallucination is divided into two categories. [11][12]

Simple visual hallucinations (SVH) Also referred to as non-formed visual hallucinations and elementary visual hallucinations. These terms refer to lights, colors (dyschromatopsia), geometric shapes (metamorphopsia), indiscrete objects, and distortion in proportions (micropsia or macropsia). These can be further subdivided into phosphenes which are SVH without structure, and photopsias which are SVH with geometric structures. Heinrich Klüver categorized geometric pattern hallucination into four categories; lattices (including honeycombs, checkerboards, and triangles), cobwebs, tunnels, and spirals.[11][12]

Respectively: spiral & cobweb/ tunnel hallucination patterns

Visual hallucination due to Charles Bonnet Syndrome

Top to Bottom Figure 2.32 - Visual Effect Figure 2.33 - Charles Bonnet Syndrome

[11] [12]

Sacks, Oliver. Hallucinations. New York: Alfred A. Knopf, 2012. Print. Mitchell, John K. Headache with Visual Hallucination. New York: Raff, 1897. Print.

CHAPTER 2 - Through Their Minds

Background Figure 2.31 - Double Eye

2.13 Types of Hallucination

CHAPTER 2 - Through Their Minds

2.13 Types of Hallucination

CHAPTER 2 - Through Their Minds

2.13 Types of Hallucination

Complex visual hallucinations (CVH) Also referred to as formed visual hallucinations. They are complete visual perceptions as one would actually see reality. CVHs are clear, lifelike images or scenes.

Visual hallucination due to Charles Bonnet Syndrome

To distinguish between the two categories one should look at how one can possibly visually hallucinate the same thing. If the person sees a person as a shadow, figure or silhouette without any details, or says claims to have seen something that looks like a person, then that hallucination classifies as a SVH. If the person reports to have seen a person with details just like they would visually perceive a real person, then that hallucination is a CVH.[11]

Top to Bottom Figure 2.34 - Man in the Mirror Figure 2.35 - Asian Man

[11] [12]

Sacks, Oliver. Hallucinations. New York: Alfred A. Knopf, 2012. Print. Mitchell, John K. Headache with Visual Hallucination. New York: Raff, 1897. Print.

Background Figure 2.36 - Voices in my head

CHAPTER 2 - Through Their Minds

2.13 Types of Hallucination

“Look at you! Stupid! No no, don’t do that! She knows. She knows everything. You have no future! Go to hell.“ Auditory hallucinations of schitzophrenic patients according to Ralph Hoffman, a Professor of Psychiatry at Yale University.

CHAPTER 2 - Through Their Minds

2.13 Types of Hallucination

Auditory Hallucination Auditory hallucination or paracausia is the perception of sound without outside stimulus. Meaning hearing something that does not exist. This hallucination is the most common type of hallucination. Auditory hallucinations can be divided into two categories.[11]

Elementary Auditory Hallucination (EAH) It is the perception of monotone sounds such as hissing, whistling, extended tones, and more. Even though tinnitus is an elementary auditory hallucination, some people who experience certain types of tinnitus, especially pulsatile tinnitus, are actually hearing the blood rushing through vessels near the ear. Since the auditory stimulus is present in this situation, it does not qualify as a hallucination. [11]

Background Figure 2.37 - Dark Piano

[11]

Sacks, Oliver. Hallucinations. New York: Alfred A. Knopf, 2012. Print.

CHAPTER 2 - Through Their Minds

2.13 Types of Hallucination

Complex Auditory Hallucination (CAH) Complex auditory hallucinations are usually a combination of sounds. This category includes voices, music, or other sounds that may or may not be clear, may be familiar or completely unfamiliar, and friendly or aggressive, among other possibilities. [11]

Auditory hallucination is a very common kind of pathological hallucination. However, this does not mean that anyone experiencing auditory hallucinations is suffering from a mental disorder. Auditory hallucinations is also often mistaken with actual reality. If a group of people experience the same complex hallucinations, chances are they are not hallucinating. They may just not know the source of this stimulus. [11]

CHAPTER 2 - Through Their Minds

Background Figure 2.38 - Out of Body Experience

2.13 Types of Hallucination

CHAPTER 2 - Through Their Minds

2.13 Types of Hallucination

“I was still in bed and still awake, but I felt myself float around the roam away from my body. I was really flying.”

CHAPTER 2 - Through Their Minds

2.13 Types of Hallucination

Proprioceptive Hallucination Proprioceptive hallucination or Posture Hallucination is when people perceive there bodyâ&#x20AC;&#x2122;s orientation in space to be different than what it is in reality. This hallucination makes people feel as if their entire body or a part of it is in a different location from where they physically are. One feels as if their bodies or limbs are slipping away from them. This hallucination involves sensations of rising, flying, or floating. This hallucination is common in sleep paralysis. These

sensations of floating, flying, out-of-body experiences and other dissociative movement events are most likely when in bed before and after sleeping. They have also been reported under the influence of anesthetics and other hospital related incidents. There are some historical references to this type of hallucination being caused by certain herbs and potions but most likely it is the result of sleep disruptions. This hallucination is not considered pathological. [11]

The Nightmare, Henry Fuseli, 1781.

Thought to be one of the classic depictions of sleep paralysis perceived as a demonic visitation. [11]

Figure 2.39 - The Nightmare

Sacks, Oliver. Hallucinations. New York: Alfred A. Knopf, 2012. Print.

CHAPTER 2 - Through Their Minds

2.13 Types of Hallucination

The Experiment This hallucination is not new to humanity as the Greek philosopher Aristotle created an experiment demonstrating the illusion of touch which aids in explaining this Hallucination. It may be produced by crossing the middle finger over the index finger and placing the tips of both fingers on a small, round object, such as a marble. The marble will be felt as two marbles.

Figure 2.40 - Finger Experiment

CHAPTER 2 - Through Their Minds

2.13 Types of Hallucination

Gustatory Hallucination This hallucination involves the tasting sensation. It is tasting something without a stimulus. These hallucinations, which are typically strange or unpleasant, are relatively common among individuals with a certain types of focal epilepsy, especially temporal lobe epilepsy. The regions of the brain responsible for gustatory hallucination in this case are the insula and the superior bank of the sylvian fissure. Any damage to that part of the brain can also lead to gustatory hallucinations. Some people report to have tasted colors or sound. This considered a clear sign of gustatory hallucination which usually occurs under the influence of drugs. [11]

Command Hallucination This hallucination is when a person perceives that they are being commanded by someone they recognize or do not. These hallucinations can be auditory or based on pure imagination inside the persons mind or consciousness. The contents of the hallucinations can either be completely harmless (like being asked to stand up) or provoke the person to cause harm to self or others. Even though people often comply with harmless commands, this hallucination is considered very dangerous as it may lead to crimes. Command hallucinations are regarded as pathological hallucinations. [11]

Olfactory Hallucination This hallucination is also known as Phantosmia. It is the phenomenon of smelling things that are not really there. The most common odors are unpleasant smells. These odors include but are not limited to; rotting flesh, vomit, urine, feces, or smoke. This type of hallucinations is usually due to damage in the nervous tissues in the olfactory system. The damage can be caused by viral infection, brain tumor, trauma, surgery, and possibly exposure to toxins or drugs. Other causes of phantosmia include epilepsy affecting the olfactory cortex which means that it may have psychiatric origins as well. Phantosmia is often confused with parosmia, which is smelling something that actually exists but perceiving it differently. Associative imagination can also trigger olfactory hallucinations. If one sees a picture of a rose, they might be able to smell it. [11]

Sacks, Oliver. Hallucinations. New York: Alfred A. Knopf, 2012. Print. Berrios, G. E. â&#x20AC;&#x153;Tactile Hallucinations: Conceptual and Historical Aspects.â&#x20AC;? Journal of Neurology, Neurosurgery, and Psychiatry. U.S. National Library of Medicine, 9 Apr. 1982. Web. 12 Dec. 2015.

[11]

[13]

CHAPTER 2 - Through Their Minds

2.13 Types of Hallucination

Tactile Hallucination Tactile hallucination is the false perception of tactile sensory input that creates a hallucinatory sensation of physical contact with an imaginary object. This means that the person feels like they are touching something that does not actually exist. This hallucination is caused by the faulty integration of the tactile sensory neural signals generated in the spinal cord and the thalamus and sent to the primary somatosensory cortex (SI) and secondary somatosensory cortex (SII). A common type of tactile hallucination is the phantom limb pains. Phantom limb pain is the sensation of pain coming from a limb that has been amputated. Since the limb does not exist, there is not source of stimulus, classifying it as a hallucination. Tactile hallucinations are often caused by drugs or certain mental disorders.[11][13]

General Somatic Sensation General somatic sensations of a hallucinatory nature are experienced when an individual feels that his body is being mutilated, i.e. twisted, torn, or disemboweled. Other reported cases are invasion by animals in the person’s internal organs such as snakes in the stomach or frogs in the rectum. The general feeling that one’s flesh is decomposing is also classified under this type of hallucination[11]

Other Uncommon Hallucinations •

Nociceptive Hallucinations

•

Thermoceptive Hallucinations

•

Chronoceptive Hallucinations

•

Equilibrioceptive Hallucinations

•

Closed Eye Visual ( CEV ) Hallucinations

•

Religious Hallucinations

Background Figure 2.41 - Screaming Unheared

The Trigger Even though hallucinations are a nonrealistic phenomenon, the science behind them is very real. For decades medicine and psychiatry have been trying to uncover the sources of this state of mind. There are a variety of triggers for this state. These triggers include but are not limited to mental disorders, drug use and abuse, fatigue, sickness, and intoxication. The triggers may seem diverse, however they all cause neurological and sensory disturbances that lead to hallucinations.

CHAPTER 2 - Through Their Minds

2.14 The Trigger

Hypnagogia Hypnagogia is the transitional stage between wakefulness and sleep. This stage is considered to be a part of the stages of falling asleep. During this period, the brain paralyzes the human body and dysfunctions parts responsible for logical thinking in the left cerebral hemisphere to prepare for REM sleep (Dreaming period). Nevertheless, disturbances during this period will cause people to remain conscious, causing them to dream while being awake, or in other words hallucinate. This stage is responsible for states like sleep paralysis, Out of Body Experiences (OBE), and Cognitive and Affective Phenomena (CAP). Hypnagogic hallucinations may also be associated with cases of Narcolepsy.[14]

Types of Hallucinations Involved • Visual • Auditory • Gustatory • Olfactory • Tactile •

Thermoceptive (rare)

•

General Somatic

• Proprioceptive

Background Figure 2.42 - No Sleep

Manford, M., and F. Andermann. “Brain.” Complex Visual Hallucinations. Clinical and Neurobiological Insights. Oxford Press, 1 Oct. 1998. Web. 12 Oct. 2015. [14]

CHAPTER 2 - Through Their Minds

2.14 The Trigger

The Process

Normal Sleep

Muscles Activated

Muscles are effectively paralysed when REM sleep begins and re-activated when it ends.

REM Muscle Atonia REM Sleep

Stages of REM

Sleep Paralysis Muscle paralysis continues after REM sleep ends (or begins before REM sleep).

Stages of REM

Sleep Pralysis

CHAPTER 2 - Through Their Minds

2.14 The Trigger

Penduncular Hallucinations Penducular Hallucinations (PH) is considered to be a neurological disorder that causes hallucinations in dark or dimly lit environments. During PH, people are awake and conscious of their surroundings, which distinguishes this category from other causes like fatigue and hypnagogic hallucinations. This condition is caused by damage to the pons in the brainstem, the neural tract running from and to the pons, or the general midbrain. Even though people who suffer from this hallucination are awake while in this state, they tend to find it difficult to distinguish the hallucination from reality due to its realistic nature. The most common hallucinations include seeing people, animals, scary or deformed faces, and landscape. The hallucinations are so realistic that people tend to interact with them. [14]

Manford, M., and F. Andermann. â&#x20AC;&#x153;Brain.â&#x20AC;? Complex Visual Hallucinations. Clinical and Neurobiological Insights. Oxford Press, 1 Oct. 1998. Web. 12 Oct. 2015. [14]

CHAPTER 2 - Through Their Minds

2.14 The Trigger

Lilliputian Hallucinations The most common sub category of this hallucination is Lilliputian hallucinations (also called Alice in Wonderland syndrome). This is when people tend to see figures, animals, and objects in distorted scale (often smaller) than in real life. This type of hallucination is associated with conditions like Parkinson’s disease, narcolepsy-cataplexy syndrome, delirium tremens, Lewy Body Dementia, and temporal lobe epilepsy.

Types of Hallucinations Associated

Background Figure 2.44 - In the Dark

•

Visual (mainly CVH)

•

Auditory (rare)

L’alcool Tue, Eugène Burnand, 1900.

Figure 2.45 - L’alcool Tue

An alcoholic man with delirium tremens on his deathbed, surrounded by his terrified family.

CHAPTER 2 - Through Their Minds

2.14 The Trigger

Delirium Tremens Delirium Tremens (DTs) is a condition of mental instability that is associated with alcohol withdrawal. People who have had high consumption of alcohol for more than a month and then stop consuming it abruptly suffer from DTs. DTs is considered to be a very dangerous condition with a death rate of 1% to 4% resulting from seizures or high body temperatures. Only 14% to 40% of patients manage to survive this condition without treatment. Symptoms of the condition include high blood pressure, high body temperature, nightmares, agitation, general confusion,

sweating, and sudden and rapid hyperactivity.[15] Due to intense state of confusion people suffer from in DTs, hallucinations are very common. The hallucinations usually involve or derive from the environment sufferers are in, however, they tend to lose almost absolute connection with reality. The hallucinations can variate from seeing patterns on the wall to seeing spiders. This condition is intense to the point that sufferers tend to find it difficult to speak or use their logic in any manner.[16]

Types of Hallucinations Involved • Visual • Auditory • Tactile • Thermoceptive

Healy, David. Psychiatric Drugs Explained. Edinburgh: Churchill Livingstone, 2005. Print. Fisher, Gary L., and Nancy A. Roget. Encyclopedia of Substance Abuse Prevention, Treatment, & Recovery. Los Angeles: SAGE, 2009. Print. [15]

Figure 2.46 - Bottles

[16]

CHAPTER 2 - Through Their Minds

2.14 The Trigger

Parkinson’s Disease & Lewy Body Dementia Parkinson’s disease is linked with Lewy body dementia for their similar hallucinatory symptoms. The symptoms strike during the evening in any part of the visual field, and are rarely involve more than one sense. The hallucination may begin with illusions where sensory perception is greatly distorted, but no novel sensory information is present. These typically last for several minutes, during which time the subject may be either conscious and normal or drowsy/inaccessible. Insight into these hallucinations is usually preserved and REM sleep is usually reduced. Parkinson’s disease is usually associated with a degraded substantia nigra pars compacta, but recent evidence suggests that PD affects a number of sites in the brain. Some places of noted degradation include the median raphe nuclei, the noradrenergic parts of the locus coeruleus, and the cholinergic neurons in the parabrachial area and pedunculopontine nuclei of the tegmentum.[15]

Types of Hallucinations Involved

•

Visual (Mainly SVH)

•

Auditory (rare)

Background Figure 2.47 - Rocking Chair

[15]

Healy, David. Psychiatric Drugs Explained. Edinburgh: Churchill Livingstone, 2005. Print.

CHAPTER 2 - Through Their Minds

2.14 The Trigger

CHAPTER 2 - Through Their Minds

2.14 The Trigger

Migraine Coma This type of hallucination is usually experienced during the recovery from a comatose state. The migraine coma can last for up to two days, and a state of depression is sometimes comorbid. The hallucinations occur during states of full consciousness, and insight into the hallucinatory nature of the images is preserved. It has been noted that ataxic lesions accompany the migraine coma. The sufferers tend to see colorful geometric patterns in the field of vision. These hallucinations are called Auras. The most common

aura is a zigzag line in the shape of an arc. Auras vary by individual experience; some people experience smells, lights, or hallucinations. Less known symptoms of the eye include disturbances, where the eyes roll in the back of the head caused by photosensitivity. A sufferer of this type of aura may experience tearfulness of the eyes and uncontrollable sensations of light followed by reduced symptoms after approximately 20 minutes; it is the rarest type of aura.

Development of Visual Aura

Start

10 min

Types of Hallucinations Involved •

Visual (mainly SVH)

• Auditory • Olfactory

Top to bottom Figure 2.48 - Progression of Vision Figure 2.49 - Migrane

[15]

Healy, David. Psychiatric Drugs Explained. Edinburgh: Churchill Livingstone, 2005. Print.

CHAPTER 2 - Through Their Minds

2.14 The Trigger

Examples of Visual Auras

Top to bottom Figure 2.50 - Vision I Figure 2.51 - Vision II

Figure 2.52 - Vision III Figure 2.53 - Vision IIII

CHAPTER 2 - Through Their Minds

2.14 The Trigger

Types of Hallucinations Involved • Visual •

Auditory (rare)

Charle s Bonnet Syndrome Charles Bonnet syndrome is the name given to visual hallucinations experienced by a partially or severely sight impaired person. The hallucinations can occur at any time and can distress people of any age, as they may not initially be aware that they are hallucinating, they may fear initially for their own mental health which may delay them sharing with carers what is happening until they start to understand it themselves. The hallucinations can frighten and disconcert as to what is real and what is not and carers need to learn how to support sufferers. The hallucinations can sometimes

be dispersed by eye movements, or perhaps just reasoned logic such as, “I can see fire but there is no smoke and there is no heat from it” or perhaps “We have an infestation of rats but they have pink ribbons with a bell tied on their necks.” Over elapsed months and years the manifestation of the hallucinations may change, becoming more or less frequent with changes in ability to see. The length of time that the sight impaired person can suffer from these hallucinations varies according to the underlying speed of eye deterioration. A differential diagnosis are ophthalmopathic hallucinations. [11]

[11]

Sacks, Oliver. Hallucinations. New York: Alfred A. Knopf, 2012. Print.

CHAPTER 2 - Through Their Minds

2.13 The Trigger

CHAPTER 2 - Through Their Minds

2.14 The Trigger

Drug Induced Hallucinations Drug-induced hallucinations are caused by the consumption of psychoactive substances such as deliriants, psychedelics, and certain stimulants, which are known to cause visual and auditory hallucinations. Some psychedelics such as lysergic acid diethylamide and psilocybin can cause hallucinations that range from a spectrum of mild to severe. Some of these drugs can be used in psychotherapy to treat mental disorders, addiction, and anxiety secondary to advanced stage cancers. A hallucinogen is a psychoactive agent which can cause hallucinations, perception anomalies, and other substantial subjective changes in thoughts, emotion,

and consciousness.The common types of hallucinogens are psychedelics, dissociatives, or deliriants. By contrast, Stimulants, Opioids, and other psychoactive drugs are not explicitly hallucinogens because a ‘hallucination’ is visual terminology. The psychoactivity of opioids is devoid of visual anomalies, though the ‘numbing’ can be considered dissociation from pain. Hallucinations are not an uncommon symptom of amphetamine psychosis, but as they are not a primary effect of the drugs themselves. While stimulants do not induce hallucinations without abuse, the nature of stimulant psychosis is not unlike delirium.[15][16]

How to distinguish a Hallucinogenic •

in proportion to other effects, changes in thought, perception, and mood should predominate

•

intellectual or memory impairment should be minimal

•

stupor, narcosis, or excessive stimulation should not be an integral effect

•

autonomic nervous system side effects should be minimal

•

addictive craving should be absent

Types of Hallucinations Involved • Visual • Auditory • Gustatory • Olfactory • Tactile •

General Somatic

• Proprioceptive

[15]

[16]

CHAPTER 2 - Through Their Minds

2.15 Similar Phenomenon

Similar Phenomenon Due to the confusing nature of hallucinations, many people may confuse it with similar phenomenon that have a similar effect on the person. However, these phenomenon will differ from hallucinations in a very specific manner, as hallucinations trigger a specific and unique area in the brain that these phenomenon don’t. [17]

Dreaming Dreams are images and imagery, thoughts, sounds and voices, and subjective sensations experienced when we

end up dreaming about. Stresses in waking life can manifest in dreams plainly or be cleverly disguised with imagery. For

sleep. This can include people you know, people you’ve never met, places you’ve been, and places you’ve never even heard of. Sometimes they’re as mundane as recalling events that happened earlier in the day. They can also be your deepest and darkest fears and secrets, and most private fantasies. There’s no limit to what the mind can experience during a dream and really no rhyme or reason to what you

instance, a dream about a grizzly bear chasing you through your house could be the stress you feel about the relationship with a friend. A dream about being stuck inside of a room with no door might echo your feelings about a dead-end job. Dreams are most abundant and best remembered during the R.E.M. stage of sleep. The main difference between dreams and hallucinations is that it does not involve wakefulness.[17]

Illusions

An illusion is a distortion of the senses, revealing how the brain normally organizes and interprets sensory stimulation. Though illusions distort reality, they are generally shared by most people. Illusions may occur with any of the human senses, but optical illusions, are the most well-known and understood. The emphasis on visual illusions occurs because vision often dominates the other senses. For example, individuals watching a ventriloquist will perceive the voice is coming from the dummy since they are able to see the dummy mouth the words. Some illusions are based on

general assumptions the brain makes during perception. These assumptions are made using organizational principles (e.g., Gestalt theory), an individual’s capacity for depth perception and motion perception, and perceptual constancy. Other illusions occur because of biological sensory structures within the human body or conditions outside of the body within one’s physical environment. The term illusion refers to a specific form of sensory distortion. Unlike a hallucination, which is a distortion in the absence of a stimulus, an illusion describes a misinterpretation of a true sensation.[17]

To the right Figure 2.54 - Polar Illusion

[17]

Chiu, Leo, P.W. “Differential Diagnosis and Management of Hallucinations.” Microstrip Antennas 41.3 (1995): n. pag. Hkjo.lib. Journal of Hong Jong Medical Association, 2 Aug. 1995. Web. 4 Jan. 2015.

CHAPTER 2 - Through Their Minds

2.15 Similar Phenomenon

Imagery A mental image or mental picture is the representation in a personâ&#x20AC;&#x2122;s mind of the physical world outside of that person. It is an experience that, on most occasions, significantly resembles the experience of perceiving some object, event, or scene, but occurs when the relevant object, event, or scene is not actually present to the senses. There are sometimes episodes, particularly on falling asleep (hypnagogic imagery)

and waking up (hypnopompic), when the mental imagery, being of a rapid, phantasmagoric and involuntary character, defies perception, presenting a kaleidoscopic field, in which no distinct object can be discerned. Unlike hallucinations, imagery does not mimic real perception and is under voluntary control. [17]

Delusions A delusion is a belief held with strong conviction despite superior evidence to the contrary. As a pathology, it is distinct from a belief based on false or incomplete information, confabulation, dogma, illusion, or other effects of perception. Delusions typically occur in the context of neurological or mental illness, although they are not tied to any particular disease and have been found to occur in the context of many

pathological states (both physical and mental). However, they are of particular diagnostic importance in psychotic disorders including schizophrenia, paraphrenia, manic episodes of bipolar disorder, and psychotic depression. Unlike Hallucinations, delusion is when a correctly sensed and interpreted stimulus is given some additional significance. [17]

To the left Figure 2.55 - Mental Imagery

[17]

Chiu, Leo, P.W. â&#x20AC;&#x153;Differential Diagnosis and Management of Hallucinations.â&#x20AC;? Microstrip Antennas 41.3 (1995): n. pag. Hkjo.lib. Journal of Hong Jong Medical Association, 2 Aug. 1995. Web. 4 Jan. 2015.

CHAPTER 2 - Through Their Minds

Psychology Our psychology is directly linked to our perception and senses, as they are the tools we use to view the world. Hence, our visual perception of space plays a big role in how we react to and interact with them. Space can impact the occupantâ&#x20AC;&#x2122;s psychology greatly, this is why it is carefully studied in architecture in order to provide the appropriate sensation for the function it holds. [18][19]

Perception of Scale A structure can appear taller if viewed from above; there is a greater feeling of certainty when looking up. Using dynamic effect and the static effect, identical rooms can appear to differ in size and form. [18][19]

Perception of Proportion A room covered with a ceiling gives a feeling of security, but on the other hand in long rooms it gives a feeling of depression. With a high ceiling, which the eye can only recognize at first by scanning, the room appear free and sublime, provided that the distance between the walls, and hence the general proportions are in harmony. The design process should pay attention to this because the eye is susceptible to optical illusions. It estimates the extent of width more exactly than depths or heights, the latter always appearing larger. Thus a tower seems much higher when seem from above rather than from below. [18][19]

Background Figure 2.56 - Double Vision

2.16 Psychology of Space

of Space

Perception of Balance The ideal still picture is displayed in balance. Balance is the first characteristic of architectural beauty. Physiologists are working on a theory of the sixth sense; the sense of beauty we feel with regard to symmetrical, harmonious things and proportions or when we are faced with elements. Outside this framework, the eye receives its impressions by scanning the picture. The scanning eye works forward along the obstacles of resistance which it meets as it directs itself away from us in width or depth. Obstacles of the same or recurring distances are detected by the eye as a ‘beat’ or received by the ear from music. ‘Architecture is Frozen Music’. [18][19]

Perception of Colour Colours have a power over humans. They can create feelings of well-being, unease, activity, or passivity. colouring in factories offices, or schools can enhance or reduce performance; in hospitals it can have a positive influence on patients’ health. This influence works indirectly through making rooms appear wider or narrower, thereby giving an impression of space, which promotes a feeling of restriction or freedom. [18][19]

Ching, Frank. Architecture, Form, Space, & Order. 3rd ed. New York: Van Nostrand Rein hold, 1979. Print. [19] Neufert, Ernst, Peter Neufert, and Johannes Kister. “The Eye: Perception”. Architects’ Data. 3rd ed. Chichester, West Sussex, UK: Wiley- Blackwell, 2012. 24. Print. [18]

CHAPTER 2 - Through Their Minds

2.16 Psychology of Space

Dark colours make a room seem heavier; rooms seem to be lower, if ceilings are heavily coloured. On the other hand, lighter and brighter colours give an uplift to the atmosphere; rooms seem higher with emphasis on walls and lightly coloured ceilings. Objects appear thinner or smaller in black because the colour absorbs a lot of light. White reflects light making objects appear larger. The same principle applies to buildings. It also works directly through the physical reactions or impulses evoked by the individual colours. The strongest impulse impact comes from the colour orange, followed by yellow, red, green and purple. The weakest impulse impact comes from blue, green-blue, and violet. These colours are considered cold and passive colours. Strong impact colours are suitable only for small areas in a room to maintain psychological comfort. Low impact colours can be used for large areas. Warm colours have an active and simulating impact, which in certain circumstances can be exciting. Cold colourse have a passive impact; calming and spiritual. Green causes nervousness and tension. The impact produced by colour also depends on brightness and location. Warm and bright colours viewed overhead have a spiritually stimulating impact; viewed from the side, a warming, drawing coloser impact, and seen below, a lightning and elevating impact. Warm and dark colours viewed above are enclosing and dignified; viewed from the side, embracing, and seen below, promotes safety of grip and to tread on. Cold and bright colours from above brighten things up and relaxes; from the side they seem to lead away, and seen below, look smooth and stimulating for walking on. Cold and dark Colours are threatening when above; sad from the side; and burdensome, dragging down, when below.[18][19]

CHAPTER 2 - Through Their Minds

Figure 2.57 - Painted Face

2.16 Psychology of Space

CHAPTER 2 - Through Their Minds

2.17 Architecture of Illusory

Architecture of Illusory Anamorphic perspective is paradoxical. By definition anamorphism means the distorted projection or perspective; especially an image distorted in such a way that it becomes visible only when viewed in a special manner. This ideology is not new to humanity, and surely not to architecture. It was used for several reasons, like portraying building in special manner. During the gothic era this technique was used to make churches seem more grand. Today many architects and artists use this technique to play with the perception and the reality of the viewer making their vision seem like a hallucination.

Principle of Distorted Perception

100

There is a tight relationship between the lateral distortion of an image produced by linear perspective when the eye moves toward the edges of the perspective plane and the distortion resulting from the transfer of the image onto a second plane. Although lateral distortions are sometimes considered to be anamorphic projections, a rigorous analysis does not accept such an explanation because the perspective elongation produced by increasing the angle of the visual

field is in the same plane as the image. A true anamorphic projection is created when the image in the perspective plane is transferred onto a second plane. This transfer may be from flat or curved plane onto another flat or curved one, that is, any combination of the two. This principled distinction between lateral distortion and anamorphic projection does not pose a necessary condition for image transfer in each and every case. [20]

The Perspective Plane (PPL)

The Observer’s Visual of Symmetry (VS)

This is that containing the image the observer should perceive, whether in a real or a virtual plane. Thus, the image may either be contained in or projected onto the PPL [20]

This is always perpendicular to the PPL. The VS will also be referred to as the “observer’s sight line.” [20]

The Anamorphic Plane (AnPl)

The Pictorial Plane (pPl)

This may or may not coincide with the PPL, but it will always contain the distorted image. [20]

This is that containing the artistic image (painting or drawing), which may or may not coincide with the PPL or AnPl. [20]

To the Right Figure 2.58 - Building Illusion

[20]

Salgado, Tomás García. “ Anamorphic Perspective & Illusory Architecture.” Generative Art. National Autonomus University of México, 4 Mar. 2005. Web. 12 Nov. 2015.

101

102

Figure 2.59 - Mirrors

CHAPTER 2 - Through Their Minds

2.17 Architecture of Illusory

Types of Anamorphic Distortion •

Central Anamorphic Perspective

•

Lateral Foreshortening

•

Anamorphic Perspective on a Flat Plane

•

Anamorphic Perspective on an Oblique Plane

•

Anamorphic Perspective onto a Virtual Plane

Ames Room A good example of anamorphic distortion in architecture and space is Ames Room. An Ames room is a distorted room that is used to create an optical illusion. Likely influenced by the writings of Hermann Helmholtz, it was invented by American ophthalmologist Adelbert Ames, Jr. in 1934, and constructed in the following year. An Ames room is viewed with one eye through a pinhole such as to avoid any clues from stereopsis, and it is constructed so that from the front it appears to be an ordinary cubic-shaped room, with a back wall and two side walls parallel to each other and perpendicular to the horizontally level floor and ceiling.

However, this is a trick of perspective and the true shape of the room is trapezoidal: the walls are slanted and the ceiling and floor are at an incline, and the right corner is much closer to the front-positioned observer than the left corner (or vice versa). As a result of the optical illusion, a person standing in one corner appears to the observer to be a giant, while a person standing in the other corner appears to be a dwarf. The illusion is so convincing that a person walking back and forth from the left corner to the right corner appears to grow or shrink. [21]

Gregory, R. L. Even Odder Perceptions. London: Routledge, 1994. Print.

[21]

Figure 2.60 - Ames Room

103

Distortion in Nature

104

Background Figure 2.61 - Distorted Nature Figure 2.62 - Distorted Nature II

105

106

Background Figure 2.63 - Antelope Canyon Figure 2.64 - Antelope Canyon II

CHAPTER 2 - Through Their Minds

2.21 Distortion in Nature

Antelope Canyon Antelope Canyon is a slot canyon in the American Southwest. It is located on Navajo land east of Page, Arizona. Antelope Canyon includes two separate, photogenic slot canyon sections, referred to individually as Upper Antelope Canyon or The Crack; and Antelope Canyon or The Corkscrew. The Navajo name for Upper Antelope Canyon is Tsé bighánílíní, which means “the place where water runs through rocks.” Lower Antelope Canyon is Hazdistazí (advertised as “Hasdestwazi” by the Navajo Parks and Recreation Department), or “spiral rock arches.” Both are located within the LeChee Chapter of the Navajo Nation [22]

Kelsey, Michael R. Non-technical Canyon Hiking Guide to the Colorado Plateau. Provo, UT: Kelsey Pub., 2011. Print. [22]

107

CHAPTER 2 - Through Their Minds

Upper Antelope Canyon Upper Antelope Canyon is called Tsé bighánílíní, “the place where water runs through rocks” by the Navajo. It is the most frequently visited by tourists for two reasons. First, its entrance and entire length are at ground level, requiring no climbing. Second, beams (shafts of direct sunlight radiating down from openings in the top of the canyon) are much more common in Upper than in Lower. Beams occur most often in the summer months, as they require the sun to be high in the sky. Winter colors are a little more muted like the photo displayed here. Summer months provide two types of lighting. Light beams start to peek into the canyon March 20 and disappear October 7 each year. [22]

108

Background Figure 2.65- Antelope Canyon III Figure 2.66 - Antelope Canyon IIII

2.21 Distortion in Nature

Lower Antelope Canyon Lower Antelope Canyon, called Hazdistazí, or “spiral rock arches” by the Navajo Indians, are located a few miles away. Prior to the installation of metal stairways, visiting the canyon required climbing along pre-installed ladders in certain areas. Even following the installation of stairways, it is a more difficult hike than Upper Antelope. It is longer, narrower in spots, and even footing is not available in all areas. At the end, the climb out requires several flights of stairs. Despite these limitations, Lower Antelope Canyon draws a considerable number of photographers, though casual sightseers are much less common there than in Upper. The lower canyon is in the shape of a “V” and shallower than the Upper Antelope. Lighting is better in the early hours and late morning. [22]

Kelsey, Michael R. Non-technical Canyon Hiking Guide to the Colorado Plateau. Provo, UT: Kelsey Pub., 2011. Print. [22]

109

Garden of Cosmic Speculation This incredible garden, known as The Garden of Cosmic Speculation, is not your everyday example of landscaping; instead it is based on mathematics and science mixed with nature and man-made lakes. Built in 1989, it has been called by some the most important garden in the 21st century. It is a private garden built by Charles Jencks and his late wife Maggie in Portrack House, Dumfries, Scotland. Its design 110

was influenced by Chinese garden philosophy. One of its main features is long snaking curves and waves that both satisfied the couple’s love for Chinese landscape painting and complemented the Scottish hills around them. Jencks makes use of one of the new scientific theories as well, the theory of complexity, which states that everything is “self organizing and harmonic”. [23]

CHAPTER 2 - Through Their Minds

Background Figure 2.67 - Cosmic Speculation

2.21 Distortion in Nature

Jencks, Charles. The Garden of Cosmic Speculation. London: Frances Lincoln, 2003. Print. [23]

111

CHAPTER 2 - Through Their Minds

112

2.21 Distortion in Nature

Its design was influenced by Chinese garden philosophy. One of its main features is long snaking curves and waves that both satisfied the couple’s love for Chinese landscape painting and complemented the Scottish hills around them. Jencks makes use of one of the new scientific theories as well, the theory of complexity, which states that everything is “self organizing and harmonic”. The area of the garden with the red spiral bridge is called Heaven-Hell and is meant to show the interrelationship between birth and life, good and evil. Some large plants live beside the bridge at the far end, while trees cut down due to Dutch elm disease lie where they fell. Jencks recalls: “When we began the garden, I was not concerned with the larger issues of the cosmos. But over the years, they came more and more to the fore and I have used them as a spur to think about nature and to contemplate and speculate on the origins of the universe. And in that respect,

this garden is part of a long historical tradition. Japanese Zen gardens, Persian paradise gardens, the English and French Renaissance gardens played out the story of the cosmos as it was understood then. So the idea of the garden as a microcosm of the universe is quite a familiar one. In fact, I feel it is the most compelling motive to create a garden. What is a garden if not a celebration of our place in the universe?” This beautiful and powerful staircase is called The Universe Cascade. It has 25 jumps of steps that represent how the universe unfolded over billions of years. As you climb the stairs, you need to look carefully as there are beautiful and mysterious items for you to sit at and contemplate on on each level. Jencks built the six sections of kitchen garden into a DNA garden. He and his wife also wanted to keep to a plan so that each section would represent one of the five senses, as well as the sixth sense of intuition. [23]

Background Figure 2.68 - Cosmic Speculation II

[23]

Jencks, Charles. The Garden of Cosmic Speculation. London: Frances Lincoln, 2003. Print.

Background Figure 2.69 - Cosmic Stairs Figure 2.70 - Cosmic Stairs II

113

114

Background Figure 2.71 - Walking in Maze

Experiencing Hallucination

115

CHAPTER 2 - Through Their Minds

2.23 Experiencing Hallucination

Gijs Van Vaerenbergh’s Steel Maze

116

A kilometre of steel corridors are wound within this industrial-looking maze at a former coal mine by Belgian studio Gijs Van Vaerenbergh. The maze structure measures 37.5 square metres and uses 186 tons of five-millimetre-thick steel plates for its walls. The partitions, which reach five metres in height, are laid out as a square grid with missing sections that form a pathway through the structure. A series

of voids were formed using Boolean transformations, which involve intersecting three-dimensional volumes in a digital modelling programme and using their edges to cut shapes out from each other. “These Boolean transformations convert the walk through the labyrinth into a sequence of spatial and sculptural experiences,” said Gijs Van Vaerenbergh. “At the same time, the cutouts function as ‘frames’ to the labyrinth.”

Background Figure 2.72 - Steel Maze

[24]

To the right Figure 2.73 - Steel Maze II

[24]

”Gijs Van Vaerenbergh Creates Labyrinth Steel Maze in Belgium.” Dezeen Gijs Van Vaerenberghs Steel Maze Features Spherical Cylindrical and Coneshaped Voids Comments. Dezeen Magazine, 24 July 2015. Web. 13 Dec. 2015.

117

ChapterChapter 33 ChapterChapter 3 3Chapter

Case Studies & Analysis

118

119

120

Frank Gehry

121

Fondation Louis Vuitton Frank Gehry

Project Name

Louis Vuitton Foundation

Building Typology

Museum

Client

Bernard Arnault

Location

Paris, France

Site Area

1 ha

Project Area

11,700 sqm

Design Completion

2007

Years of Construction

2008 - 2014

Project Cost

$143 million

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Project Overview

Architects

Gehry Partners

Design Partner

Frank Gehry

Executive Architect

Studios Architecture

Landscape Architect

Ateliers Lieux et Paysages (ALEP)

Main Engineers

Rice Francis Ritchie Engineers (RFR) & T/E/S/S Atelier D’ingénierie

MEP Engineer

Setec Batiment

Structural Engineer

Setec Batiments

Acoustical Engineer

LAMOUREUX

Sound designer (Auditorium)

Nagata Acoustics L’Observatoire International / Ingelux

The design for the building of the Louis Vuitton Foundation was commissioned by the owner and creator of the group of luxury items, Bernard Arnault, the architect Frank Gehry with the intention of opening a new space dedicated to contemporary artistic creation in all its forms. The building rests on a reflecting pool into which pours a waterfall. Its sculptural volumes – the icebergs – are wrapped in glass veils floating above terraced gardens and rise majestically through the foliage of the Bois de Boulogne. It features a dozen exhibition galleries of varying shapes and sizes, as well as a complex modular auditorium allowing for multiple configurations with and without seating. The main hall traverses the building, welcoming the public and guiding visitors to their various destinations: galleries, auditorium, library, restaurant, terraces, etc. Acting as local architect, STUDIOS was commissioned at the inception of the project to assist Gehry Partners, from the initial sketch phase to the delivery of the building, throughout all the design and

124

Theatre/AV

DUCKS SCENO

Sustainable Building Consultants

S’PACE / TERAO

General Contractor

VINCI Construction

Consultants

Gehry Technologies

Building Maintenance

TAW

construction phases. STUDIOS provided a permanent link between the Design Architect and the numerous different actors involved, whether the Client, the various design and engineering teams or the contractors. STUDIOS actively participated in the development of the studies, notably through the 3D modeling software Digital Project, and ensured the application of French norms and regulations to obtain the necessary building permits, while preserving the integrity of the design intent. This highly innovative project required the use of unprecedented management and construction tools and recourse to an extraordinary number of samples, prototypes and ATEX. The project has furthermore been selected to serve as pilot project in the adaptation of the French HQE sustainable design referential used on commercial buildings to cultural buildings. It is the first project to be certified NF HQE in this category.

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Project Timeline & Construction Phases

Bernard Arnault meets Frank Gehry after visiting the Guggenheim Museum in Bilbao.

2001

In the presence of Renaud Donnedieu de Vabres,

The idea of collaborating on the Fondation

Minister for Culture and Communication,

Louis Vuitton Project is launched. Oct. 2006

Bertrand Delanoë, Mayor of Paris, and Frank Gehry, the project’s architect, Bernard Arnault, Chairman & Chief Executive Officer of the LVMH group, and Yves Carcelle, Chairman of Louis

By an agreement reached with the City of

Vuitton, officially announce the creation of the

Paris in December 2006 granting occupancy of public land, the Fondation Louis Vuitton

Fondation Louis Vuitton

Dec. 2008

obtains a 55-year lease for a plot of 1 hectare on which to construct a building dedicated to art and creation. Aug. 2007

Construction begins with earthwork and

Building permission is granted.

Mar. 2008

diaphragm walls. The model of the Fondation Louis Vuitton is

2010

exhibited at the Centre Pompidou Metz during its opening exhibition entitled “Chefs-d’œuvre?” in the architecture section.

End of structural works and installation of

2011

the iceberg’s metallic framework. 2012

Installation of the iceberg’s shells, the Ductal then the glass sails.

“the laying of the last stone”.

2013

28 Feb. 2014

Final landscaping of the Fondation’s

Building reception.

Spring 2014

surroundings.

27 Oct. 2014

Public opening.

125

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Historical Background

In 2001 Bernard Arnault, chairman and founder of the brand Louis Vuitton, met Frank Gehry, and spoke of plans for a new building for the Foundation in the Bois de Boulogne, the project architect excited and decided to collaborate to its realization with the idea that was inaugurated in late 2009. The city of Paris, which owns the park granted planning permission in 2007 and in 2008 the foundation stone in 2009 began the engineering and in the spring of 2014 the surrounding landscape was completed, being open to the public placed October 27 the same year. In 2011, an association for safeguarding the Bois de Boulogne won a court battle because the judge ruled that the center had been built too close to a small paved road considered public passage, also argued against the new building alter the “Green Peace”

Clockwise Frank Gehry & the final model, building construction comes to an end, Frank Gehry, the client, & the stakeholders 126

Historical Park. The city appealed the court’s decision and the renowned French architect Jean Nouvel backed Gehry, responding to opponents: “... with her small, tight outfits is pretty pathetic that want to put Paris in formaldehyde ...”. Finally, the National Assembly passed a special law claiming that the Foundation was a national interest and the building was thought to build “a great work of art to the world”, which allowed it to continue. The building is the first showpiece of the Foundation. With a geometric design of straight lines and curves, transparencies and forms that constantly play with the boundaries between interior and exterior in a constant and perfect dialogue with its surroundings.

Figure 3.7 - FLV Terrace

127

CHAPTER 3 - Case Studies & Analysis

Project Location

The Louis Vuitton Foundation is located on the northern edge of, in the area of the Jardin d'Acclimatation, a family member in Parisian life, a place of discovery and wonder within the district XVI Paris, France . The building has two entrances, one in the garden and another at 8 Avenue du Mahatma Gandhi. Both lead to the spacious hall which gives access to the various exhibition spaces.

Jardin dâ&#x20AC;&#x2122;Acclimatation The story begins in 1854 garden hand Goefroy naturalist Isidore Saint-Hilaire and with the support of Napoleon III. The aim was to create a space with new animal and plant species in France. In 1860 seeds, bulbs, roots and animals to be placed in the heart of the Bois de Boulogne, creating a beautiful garden area were brought. In 1870 he became a theme park, but still with beautiful exotic plants and animals, where people could enjoy their walks, but from 1990 to Jardin Acclimatization found it impossible to compete with the new theme parks open outside Paris. The space was purchased by the Vuitton group regained some of its former parts such as the aviary or rocky preserve for deer. With the building designed by Gehry a new chapter in its history.

128

3.1 Frank Gehry - Louis Vuitton Foundation

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Paris, France

Jardin dâ&#x20AC;&#x2122;Acclimatation

129

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Site Analysis

Louis Vuitton Foundation

Lake

Surrounding Buildings

Plot

Primary Accessing Road

Route to Project

Vegetation

Secondary Accessing Road

Entrance

Jardin d’Acclimatation

Tertiary Accessing Road

Jardin d’Acclimatation Site Plan

130

131

CHAPTER 3 - Case Studies & Analysis

132

3.1 Frank Gehry - Louis Vuitton Foundation

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Conceptual Development

A Gehry likes maritime issues for the design of their projects. In New York reproduced on building facades IAC ripple created by the wind in the sails. For the building of the Fondation, was set in the sails of ships in the late nineteenth century and early twentieth part in the Copa America, transcribing the flexibility and the curve of a billowing sail to rigid materials of glass and metal. In this case the inspiration born of observation Susanne yacht built in 1911. Frank Gehry also imagined the Louis Vuitton Foundation as a 9.000m2 Iceberg candles surrounded by glass. The design begins with a series of sketches that Gehry called “doodles”. Born of the observation of different images and the free movement of the hand on paper to capture solid lines, circles, curves, swirls and meanders whose juxtaposition brings out the underlying, the main idea. The sketches for the Foundation since its inception express a dynamic ripple where you can see the contours of a boat pushed by the wind. However, these principles image which aims to extract the model to develop remains ambiguous, open to all kinds of interpretations.

To The Left Frank Gehry’s concept sketches, study models, & final physical model 133

CHAPTER 3 - Case Studies & Analysis

Spatial Analysis

Like almost all works of Gehry after the apparent clarity of the image not only the internal organization of the building, but also its constructive logic is hidden. By either of its two inputs, the Avenue or the Garden, access to a spacious lobby that articulates the main spaces of the Fondation, in particular large exhibition halls whose flexibility lends itself to a variety of uses and configurations. Of the 11,000m2 built, 9,000 correspond to the Iceberg and 7,000 of them are open to the public.

Interior Spaces West lobby, Gehry has located two overlapping regular spaces and completed by a third party. The largest in the basement, corresponds to an audience, which in turn looks out lake. The vertical movement between areas is ensured by escalators located along the north side. The building has eleven galleries, an auditorium, the Grotto and terraces. On the first floor, around the main room there is a sequence of smaller rooms, built on an uneven floor that reproduces the undulations of the facade. Moving on two rooms lit by skylights whose twisted forms will appear to rise to the terraces.

134

3.1 Frank Gehry - Louis Vuitton Foundation

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

View of the lobby through a sculpture on the first floor

135

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Auditorium The sides of this near the reception area are fully glazed. One opens to the outside water cascade, the eastern side. The auditorium can accommodate spectators 360-1000, flexibility achieved by a particular automatic seating configuration. Its flexibility allows him to transform into an exhibition hall if necessary. With impeccable sound and light engineering is a versatile space open to different events.

Galleries The Foundation offers 11 exhibition galleries, some with glass walls that overlook the Jardin d’Acclimatation, skylights other monumental complex geometry. The galleries are trying to make the most of artificial lighting, which is added as indicated by the curators.

Stairs Stairs and elevators have been carefully designed and added to the intricate geometry of the building. Placed under sails, a monumental staircase connects the different exposure levels with terraces and gardens, following the sinuous forms of “Iceberg”. The lights are hidden in the handrails while preserving the elegance of the lines.

136

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Olafur Eliasson, “Inside the horizon”, a light installation

137

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Exterior Spaces The mirror of water surrounding the building is approximately 7m lower than the Gardens. Gehry thought of “the Cave” for the “big ship” seems to float on water. At this waterfall introduced gradually changing landscape west water surrounds the administrative offices. Delimited by a high stone wall that houses a light installation by artist Olafur Eliasson lake is crossed by small roads linking this terrace interior spaces.

138

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

The â&#x20AC;&#x153;Terrazasâ&#x20AC;? The mirror of water surrounding the building is the terraces of the top, are designed both to expose artworks to welcome visitors, two of them covered by candles, one outdoor. Built on the three volumes that make up the building, these terraces not only offer spectacular views of the forest and the city, but also the supporting structures of glass candles. The staircase that descends from the top is conceived as a kind of hanging metal tape.

139

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Spatial Division

Grotto

Gallery

Toilet

Elevator

Gallery

Toilet

Basement Level

140

Lobby & Reception

Auditorium

Grotto

Atrium / Lightwell

Gallery

Toilets

Cafe

Studio Space

Vertical Circulation

Bookshop

Terrace

Horizontal Circulation

Auditorium

Elevator

CHAPTER 3 - Case Studies & Analysis

Gallery

Elevator

3.1 Frank Gehry - Louis Vuitton Foundation

Library

Garden Exit

Elevator

Cafe/ Restaurant

Reception

Main Rd. Exit

Changing Room

Elevator

Ground Level

141

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Elevator Gallery

Gallery

Toilet

Gallery

Studio

Elevator

First Level

142

Lobby & Reception

Auditorium

Grotto

Atrium / Lightwell

Gallery

Toilets

Cafe

Studio Space

Vertical Circulation

Bookshop

Terrace

Horizontal Circulation

Elevator

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Gallery

Terrace

Toilet

Gallery

Elevator

Gallery

Elevator

Gallery

Terrace

Second Level

143

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Terrace

Elevator

Third & Fourth Levels

144

Lobby & Reception

Auditorium

Grotto

Atrium / Lightwell

Gallery

Toilets

Cafe

Studio Space

Vertical Circulation

Bookshop

Terrace

Horizontal Circulation

Terrace

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Building Section

145

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Project Program

Private

Public

Major Spaces Lobby / Reception / Foyer Atrium / Lightwell Cafe / Restaurant / Cafeteria Bookshop / Library Auditorium Permanent Gallery / Exhibition Space Office Space Meeting Room Studio Space Visitorâ&#x20AC;&#x2122;s Services Outdoor Deck / Terrace Grotto

Total Area(m2)

Number of Spaces

685 372 365 145 600 3850 219 51 80 90 2016 768

11 3 1 1 1 11 2 2 1 1 4 1

366 52 57 27 20

5 1 1 1 1

Service Spaces Toilet / Bathroom Changing Room / Dressing Room Kitchen Backstage Prep-Room Security Art Storage Retail Storage General Storage Backstage Storage Conservation Crating & Unpacking Loading Dock Dock Staging Dumpster Trash Disposal Floor Waste Management Generator Room Electrical Control Panel Telecommunication Room Mechanical Control Unit Vertical Circulation Horizontal Circulation

146

Total Area of Services = 2560 m2 Total Area of Services = 2560 m2 Total Area of Services = 2560 m2 Total Area of Services = 2560 m2 Total Area of Services = 2560 m2 Total Area of Services = 2560 m2

198

1 Total Area of Services = 2560 m2 Total Area of Services = 2560 m2 Total Area of Services = 2560 m2 Total Area of Services = 2560 m2 Total Area of Services = 2560 m2 Total Area of Services = 2560 m2 Total Area of Services = 2560 m2 Total Area of Services = 2560 m2

1065 1436

22 D/A

Level of Privacy

147

148

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Structural Development

The Foundation building consists of 3 blocks, each with a specific constructive logic, a primary structure of reinforced concrete and steel and secondary wood and glass coated steel.

Primary Structure In the west the solid part is built using aramado concrete beams and joists, while block that rises above the reception hall in the center is supported by monumental steel struts and the third block, on the east, has a core of reinforced concrete and iron struts. The blocks are built on a concrete slab with a thickness of 260cm which ensures the tightness as uniform loads, especially glass candle distribution. To accelerate construction, the slab was placed before completing studies on the distribution of candles.

Secondary Structure Primary structure on a metal frame for which the sinuous shapes of the facades is mounted. On these frameworks tripods that will support the 12 glass candles were placed. The white coating was attached to an aluminum casing that surrounds the steel structure. Attached to this skeleton a wooden frame and steel plates whose surfaces inclined follow the sinuous lines of the facades was placed.

149

CHAPTER 3 - Case Studies & Analysis

Structural Development Diagram

150

3.1 Frank Gehry - Louis Vuitton Foundation

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

151

CHAPTER 3 - Case Studies & Analysis

Wood & Steel Framing The tremendous weight of glass candle is supported by a mixed wood frame and steel, two materials with very different properties. Anchored to the building structure tripods, 179 beams whose length varies between 3 and 25m, with different angles from 0ยบ to 250ยบ placed. These steel beams wooden beams are joined by bolts. To position the larger beams crane that lifted and then were fixed in position by specialists was used. Each candle has a code: REU is the largest, covering 3,000m2 and rises 25m above the highest terrace, SHU is located below the above, it is supported by beams 179 and expands 1.700m2

Faรงade The building has 46 glass facades, which despite being unique in the way the architect tried to rationalize their design with rectangular elements and flat triangular format and identical, although the frameworks that are assembled are also irregular. This structure is independent of the secondary reinforcement structure.

152

3.1 Frank Gehry - Louis Vuitton Foundation

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

153

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Materials Used

In the construction of the Foundation Louis Vuitton reinforced concrete panels of white concrete, steel, laminated glass, and wood mainly used. The slab on which the building stands needed 11,000m3 of reinforced concrete and steel 12tn. The 12 candles on the deck, with an area of 13.500m2, rely on a structure of steel beams and laminated larch wood in natural tones, combined with strong stainless steel bolts, approximately 400 connections are joined together or beams steel.

White Concrete Panels The coatings of the walls of the â&#x20AC;&#x153;Icebergâ&#x20AC;? were performed with Ductal white plates, fixed on an aluminum frame. The surface to be covered is divided into rectangles measuring 19 072 equivalent, each with a given curvature for its own position on said surface. This material comprises a mixture of high-performance concrete and metal or synthetic particles, in this case polyester, and a small proportion of water. White tone was obtained by mixing titanium oxide and the plates were subjected to 1700 metal fittings. The generous lobby floor is paved with stones of Burgundy, the handrails are steel tube finishing tempered glass panels that protect the stairs. Rainwater, which slides by sails or terraces, is accumulated and subsequently filtered tanks to be used in the cleaning of facades and roofs, as well as watering plants or sinks.

154

CHAPTER 3 - Case Studies & Analysis

3.1 Frank Gehry - Louis Vuitton Foundation

Glass Panels 3,600 elements that split the glazed panels, each with a radius, curvature, and single orientation angle presented difficulties for industrial scale production. The method chosen to make them was a hot bending mold, a recently developed for mass production of automotive window technique. However, the machines used for cars can produce only cylindrical shapes so had to find the closest to the desired final shape of each panel cylinder. The Technology Study team Gehry developed software that allowed automate this task and calculate the radius of curvature for each double glass panel,

which ensured continuity with adjacent panels. Similarly, the mechanical strength is calculated using â&#x20AC;&#x153;routinesâ&#x20AC;? directed by the software, thus speeding up the process. It took 17 months to assemble the frame and secure the panels. Because the 12 candles glass overlap assembly could not be done independently and isolated, a lot of coordination was needed in the process of fixing panels. In certain parts of the assembly was necessary to hire technical specialists mounts surfaces where it is necessary to perform the work hanging from ropes and harnesses.

155

156

Vitra Design Museum & Factory Frank Gehry

Project Name

Vitra Design Museum & Factory

Building Typology

Museum & Design House

Client

Rolf Fehlbaum - Vitra

Location

Weil am Rhein, Germany

Project Area

743 sqm

Year of Completion

1989

157

CHAPTER 3 - Case Studies & Analysis

3.2 Frank Gehry - Vitra Design Museum & Factory

Project Overview

An independent private foundation, the Vitra Museum was founded in 1989 by the CEO Rolf Fehlbaum. Focusing mainly on furniture and interior design, the museum features work from Charles and Ray Eames, George Nelson, Alvar Aalto, Verner Panton, Dieter Rams, Richard Hutten and Michael Thonet. The modern architecture which houses these collections was the first building of Frank Gehry in Europe, and included the museum for Rolf Fehlbaumâ&#x20AC;&#x2122;s private collection, production hall, and gatehouse for the factory of Vitra. Easily recognizable as the architectural style of Frank Gehry, the deconstructive sculptural building differs only slightly than his usual designs in that he limits his materials

158

to white plaster and a titanium-zinc alloy. At only 700 m2, the two-story Vitra Museum is one of the worldâ&#x20AC;&#x2122;s largest collections of furniture, with pieces from most periods and styles beginning with the nineteenth century and continuing into the modern era. A functional mix of towers, ramps and cubes, the volumes of the building are determined by lighting and programmatic necessities. At the rear end of the building, the factory hall relates to the adjacent building by Nicholas Grimshaw in both size and height. A formal link between the museums is found in the towers and ramps, which bridge together the production areas, showroom, test laboratory, cafeteria, a multi-purpose room and offices.

159

CHAPTER 3 - Case Studies & Analysis

The project is divided into three buildings that were built in different years and serve different purposes. These buildings came to rise due to the growing demand of Vitra Furniture Design firm.

Vitra Design Museum - 1989 Over the years, Vitra accumulated a growing collection of chairs and other furniture. With the aim of making the collection accessible to the public, a shed-like structure was initially envisioned for storage and exhibition purposes. Yet during the planning of Frank Gehry’s first building in Europe, the original function was expanded. A museum was established as an independent foundation dedicated to the research and popularisation of design and architecture: the Vitra Design Museum.

Vitra Design Museum Gallery & Gate - 2003 The Vitra Design Museum Gallery was built in 2003 as an annex to the front gate, which was designed by Frank Gehry and has been in place since 1989. It served to house the Vitra Design Museum Shop until 2010, when the shop was moved into the VitraHaus. Since 2011, the Vitra Design Museum Gallery has been used for smaller exhibitions and experimental projects held parallel to the larger temporary exhibitions in the Vitra Design Museum’s main building. The gatehouse is the entrance to the area of the Vitra Campus that is not open to the public, and which can only be visited by taking a guided architectural tour. It houses the company security staff as well as a utility room. Before the VitraHaus, Vitra‘s flagship store, was built in 2010, the front gate served as the gateway to the Vitra Campus.

Factory Building - 1989 The factory hall designed by Frank Gehry is located behind the Vitra Design Museum and is similar in size to the neighbouring Nicholas Grimshaw building. Here, the ramps and pillars serve as a formal connection to the Museum. The building contains production rooms, a showroom, the test centre, the canteen and offices. The first floor windows look out onto the entire hall and allow visitors to observe the production stages in progress.

160

3.2 Frank Gehry - Vitra Design Museum & Factory

CHAPTER 3 - Case Studies & Analysis

3.2 Frank Gehry - Vitra Design Museum & Factory

Vitra Design Museum

Vitra Design Museum Gallery & Gate

Factory Building 161

CHAPTER 3 - Case Studies & Analysis

3.2 Frank Gehry - Vitra Design Museum & Factory

Historical Background

Vitra Design Museum and Factory is a part of Vitra Campus that was design and built for the furniture design firm. The architectural park at the Campus in Weil am Rhein is as characteristic of Vitra as the home and office furniture that it produces. In 1981, after a major fire destroyed most of the factory buildings built in the 1950s, this site was developed into a heterogeneous ensemble of contemporary architecture. The architecture critic Philip Johnson once wrote: â&#x20AC;&#x153;Not since the Weissenhofsiedlung in Stuttgart in 1927 has there been a gathering in a single place of a group of buildings

162

designed by the most distinguished architects in the Western world.â&#x20AC;? In developing the Campus, the architects involved sought to create buildings that harmonised both with the surrounding residential areas and with the natural landscape of the border triangle (Switzerland, Germany and France). And, indeed, what came about was a collection of purposebuilt constructions, the incredible density and quality of which have made the Vitra Campus an attraction for fans of architecture from all over the world.

CHAPTER 3 - Case Studies & Analysis

3.2 Frank Gehry - Vitra Design Museum & Factory

163

CHAPTER 3 - Case Studies & Analysis

3.2 Frank Gehry - Vitra Design Museum & Factory

Project Location

Weil am Rhein, Germany

North of Weil am Rhein City

Vitra Campus 164

CHAPTER 3 - Case Studies & Analysis

3.2 Frank Gehry - Vitra Design Museum & Factory

Site Analysis

165

CHAPTER 3 - Case Studies & Analysis

Form Development

While Gehry’s earlier buildings were still associated with the image-oriented language of Postmodernism, the architect limited himself with Vitra Design Museum to a white plaster facade, zinc roof and a cubic volume comprised of simple geometric forms. Out of these almost classical-seeming elements, he created a dynamic sculpture in which the individual structures appear to break up into fragments and begin to move. The aesthetic of the Vitra Design Museum was instrumental in the emergence of the stylistic concept of “Deconstructivism” and marked a new phase in Gehry’s oeuvre that he continued to develop in major projects over the following years (such as the Guggenheim Museum Bilbao, 1996).

166

3.2 Frank Gehry - Vitra Design Museum & Factory

CHAPTER 3 - Case Studies & Analysis

3.2 Frank Gehry - Vitra Design Museum & Factory

Spatial Analysis

In the interior, the Vitra Design Museum has four large exhibition galleries with uniform white walls and approximately 700 square metres of exhibition space. The main source of light is a central window in the roof whose cruciform shape is visible from the outside as the focal point of the building’s composition. Also prominent on the exterior are the diagonal structures housing the stairways. The expressive exterior forms of the building are thus very much determined by their function and reflect the requirements of a complex museum building. With the Vitra Design Museum, Gehry succeeded in combining two fundamentally different types of museum architecture. On one hand, the building is a surprising reinterpretation of the “white cube”, offering an unadorned context for the presentation of exhibits. From the outside, however, it is conceived as a pictographic architectural sculpture that helped the Vitra Design Museum gain international renown.

167

CHAPTER 3 - Case Studies & Analysis

3.2 Frank Gehry - Vitra Design Museum & Factory

Spatial Division

Underground Level

168

Drawing is not to scale

Reception

Office

Vertical Circulation

Atrium / Lightwell

General Technical Services

Horizontal Circulation

Exhibition

Toilets

Cafeteria

Kitchen

CHAPTER 3 - Case Studies & Analysis

Ground Level

3.2 Frank Gehry - Vitra Design Museum & Factory

Drawing is not to scale

169

CHAPTER 3 - Case Studies & Analysis

170

3.2 Frank Gehry - Vitra Design Museum & Factory

North - East Elevation

Drawing is not to scale

North - East Elevation

Drawing is not to scale

CHAPTER 3 - Case Studies & Analysis

3.2 Frank Gehry - Vitra Design Museum & Factory

South - East Elevation

Drawing is not to scale

South - West Elevation

Drawing is not to scale

171

CHAPTER 3 - Case Studies & Analysis

172

3.2 Frank Gehry - Vitra Design Museum & Factory

Section A - B

Drawing is not to scale

Section C - D

Drawing is not to scale

Section E - F

Drawing is not to scale

CHAPTER 3 - Case Studies & Analysis

3.2 Frank Gehry - Vitra Design Museum & Factory

Project Program

Private

Public

Major Spaces Lobby / Reception / Foyer Atrium / Lightwell Cafe / Restaurant / Cafeteria Permanent Gallery / Exhibition Space Office Space

Total Area(m2)

Number of Spaces

33 161 30 407 96

1 3 1 4 1

10 7 39 5 108 43

1 1 1 1 8 D/A

Level of Privacy

Service Spaces Toilet / Bathroom Kitchen General Storage General Technical Equipment Vertical Circulation Horizontal Circulation

Materials Used

Zinc Alloy - Roof

White Plaster - Walls

173

Daniel Libeskind

174

175

Denver Art Museum Daniel Libeskind

176

Project Name

Denver Art Museum

Building Typology

Art Museum

Client

Denver Art Museum

Location

Denver, Colorado, U.S.A.

Project Area

13,564 sqm

Design Completion

2003

Years of Construction

2003 - 2006

Project Cost

$62 million

177

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

Project Overview

Architects

Daniel Libeskind

Design Partner

Davis Partnership Architects

Main Architects

Studio Daniel Libeskind

Landscape Architect

Studio Daniel Libeskind & Davis Partnership

Civil Engineers

JF Sato and Associates

MEP Engineer

MKK Engineers and ARUP (Los Angeles)

Structural Engineer

ARUP (Los Angeles)

Acoustical Engineer

ARUP (Los Angeles)

Structural Connection Design

Structural Consultants, Inc.

Lighting Consultant

George Sexton and Associates

Theatre Consultant

Auerbach Pollock Friedlander

Façade Design

Gordon H Smith + ARUP + BCE

General Contractor

M.A Mortensen Co. (Colorado)

Consultants

Studio Daniel Libeskind

Studio Libeskind’s extension to the Denver Art Museum is the Studio’s first building to reach completion in the USA. Silhouetted against the majestic backdrop of the Rocky Mountains, Libeskind’s design consists of a series of geometric volumes inspired by the peaks and valleys of the mountain range. A sharply angled cantilevered section juts across the street, pointing towards the existing Museum by Milanese architect Gio Ponti, which first opened in 1971. The Frederic C. Hamilton Building, as the 146,000-square-foot Denver Art Museum extension is named, is clad in an innovative new surface with 9,000 titanium panels that cover the building’s surface and reflect the brilliant Colorado landscape. The architect conceived of the extension project as part of a composition of public spaces, monuments and gateways in this developing part of the city, tying together downtown, the Civic Center, and forming a strong connection to the golden triangle neighborhood. The Acoma Plaza of the Arts, which is the “front yard” of the Museum, is filled with public art (amongst them, pieces by Beverly Pepper, Claes Oldenburg, Coosje van Bruggen and Mark di Suvero) and is a stage for public events. The Museum has served as an engine of rejuvenation for the entire neighborhood with new museums and housing joining the landscape of the complex. 178

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

Museum Historical Timeline Museum Historical Timeline

Museum was founded by a group of artists as the Denver Artistsâ&#x20AC;&#x2122; Club to serve as a place where lectures and exhibitions could take place.

1893 1916

City of Denver gave some galleries in the museum just finished the City and County Building .

1932

1948 museum opened its own galleries on 14th Avenue Parkway, and a center for children's art activities was added

Museum opened the 24-sided, two-towered North Building by Ponti in collaboration with James Sudler Associates of Denver

2000 2003

Denver art museum extension was opened and the museum is now double its initial size.

Museum acquired a land to build a new headquarters, but had great difficulty in finding funds

1954 1971

Daniel Libeskind was commissioned the design of the museum extension.

Building renamed as Denver Art Association before becoming Denver Art Museum.

Design and documentation of the building was finished and building process began.

7 Oct. 2006

179

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

Historical Background

The history of the museum dates back to 1893, when a group of artists founded the Denver club whose purpose was to sponsor lectures and exhibitions. 23 years after the Artistâ&#x20AC;&#x2122;s Club was renamed as the Denver Art Association, later to become the Denver Art Museum. In 1932 the city of Denver gave some galleries in the museum just finished the City and County Building. In 1948 the museum acquired a land to build a new headquarters, but had great difficulty in finding funds, and the building was not completed until 1954. Once again, during the 60s, the seat was small and in 1971 opened a new wing, designed by Italian architect and local architect James Sudler. The influx of many works and the presence of an ever-required in the twenty-first century to build a new wing, designed in this case by Daniel Libeskind.

Existing Museum Designed by James Sudler & Gio Ponti 180

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

181

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

Location

Denver, Colorado, USA

Mid Denver City

West 14th Avenue Street 182

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

Location & Site Analysis

The new building is located directly south of the twin towers of the original building, and adjacent to the Denver Public Library, designed by Michael Graves. Is the core of the new cultural district of the city. The entrance is opposite the new plaza that links the Civic Center in Golden Triangle, a neighborhood of villas, before scorned, which is currently being converted into a fashionable neighborhood. From the inside, visitors can see the mountains and the city of Denver.

New Denver Art Museum

Museum Residence

Bannock St.

Existing Denver Art Museum

Clyfford Still Museum

Broadway St.

Eye on Denver Art

13th Avenue St.

Lincoln St.

Parking Space

Cherokee St.

12th Avenue St.

Denver Regional Council of Governments

Entrance

183

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

Conceptual Development

he museum consists of a series of interlocking rectangles. This is an aggressive form of geometric design, pure and irregular, glass and titanium, reflecting the peaks and rock crystal from the nearby mountains. A volume overhang crosses the street to link the structure of the Gio Ponti building by a bridge of steel and glass. The aim of the designers has been to prevent the rebuilding of ideas already on the existing structure, pointing to a building that also communicate outside the particularity of its content, in which art and architecture are the real protagonists. The project is designed as a single building, but as part of a composition of public spaces, monuments and gateways in the development of this part of the city, which contributes to the relationship with neighboring buildings. Museums, shops and a loft-type apartment complex, also designed by Libeskind encourage the public square. The most striking feature of the museum

is the triangular shape of a corner that is fired out of the street toward the old Gio Ponti building. Other forms are deployed out into the square, partially covering the entrance. But the generality of the exterior lies in how it changes its appearance when looking in different directions. Fragments of a peak can guess outstanding between the towers of the city. From another angle, the structure seems static and has the appearance of bĂşnquer. At night, the building tends to give a visually achatarse strange sense of stillness. At the base of the building, is an approach that does not differentiate inside and outside, but a union and creates a synergy between the container and its contents. It also has great attention to all the functions necessary to ensure maximum comfort to the visitors, also given the special characteristics of the city of Denver, subject to continuous changes in climate, temperature and lighting.

Danielâ&#x20AC;&#x2122;s Concept Sketch 184

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

185

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

Spatial Analysis

The new structure provides the main entrance to the complex and exhibition hall will be marked by the access that leads to the other new areas, such as the cafeteria, an auditorium for 280 people, bookstore and other shops. The project promotes the energy available directly upwards. The hall takes a height of four levels. Highlights its sloping walls and a staircase esperial moving along the walls, through which you access to the exhibition galleries. As it stands, the stairs are narrow and becomes more intimate. Pieces of light entering through skylights where the walls are ready intersect. Above beams intersect in the area to prevent the walls of a tumble. The planes intercepted and produce complex geometries such

spaces peculiar characteristic of an attic. The main areas of this expansion are three: the Gallagher Family Gallery on the first floor for temporary exhibitions, the second floor of the Anschutz Gallery for contemporary art collections and Martin & McCormick Gallery, also on the second level is where art Contemporary Native American. The exhibition also includes areas of green outdoor sculpture show. They are part of the expansion, a bridge 31 meters above the building to communicate with Hamilton, a parking lot for 965 cars and an area of residential and commercial uses surrounding the building of 25,000 square meters.

A visitor sittin in the auditorium 186

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

Museum Pathways

Museum Central Stairs

Outdoor Deck

Seating Area

View from the lobby 187

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

Spatial Division

10 15 14 9

7 6

16 4

2 3 1

Basement Level

188

Drawing is not to scale

Lobby & Reception

Auditorium

Board Room

Vertical Circulation

Outdoor Sculpture Deck

Exhibition Space

Registrar

Toilet & Support Service

Cafe

Meeting Room

Photography Room

Services

Retail

Office Space

Horizontal Circulation

3.3 Daniel Libeskind - Denver Art Museum

CHAPTER 3 - Case Studies & Analysis

35 24 24

36 19

26 15

21 6 29

Ground Level

Drawing is not to scale

1- Art Storage

7- Telecommunication

13- Backstage Storage

19- Reception

25- 13th Avenue St.

31- Atrium

2- Conservation

8- Mechanical Control

14- Female Toilet

20- Trash Disposal

26- Alley

32- Roof

3- Crating & Unpacking

9- Floor Waste Manage.

15- Male Toilet

21- Loading Dock

27- Vitrine

33- Service Access

4- Generator

10- Retail Storage

16- Service Elevator

22- Dock Staging

28- Open to below (void)

34- Existing Museum

5- Electrical Control

11- Auditorium Projector

17- Coat Hanging Room

23- Dumpster

29- Special Exhibition

35- Dining Area

6- Security

12- General Storage

18- Visitors Services

24- Outdoor Cafe

30- Permanent Exhibition

36- Kitchen

189

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

14 31

7 8

16 29

First Level

190

Drawing is not to scale

Lobby & Reception

Auditorium

Board Room

Vertical Circulation

Outdoor Sculpture Deck

Exhibition Space

Registrar

Toilet & Support Service

Cafe

Meeting Room

Photography Room

Services

Retail

Office Space

Horizontal Circulation

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

30 32

30 28 31 14

7 5 16

Second Level

Drawing is not to scale

1- Art Storage

7- Telecommunication

13- Backstage Storage

19- Reception

25- 13th Avenue St.

31- Atrium

2- Conservation

8- Mechanical Control

14- Female Toilet

20- Trash Disposal

26- Alley

32- Roof

3- Crating & Unpacking

9- Floor Waste Manage.

15- Male Toilet

21- Loading Dock

27- Vitrine

33- Service Access

4- Generator

10- Retail Storage

16- Service Elevator

22- Dock Staging

28- Open to below (void)

34- Existing Museum

5- Electrical Control

11- Auditorium Projector

17- Coat Hanging Room

23- Dumpster

29- Special Exhibition

35- Dining Area

6- Security

12- General Storage

18- Visitors Services

24- Outdoor Cafe

30- Permanent Exhibition

36- Kitchen

191

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

30 5

30 15 14 28

32 31 28

7 32

Third Level

192

Drawing is not to scale

Lobby & Reception

Auditorium

Board Room

Vertical Circulation

Outdoor Sculpture Deck

Exhibition Space

Registrar

Toilet & Support Service

Cafe

Meeting Room

Photography Room

Services

Retail

Office Space

Horizontal Circulation

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

30 30

31 30

31 8

Section A

Drawing is not to scale

1- Art Storage

7- Telecommunication

13- Backstage Storage

19- Reception

25- 13th Avenue St.

31- Atrium

2- Conservation

8- Mechanical Control

14- Female Toilet

20- Trash Disposal

26- Alley

32- Roof

3- Crating & Unpacking

9- Floor Waste Manage.

15- Male Toilet

21- Loading Dock

27- Vitrine

33- Service Access

4- Generator

10- Retail Storage

16- Service Elevator

22- Dock Staging

28- Open to below (void)

34- Existing Museum

5- Electrical Control

11- Auditorium Projector

17- Coat Hanging Room

23- Dumpster

29- Special Exhibition

35- Dining Area

6- Security

12- General Storage

18- Visitors Services

24- Outdoor Cafe

30- Permanent Exhibition

36- Kitchen

193

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

30 31 26 8

Section B

194

Drawing is not to scale

Lobby & Reception

Auditorium

Board Room

Vertical Circulation

Outdoor Sculpture Deck

Exhibition Space

Registrar

Toilet & Support Service

Cafe

Meeting Room

Photography Room

Services

Retail

Office Space

Horizontal Circulation

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

30 30 30

30 26

24 17

Section C

Drawing is not to scale

1- Art Storage

7- Telecommunication

13- Backstage Storage

19- Reception

25- 13th Avenue St.

31- Atrium

2- Conservation

8- Mechanical Control

14- Female Toilet

20- Trash Disposal

26- Alley

32- Roof

3- Crating & Unpacking

9- Floor Waste Manage.

15- Male Toilet

21- Loading Dock

27- Vitrine

33- Service Access

4- Generator

10- Retail Storage

16- Service Elevator

22- Dock Staging

28- Open to below (void)

34- Existing Museum

5- Electrical Control

11- Auditorium Projector

17- Coat Hanging Room

23- Dumpster

29- Special Exhibition

35- Dining Area

6- Security

12- General Storage

18- Visitors Services

24- Outdoor Cafe

30- Permanent Exhibition

36- Kitchen

195

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

Guest Vs Staff Diagram

Basement Level

196

Drawing is not to scale

Staff Accessed Space

Staff Accessed Vertical Circulation

Guest Accessed Space

Staff Accessed Vertical Circulation

CHAPTER 3 - Case Studies & Analysis

Ground Level

3.3 Daniel Libeskind - Denver Art Museum

Drawing is not to scale

197

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

First Level

198

Drawing is not to scale

Staff Accessed Space

Staff Accessed Vertical Circulation

Guest Accessed Space

Staff Accessed Vertical Circulation

CHAPTER 3 - Case Studies & Analysis

Second Level

3.3 Daniel Libeskind - Denver Art Museum

Drawing is not to scale

199

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

Third Level

200

Drawing is not to scale

Staff Accessed Space

Staff Accessed Vertical Circulation

Guest Accessed Space

Staff Accessed Vertical Circulation

CHAPTER 3 - Case Studies & Analysis

Section A

3.3 Daniel Libeskind - Denver Art Museum

Drawing is not to scale

201

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

Section B

202

Drawing is not to scale

Staff Accessed Space

Staff Accessed Vertical Circulation

Guest Accessed Space

Staff Accessed Vertical Circulation

CHAPTER 3 - Case Studies & Analysis

Section C

3.3 Daniel Libeskind - Denver Art Museum

Drawing is not to scale

203

CHAPTER 3 - Case Studies & Analysis

3.3 Daniel Libeskind - Denver Art Museum

Project Program

Private

Public

Major Spaces Lobby / Reception / Foyer Atrium / Lightwell Cafe / Restaurant / Cafeteria Retail Auditorium Permanent Gallery / Exhibition Space Photography Room Board Room Office Space Meeting Room Visitor’s Services Registrar Outdoor Deck / Terrace

Total Area(m2)

Number of Spaces

718 495 571 332 500 5342 113 160 155 25 42 347 394

2 1 1 1 1 11 1 1 6 1 1 1 1

Service Spaces Toilet / Bathroom Dining Room Changing Room / Dressing Room Kitchen Backstage Prep-Room Security Auditorium Projector Coats Hanging Room Art Storage Retail Storage General Storage Backstage Storage Conservation Crating & Unpacking Loading Dock Dock Staging Dumpster Trash Disposal Floor Waste Management Generator Room Electrical Control Panel Telecommunication Room Mechanical Control Unit Vertical Circulation Horizontal Circulation

204

401 29

5 1 Included in “Backstage Storage”

1 Included in “Backstage Storage”

32 103 78 1205 174 50 39 68 356 101 137 33 46 37 73 159 72 991 438 1513

2 1 1 1 1 1 1 1 2 1 1 1 1 3 1 8 5 4 12 D/A

Level of Privacy

205

BIG

206

JDS

207

Helsingør Psychiatric Hospital Bjarke Ingels & Julien De Smedt

208

Project Name

Helsingør Psychiatric Hospital

Building Typology

Medical Facility

Client

Frederiksborg County, Helsingør Hospital, Moe & Brødsgaard

Location

Helsingør, Denmark

Project Area

6,000 sqm

Construction Completion

2006

Project Cost

$11.6 million

209

CHAPTER 3 - Case Studies & Analysis

3.4 BIG & JDS - Helsingor Psychiatric Hospital

Project Overview

This project is a psychiatric clinic which extends a previously existing general hospital near the Danish city of Helsingør. In developing the design, the architects not only analysed the programme but also interviewed the potential users of the clinic: staff, patients and relatives. Central among the issues arising from this consultation process was the need to avoid reminding patients of their illness, while allowing for the requirements of clinical care. The choice of a cross-shaped plan for the building provided an approach to organizing the individual rooms and open spaces, while avoiding clinical stereotypes. The design follows the asymmetrical crossshaped plan on two levels, merging into the landscape at the ends of each arm of the cross. This is intended to conceal the

210

clinic, to avoid spoiling the view from the existing hospital. On the lower floor – the part of the clinic in which patients stay overnight – each room is given a view outwards over the grounds of the hospital, and the space between the rooms creates irregularly shaped shared spaces on the interior. On the upper floor – in the public treatment section of the clinic – a bridge from the main hospital building arrives in the centre of a cluster of treatment rooms. This organization of spaces and circulation enables the design to address the conflicting requirements of the clinic: to be centralized, but with private, decentralized accommodation for patients, to provide a sense of freedom within a controlled environment and to enable privacy within a sociable atmosphere.

211

CHAPTER 3 - Case Studies & Analysis

3.4 BIG & JDS - Helsingor Psychiatric Hospital

Project Location

Helsingør, Denmark

West of Helsingør City

Behind Helsingør Hospital 212

CHAPTER 3 - Case Studies & Analysis

3.4 BIG & JDS - Helsingor Psychiatric Hospital

Site Analysis

Since the wellbeing of the patients and users of the hospital is the architects’ priority, locating the project on the suburban side of the coastal city of Helsingor makes perfect sense. The site provides a peaceful and quiet environment that would aid in the recovery of patients suffering from mental disorders. The project which is an extension of the existing Helsingor Hospital was located a couple of meters away from the existing building to maintain the privacy needed by the psychiatric sector. The site is rich in greenery and overlooks forests from the west side. The area also has a like which the project directly overlooks. All these views provide suitable and beautiful environment for such a delicate function.

Helsingør Psychiatric Hospital

Lake

Voids

Connection with main building

Parking

Helsingør Hospital

Vegetation

Accessing Roads

Entrance

Greenscape

Hardscape / Paving

213

CHAPTER 3 - Case Studies & Analysis

3.4 BIG & JDS - Helsingor Psychiatric Hospital

View

Daylight

Conceptual Development

Conference Garden Smoking Area

The design of the project was mainly inspired by the needs and requirements of the patients, staff, and users of the building. The Architects collected the needed information by interviewing the above mentioned people. This made it clear to the architects that the patients needed a good view, atmosphere, and suffecient daylight entering the building. Incorporating gardens into the design was also considered to be a key element.

The architects then developed the spatial relations of the project. Hence creating a hierarchy of privacy and needs for each category of spaces. They then distributed the outdoor areas and gardens among the spaces to privide suffecient lighting and view for each category.

Communal Garden Private Garden

Finally, the architects developed a spatial organization that will meet the aforementioned requirements. This organization located all the staff and patient rooms on the exterior for lighting and view, and centralized gardens and outdoor smoking areas to increase the amount of light entering the building.

214

Personnel

Patient (Private)

Patient (Stay)

Garden / Outdoor

CHAPTER 3 - Case Studies & Analysis

3.4 BIG & JDS - Helsingor Psychiatric Hospital

Location on Site

? ?

Comb

Chain

Clover

Ease of access to all spaces

Not all spaces are easily accessed

Ease of access to all spaces

Simple vertical allignment

Not all spaces given the same importance

Good and simple hierarchy of importance

Reduced important views of greener and lake

All spaces have a good view and lighting

Wasted spaces between program modules

Effecient spatial devision

Does not fit the site

Fits the the site

Fits the the site perfectly

Collective space accessed by all spaces

Not all spaces access the collective space

Collective space accessed by all spaces

Why The Clover Structure

By using a clover structure in organizing the residential program the architects managed to orient each patientâ&#x20AC;&#x2122;s room toward its own part of the landscape - two sets of rooms facing the lake, and one set of rooms facing the surrounding hills. That way the intimate living program has been folded into the landscape being on a level with the lake. Between the functions emerges a new collective space that is embraced by offices and bed units, and populated by small patios.

215

CHAPTER 3 - Case Studies & Analysis

3.4 BIG & JDS - Helsingor Psychiatric Hospital

Spatial Analysis

Programming Functionally The psychiatric clinic is organized into 2 main programs; a program for living and a program for treatment. The two parts consist of many different and individual functions that nevertheless must work together. The Architects carefully designed each program and then transformed them into an integrated, but differential whole. The public treatment program is placed on a level with the existing hospital and is organized as 5 individual pavilions, combined into a snowflake structure by the central space. Day sections, outpatient’s clinic and department of district psychiatry gather

around the arrival areas. The individual units contain offices and treatment rooms to one side and waiting areas to the other side. All parts of the building are fused at one single point, right above the center of the clover structure. The galleries of the treatment program propagate as a snowflake crystal in all directions and in varying lengths according to the size of the individual units. One of the galleries breaks off as a bridge to the existing hospital and becomes a flexible structure for expansion due to future development and needs.

Decentralized / Centralized

Freedom / Control

The psychiatric hospital is organized as to give the best conditions for health care. Effectively and rationally minimizing walking distance, and at the same time providing individual sections with a maximum of autonomy and intimate spaces where the users can feel themselves almost at home.

Part of the hospital contains observed treatment areas where patients for the good of self-protection and their surroundings will have limited freedom to move, though without feeling claustrophobically trapped.

Openness / Closure

Privacy / Sociability

The day-and-night sections are spatially open, both offering an overall view to the staff and careful not to make the patients feel themselves observed or under surveillance.

the psychiatric hospital offers rooms for socializing and spontaneous meetings between people and at the same time opportunities for seclusion and contemplation.

Program Requirements

= Trash Depository

Laundry Room

Personnel Toilet

Wardrobe

Social Counseling

Psychiatrist Office

Doctor’s Office

Chief Physician

Nurse’s Room

Secretary’s Office

Guards’ Work Room

Conference Room

Meeting Space

Kitchen

Dining Room

Smoking Room

Common Room

2 Rooms

14 Patients’ Rooms

216

CHAPTER 3 - Case Studies & Analysis

3.4 BIG & JDS - Helsingor Psychiatric Hospital

217

CHAPTER 3 - Case Studies & Analysis

3.4 BIG & JDS - Helsingor Psychiatric Hospital

Spatial Division

Underground Level

218

Drawing is not to scale

Reception

Collective Area

Garden

Doctor’s Office

Atrium / Lightwell

Administration

District Psychology

Patients’ Rooms

Smoking Area

Meeting Room

Psychologist Office

Toilets

Sport Facility

Conference Room

Teaching & Rehabilitation

Dining Room

CHAPTER 3 - Case Studies & Analysis

3.4 BIG & JDS - Helsingor Psychiatric Hospital

Ground Level

Drawing is not to scale

Changing Room

Laundry Room

Generator Room

Kitchen

General Technical Services

Telecommunication Room

Storage

Mechanical Control Unit

Vertical Circulation

Dumpster

Electrical Control Unit

Horizontal Circulation

219

CHAPTER 3 - Case Studies & Analysis

3.4 BIG & JDS - Helsingor Psychiatric Hospital

Project Program

Private

Public

Major Spaces Lobby / Reception / Foyer Atrium / Lightwell Smoking Area Sport Facility / Gym Common Room Collective Space Administration Office Space Meeting Room Conference Hall / Room Secretary’s Office Guards’ Work Room Garden Indoor Garden District Psychology Psychologist Office Teaching & Rehabilitation Social Counseling Doctor’s Office Chief Physician Nurses’ Room Therapy Room Patient / Faculty Bedroom

Total Area(m2)

Number of Spaces

108 289 123 200 144 340 111 514 339 78

3 2 3 1 3 1 5 24 10 2 Included in “Office Space” Included in “Office Space”

3 9 22 14 5

3517 668 468 355 266 Included in “Office Space” Included in “Office Space” Included in “Office Space” Included in “Office Space” Included in “Office Space”

1414

218 276 66 315

5 3 3 5

Service Spaces Toilet / Bathroom Dining Room Changing Room / Dressing Room Kitchen General Storage Dumpster Trash Disposal Laundry Room Generator Room Electrical Control Panel Telecommunication Room Mechanical Control Unit General Technical Equipment Vertical Circulation Horizontal Circulation 220

Included in “General Technical Equipment” Included in “General Technical Equipment” Included in “General Technical Equipment” Included in “General Technical Equipment” Included in “General Technical Equipment” Included in “General Technical Equipment” Included in “General Technical Equipment” Included in “General Technical Equipment”

200 51 3700

4 3 D/A

Level of Privacy

CHAPTER 3 - Case Studies & Analysis

3.4 BIG & JDS - Helsingor Psychiatric Hospital

Physical Model in Developing The Spaces

Close-up View

Underground Level

Ground Level

Overall View of Site 221

CHAPTER 3 - Case Studies & Analysis

Building Structure

Steel Braced Frame

Flat Roof

222

3.4 BIG & JDS - Helsingor Psychiatric Hospital

CHAPTER 3 - Case Studies & Analysis

3.4 BIG & JDS - Helsingor Psychiatric Hospital

Materials Used

In the design concept for Helsingor Psychiatric Clinic the architects avoided all clinical stereotypes: the traditional hospital hallway without windows and rooms on both sides; artificial easy-cleaning materials like plastic paint, linoleum floors or ceilings made of gypsum, etc. All materials have their natural surfaces. Cast floors in concrete or lively colours and walls made of glass, wood and concrete.

223

Chapter Chapter Chapter 4 4Chapter 4 Chapter 4

Spatial & Data Analysis

224

225

CHAPTER 4 - Spatial & Data Analysis

4.1 Project Program

Major Spaces Program

Entrance

Lobby / Reception / Foyer Seating Area / Lounge Admission Atrium / Lightwell

Retail

Cafe / Restaurant / Cafeteria Retail Bookshop / Library Pharmacy Utility Store / Minimart

Recreational

Auditorium Smoking Area Sport Facility / Gym Computer Room Common Room Collective Space

Exhibition

Permanent Gallery / Exhibition Space Spatial Exhibition Installation & Temporary Exhibition

Administration & Work Spaces

Administration Photography Room Board Room Office Space Meeting Room Studio Space Conference Hall / Room Secretary’s Office Guards’ Work Room Visitor’s Services Registrar Outdoor Deck / Terrace Grotto Garden Outdoor Exhibitional Space Indoor Garden

Clinical 226

Helsingør Psychiatric Hospital

Public

Outdoor

Private

District Psychology Psychologist Office Teaching & Rehabilitation Social Counseling Doctor’s Office Chief Physician Nurses’ Room Therapy Room Visiting Area Meditative Area Patient / Faculty Bedroom Emergency Room

Total Area(m2)

Number of Spaces

108

289

Total Area(m2)

Number of Spaces

685

372

365

145

600

3850

219 51 80

2 2 1

2016 768

4 1

123 200

3 1

144 340

3 1

111

514 339

24 10

Level of Privacy

Fondation Louis Vuitton

2 Included in “Office Space” Included in “Office Space”

3517

668

468 355 266

22 14 5 Included in “Office Space” Included in “Office Space” Included in “Office Space” Included in “Office Space” Included in “Office Space”

1414

Level of Privacy

CHAPTER 4 - Spatial & Data Analysis

Denver Art Museum Total Area(m2)

Number of Spaces

718

Vitra Design Museum & Factory Total Area(m2)

Number of Spaces

495

161

571 332

1 1

500

5342

Level of Privacy

4.1 Project Program

Total Area(m2)

Number of Spaces

200 120 200 600

2 2 4 3

170

35 18 20

1 1 1

500

100 80 100

1 1 1

1600 400 250

4 1 1

70 80

1 1

180 50

10 3

407

Level of Privacy

ParaĂsthisi

113 160 155 25

1 1 6 1

42 347

1 1

200

394

200

400 250 400

1 1 4

75 150 200 200 150 75 80 540 80 110 1200 120

3 6 4 4 6 3 1 12 1 2 60 6

Level of Privacy

227

CHAPTER 4 - Spatial & Data Analysis

4.2 Project Service Program

Service Spaces Program

Support Services

Art Storage Retail Storage General Storage Backstage Storage Conservation

Technical Services

Backhouse Services

Toilet / Bathroom Dining Room Changing Room / Dressing Room Kitchen Staff & Faculty Room Backstage Prep-Room Security Auditorium Projector Coats Hanging Room

Circulation

228

Public

Storage

Private

Helsingør Psychiatric Hospital Total Area(m2)

Number of Spaces

218 276 66 315

5 3 3 5

Level of Privacy

Fondation Louis Vuitton Total Area(m2)

Number of Spaces

366

52 57

1 1

27 20

1 1

Level of Privacy

Total Area of Services = 2560 m2 Total Area of Services = 2560 m2 Included in “General Technical Equipment”

Total Area of Services = 2560 m2 Total Area of Services = 2560 m2 Total Area of Services = 2560 m2

Crating & Unpacking Loading Dock Dock Staging Dumpster Trash Disposal

Total Area of Services = 2560 m2

198

1 Total Area of Services = 2560 m2

Included in “General Technical Equipment”

Total Area of Services = 2560 m2

Included in “General Technical Equipment”

Total Area of Services = 2560 m2

Laundry Room Floor Waste Management Generator Room Electrical Control Panel Telecommunication Room Mechanical Control Unit General Technical Equipment

200

Vertical Circulation Horizontal Circulation

51 3700

3 D/A

Included in “General Technical Equipment” Total Area of Services = 2560 m2 Included in “General Technical Equipment”

Total Area of Services = 2560 m2

Included in “General Technical Equipment”

Total Area of Services = 2560 m2

Included in “General Technical Equipment”

Total Area of Services = 2560 m2

Included in “General Technical Equipment”

Total Area of Services = 2560 m2

1065 1436

22 D/A

CHAPTER 4 - Spatial & Data Analysis

Denver Art Museum Total Area(m2)

401 29

Number of Spaces

Level of Privacy

5 1

4.2 Project Service Program

Vitra Design Museum & Factory Total Area(m2)

Number of Spaces

Level of Privacy

Paraísthisi Total Area(m2)

Number of Spaces

350

100 105

1 5

Level of Privacy

Included in “Backstage Storage”

1 Included in “Backstage Storage”

32 103 78

2 1 1

45 85

3 1

1205 174 50 39 68

1 1 1 1 1

500

50 40

4 1

356 101 137 33 46

2 1 1 1 1

100 75 85 25 35

1 1 1 1 1

3 1 8 5 4

25 40 70 120 55 2

1 4 1 6 5 330

37 73 159 72 991

438 1513

12 D/A

108 43

8 D/A

Dependant on Design Phase Dependant on Design Phase

229

CHAPTER 4 - Spatial & Data Analysis

Predicted Occupancy Load Per Space x 100

Lobby / Reception / Foyer Seating Area / Lounge Admission Atrium / Lightwell Cafe / Restaurant / Cafeteria Bookshop / Library Pharmacy Utility Store / Minimart Auditorium Sport Facility / Gym Computer Room Collective Space Permanent Gallery / Exhibition Space Spatial Exhibition Installation & Temporary Exhibition Administration Photography Room Office Space Meeting Room Guard’s Work Room Registrar Outdoor Deck / Terrace Garden Outdoor Exhibitional Space Indoor Garden District Psychology Psychologist Office Teaching & Rehabilitation Social Counseling Doctor’s Office Chief Physician Nurses’ Room Therapy Room Visiting Area Meditative Area Patient / Faculty Bedroom Emergency Room

230

4.3 Occupancy Load

CHAPTER 4 - Spatial & Data Analysis

4.4 Area Comparison

Area Comparison Diagram Per Space

400

600

800

1000

1200

1400

1600

231

CHAPTER 4 - Spatial & Data Analysis

4.5 Bubble Diagram

Bubble Diagram Exhibitional Sector

Essential Preferable

Admission

Entrance

Cafe Lobby

Lounge

Atrium

Library Indoor Garden

Auditorium Terrace

Garden

Outdoor Exhibition Exhibition Spaces

232

Spatial Exhibition

Installation Exhibition

CHAPTER 4 - Spatial & Data Analysis

4.5 Bubble Diagram

Entrance

Theraputical Sector

Lounge

Lobby

Visiting Area

Computer Room

Pharmacy

Emergency Room

District Psychology

Collective Space Meditative Area

Teaching & Rehabilitation

Photography Room

Social Counseling

Gym Meeting Room Minimart

Therapy Room

Administration

Office Space

Registrar

Nurses’ Room

Chief Physician

Doctor’s Office

Psychologist Office

Faculty / Patient Bedroom

233

Lobby / Reception / Foyer Seating Area / Lounge Admission Atrium / Lightwell Cafe / Restaurant / Cafeteria Bookshop / Library Pharmacy Utility Store / Minimart Auditorium Sport Facility / Gym Computer Room Collective Space Permanent Gallery / Exhibition Space Spatial Exhibition Installation & Temporary Exhibition Administration Photography Room Office Space Meeting Room Guards’ Work Room Registrar Outdoor Deck / Terrace Garden Outdoor Exhibitional Space Indoor Garden District Psychology Psychologist Office Teaching & Rehabilitation Social Counseling Doctor’s Office Chief Physician Nurses’ Room Therapy Room Visiting Area Meditative Area Patient / Faculty Bedroom Emergency Room Kitchen Staff & Faculty Room Security Auditorium Projector Toilet/Bathroom Art Storage General Storage Backstage Storage Crating & Unpacking Loading Dock Dock Staging Dumpster Trash Disposal Floor Waste Management Generator Room Electrical Control Panel Mechanical Control Unit Laundry Room

234

Outdoor Exhibitional Space

Garden

Outdoor Deck / Terrace

Registrar

Guards’ Work Room

Meeting Room

Office Space

Photography Room

Administration

Installation & Temporary Exhibition

Spatial Exhibition

Permanent Gallery / Exhibition Space

Collective Space

Computer Room

Sport Facility / Gym

Auditorium

Utility Store / Minimart

Pharmacy

Bookshop / Library

Cafe / Restaurant / Cafeteria

Convenient

Atrium / Lightwell

Preferable

Admission

Essential

Seating Area / Lounge

Lobby / Reception / Foyer

Relationship Matrix

Laundry Room

Mechanical Control Unit

Electrical Control Panel

Generator Room

Floor Waste Management

Trash Disposal

Dumpster

Dock Staging

Loading Dock

Crating & Unpacking

Backstage Storage

General Storage

Art Storage

Toilet/Bathroom

Auditorium Projector

Security

Staff & Faculty Room

Kitchen

Emergency Room

Patient / Faculty Bedroom

Meditative Area

Visiting Area

Therapy Room

Nurses’ Room

Chief Physician

Doctor’s Office

Social Counseling

Teaching & Rehabilitation

Psychologist Office

District Psychology

Indoor Garden

CHAPTER 4 - Spatial & Data Analysis 4.6 Relationship Matrix

235

Chapter Chapter 5Chapter 5 5 Chapter

Site Analysis

236

237

CHAPTER 5 - Site Analysis

5.1 Locating The Project

Locating The Project

Since the project involves a clinical and an exhibitional aspects, it is important to locate it in a site that would complement both. The proposed site needed to have some kind of privacy, peaceful and calm environment, and a nice view in order to provide the patients that use the project with the appropriate atmosphere to recover. This is very important especially when dealing with mentally unstable patients. Another important aspect would be locating the

project in an area that is considered to be mid-city. The rationale behind this is to enhance the connection between the patients and society and break the stigma involved in mental instability. Such location is vital for easy accessibility of the exhibitional part of the project. Furthermore, since the project is first of its kind in the Middle-East, a project that provides both a treatment for and an experience of hallucinations, Dubai is the perfect city to locate it in.

Location

Creek Ext. Business Bay, Dubai

Location

Creek Park, Dubai

Area

18,000m2

Area

9,000m2

Main accessing road

Al Khaleej Al Tejari 1st St.

Main accessing road

Al Etihad Rd.

Distance from Dubai Int. Airport

16.4 Km - 24 min (Drive)

Distance from Dubai Int. Airport

6.4 Km - 10 min (Drive)

Surrounding landmarks

The Oberoi

Surrounding landmarks

Creek Park

Damac Tower 4

Rashid Hospital & Complex

Royal Prince Real Estate

Dubai Courts

Location

Design District, Dubai

Location

Downtown, Dubai

Area

11,000m - 15,000m

Area

17,000m2 - 12,000m2

Main accessing road

Oud Metha Rd.

Main accessing road

Financial Centre Rd. /Al Khail Rd.

Distance from Dubai Int. Airport

14.3 Km - 18 min (Drive)

Distance from Dubai Int. Airport

14.7 Km - 21 min (Drive)

Surrounding landmarks

Design District Buildings

Surrounding landmarks

Dubai Mall

Burj Khalifa Radisson Blu Hotel

Location

Culture Village, Al Jaddaf, Dubai

Location

Healthcare City2,Al Jaddaf,Dubai

Area

30,000m2

Area

21,000m2

Main accessing road

Business Bay / Garhoud Bridge

Main accessing road

Al Khail Rd.

Distance from Dubai Int. Airport

10 Km - 21 min (Drive)

Distance from Dubai Int. Airport

11.8 Km - 25 min (Drive)

Surrounding landmarks

Middle-East Museum of Modern

Surrounding landmarks

Swiss Int. Scientific School

Art

Healthcare City Phase 2

Palazzo Versace

Amasco L.L.C.

D1 Tower

238

239

CHAPTER 5 - Site Analysis

5.1 Locating The Project

View of the site from the accessing street

View of the site from the promenade

Dubai Healthcare City Phase 2, Al Jaddaf, Dubai

Rationale behind the choice

Area

21,000m2

Medical zone (hospitals surrounding the project)

Main accessing road

Al Khail Rd.

Important future development

Distance from Dubai Int. Airport

11.8 Km - 25 min (Drive)

Peaceful & calm environment

Surrounding landmarks

Swiss Int. Scientific School

Easy accessibility (mid-city)

Healthcare City Phase 2

Appropriate plot area

Amasco L.L.C.

240

CHAPTER 5 - Site Analysis

5.1 Locating The Project

241

CHAPTER 5 - Site Analysis

Al Jaddaf

Fishing and pearl diving has always been one of the major strands of Dubai’s cultural DNA. At a point in time, the city depended on these two activities for survival. Al Jaddaf (literally means The Rower), like many costals districts in Dubai, was an area designated for building “dhows” used for fishing and pearl diving, storing them, and act as a dock. In the current time, Al Jaddaf’s shipyards remain one of the few ones that are still actively used for building and maintaining these traditional boats. After successfully constructing Al Khail Road and finishing Healthcare City Phase 1, the excavation process of Phase 2 begins to finally launch the project in 2015. Parallely to that, Dubai was also working on extending the creek creating a separtion between Al Jaddaf and Dubai Lagoon and it’s wildlife sanctuary.

Al Khail Rd. Health Care City Phase 2 The Site Creek Extension Work

242

5.2 Historical Context

2006

2010

2014 243

CHAPTER 5 - Site Analysis

244

5.3 Surrounding Districts & Zones

CHAPTER 5 - Site Analysis

5.3 Surrounding Districts & Zones

Surrounding Districts & Zones

The Site

Dubai Festival City

Umm Hurair 2

Healthcare City Phase 2

Dubai Design District

Umm Ramool (Industrial)

Al Jaddaf

Business Bay

Ras Al Khor Industrial 2

Culture Village

Za’abeel 2

Ras Al Khor Industrial 1

Ras Al Khor Wildlife Sanctuary

Za’abeel 1

Bu Kadra

Dubai Creek Harbour / Dubai Lagoon

Trade Center 2

Nadd Al Hamar

245

CHAPTER 5 - Site Analysis

246

5.4 Surrounding Major Roads & Highways

CHAPTER 5 - Site Analysis

5.4 Surrounding Major Roads & Highways

Surrounding Major Roads & Highways

The Site

Al Rebat Street

Sheikh Zayed Road

Ras Al Khor Road

Oud Metha Road

Nadd Al Hamar Road

Al Khail Road

Metro Green Line

Business Bay Bridge

Metro Green Line

2nd Zaâ&#x20AC;&#x2122;abeel Road

Bus Stop

247

CHAPTER 5 - Site Analysis

5.5 Surrounding Landmarks

11 10

9 8 7

6 3

248

CHAPTER 5 - Site Analysis

Dubai Design District

Health Care City Phase 2 Distance from site (drive): 1.6 Km - 5 min Function: Medical complex Architectural style: Post modern / mediterranean

Distance from site (drive): 12.9 Km - 23 min Function: Art complex Architectural style: Contemporary

Swiss International Scientific School Distance from site (drive): 720 m - 2 min Function: Primary school Architectural style: Contemporary

Ras Al Khor Wildlife Sanctuary Distance from site (drive): 13.4 Km - 24 min Function: Wildlife sanctuary Architectural style: Natural Landscape

Drydocks Jaddaf Distance from site (drive): 2 Km - 2 min Function: Docks Architectural style: Warehouses

Latifa Hospital

5.5 Surrounding Landmarks

Al Wasl Sports Club Distance from site (drive): 6.9 Km - 14 min Function: Sports complex Architectural style: Modern

Wafi Mall

Raffles Hotel

Distance from site (drive): 7 Km - 14 min Function: Hospital Architectural style: Modern Islamic

Distance from site (drive): 8 Km - 15 min Function: Shopping Mall Architectural style: Modern Egyptian

Distance from site (drive): 8.8 Km - 16 min Function: Hotel Architectural style: Contemporary / Egyptian

Dubai Police Club

Grand Hayat Hotel

Culture Village

Distance from site (drive): 5.4 Km - 12 min Function: Sports Complex Architectural style: Contemporary

Distance from site (drive): 9.3 Km - 19 min Function: Hotel & Resort Architectural style: Contemporary

Distance from site (drive): 4.5 Km - 13 min Function: Multi-purpose development Architectural style: Mainly contemporary

Dubai Creek Harbour / Dubai Lagoon Distance from site (drive): 11.7 Km - 19 min Function: Multi-purpose development Architectural style: Mainly contemporary

Al Badia Golf Club Distance from site (drive): 6.3 Km - 14 min Function: Golf Club / Sports complex Architectural style: Contemporary

Dubai Festival City Distance from site (drive): 5 Km - 11 min Function: Shopping mall / Hotels / Multi-purpose Architectural style: Contemporary

249

CHAPTER 5 - Site Analysis

5.6 Route To The Site

Reaching the site via car Starting point Starting point

Dubai International Airport

Traveling distance

11.8 Km

Approx. time required

25 min

Major roads used

Airport Road

Destination

Al Rebat Street Business Bay Al Khail Road 250

Vehicle Route

CHAPTER 5 - Site Analysis

5.6 Route To The Site

Reaching the site via public transport Starting point

Dubai International Airport

Number of stops

Approx. time required

1 h 32 min

Approx. Cost (AED)

15 - 20

Starting point

Metro green line

Destination

Bus route

Metro red line

Padestrian route

Route Dubai airport

Burjuman

Creek Station

Government workshop

Site

251

CHAPTER 5 - Site Analysis

5.7 Solar Analysis

Solar Analysis

Equinoxes & Solstices March Equinoxes

20th of March - 20:57

September Equinoxes

23rd of September - 6:29

June Solstices

21st of June - 14:51

December Solstices

22nd of December - 3:03

January

February

March

April

May

June

July

August

September

October

November

December

Average Daily Sunshine Hours

Solar Window Diagram

9:00

21st of June 15:00

W 252

21st of December

CHAPTER 5 - Site Analysis

5.7 Solar Analysis

Night, Twilight & Daylight Times - 21st of June 0:00

1:00

2:00

3:00

4:00

5:00

Dawn 6:26

6:00

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 20:00 21:00 22:00 23:00

Sunrise 6:51

Solar Noon 12:10

Sunset 17:30

Dusk 17:54

Sun Path - 21st of June

8:00

10:00

12:00

16:00

14:00

18:00

253

CHAPTER 5 - Site Analysis

5.8 Wind Analysis

Wind Analysis

Monthly Wind Distribution

254

January

February

March

April

May

June

July

August

September

October

November

December

CHAPTER 5 - Site Analysis

5.8 Wind Analysis

Annual Wind Distribution

255

Chapter 6 6Chapter 6 Chapter

Project Summary, Context, & Site Correlation

256

257

CHAPTER 6 - Project Summary, Context, & Site Correlation

Summary & Synthesis The project will be serving two main functions. First one being to help treat mentally ill patients, and the second one is to help break the stigma society associates with mental illness and hallucinations. In order to do that, a full understanding of all types of hallucinations must be achieved. Understanding the process of hallucination and itâ&#x20AC;&#x2122;s stages is also vital.

Social Issues Mental illness and hallucination is a taboo and something to be ashamed of and hidden. Hallucinations are not necessary a drug induced state of mind. People not seeking professional help and treatment may cause their condition to become more complex. Number of mentally ill people is increasing. Hallucinations are actually your body trying to make up for a lack of information, sometimes it is necessary. People are afraid to connect with their soul and mind and naturally induce such a state of mind because they dont understand it. Mental illness is just like any other illness people suffer from it is just in a more complex organ. Patients cannot live normaly like the rest of society or may not even find jobs. Mentally ill patients are becoming unwanted outcasts in our society. Many successfull people suffered from or even benifited from hallucinations.

258

6.1 Summary & Synthesis

CHAPTER 6 - Project Summary, Context, & Site Correlation

6.1 Summary & Synthesis

Hallucinations Vs Architecture The table below summarizes the top three most common types of hallucinations and how they could be intigrated into architecture. Space can have a powerful impact on the human mind and perception. It can be used to deliver an experience such as of the below mentioned hallucinations

Type of Hallucination

Symptoms

Associated Conditions

Impact on Patient

How to provide the experience through architecture

Visual

Seing patterns in the vision field.

1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17

Patient cannot diffrentiate between what’s real and what’s not.

Anamorphic perspective.

Moving or blury vision.

May not be able to do regular daily activities like driving.

Seing figures, shadows, people, animals etc. Seing a coloured arc in the vision field.

Simple symptoms may lead to psychosis if not treated.

Illusions. Distortion of spaces and form. Use of dark colours to hide dimensions and forms. Use of deceiving colours. Play of light and shadow. Use of mirrors and reflecting material.

May be a sign of physical damage to the visual cortex.

Auditory

Constant high pitched sounds.

1, 2, 3, 4, 5, 6, 7, 9, 10, 12, 13, 15, 17

Hissing sound. Sound of music or an instrument.

Simple symptoms may lead to psychosis if not treated.

Hearing someone speaking.

Tactile

Itching sensation. Feeling something under the skin.

Patient cannot diffrentiate between what’s real and what’s not.

Echo in empty space. Water feature. Wind tunnel. Resonance.

May be a sign of physical damage to the auditory cortex. 1, 4, 5, 6, 10, 13, 15, 17

Feeling something walking on the body. Random sudden texture feeling.

Paranoia.

Use of appropriate or deceiving materials

Wrong interpretation of texture.

Water feature. Wind tunnel.

Simple symptoms may lead to psychosis if not treated.

Spikey feeling.

1- Hypnagogia 2- Penduncular Hallucinations 3- Lilliputian Hallucinations 4- Delirium Tremens

5- Parkinson’s Disease 6- Lewy Body Dementia 8- Migraine Coma 9- Charles Bonnet Syndrome

10- Drug Induced Hallucinations 11- Focal Epilepsy 12- Schizophrenia 13- Dementia

14- Anton’s Syndrome 15- Seizures 16- Creutzfeldt-Jakob Disease 17- Damage to Cortex

259

CHAPTER 6 - Project Summary, Context, & Site Correlation

Stages of Hallucination Emergence of surprising or warded-off memory or fantasy images. Frequent reality checks Last vestige of insight as hallucinations become indistinguishable from reality Fantasy and distortion elaborated upon and confused with actual perception Internal-external boundaries destroyed and possible pantheistic (or personally felt or believed, possibly profound, internal spiritual or religious) experience

Raising Awareness The project will aid people see the world through the eyes of a hallucinator The project will use distorted spaces, illusions, & anamorphic perspective to play with the visitor’s perception Help people understand that hallucinations can aid creativity and thinking outside the box Educate people about the topic since correct knowledge about the topic is not common among the region’s society due to the taboo nature of the topic.

Treat & Rehabilitate Patients Architecture was made by people for people, therefore spaces should be designed to provide the best environment for the patient’s recovery. Spaces must be welcoming and home-like in order to make patients feel comfortable. The project is not intended for cases that need hospitalization. Theraputical and rehabilitation techniques will only be utilized. Help Dubai lead the region and the world by breaking this stigma and build a healthier community. Restore mentally patients to a normal lifestyle and grow hope in the community.

260

6.1 Summary & Synthesis

CHAPTER 6 - Project Summary, Context, & Site Correlation

6.1 Summary & Synthesis

261

Chapter Chapter 7

Design Approach

262

263

CHAPTER 7 - Design Approach

Design Proposal I Located in one of the rapidly growing and rising districts in Dubai (Healthcare City Phase 2), overlooking the creek and the city’s iconic skyline, “Paraísthisi” is an awareness and treatment center that tackles the stigma associated with mental illness and hallucinations. The building is split into two sections, one that houses the exhibition spaces that allow the visitor to see the world through the eyes of a hallucinator, and the other section that provides theraputical and treatment services for mentally ill patients. The building form resembles a journey from seeing the world through the eyes of a hallucinator to treatment and mental stability. This is resembled by the form morphing from a complex to a simpler curve. Since a cube symbolizes stability, a cubical void was placed in the heart of the therapeutical section of the project with an atrium to symbolize hope for mental stability and treatment.

264

7.1 Design Proposal I

265

CHAPTER 7 - Design Approach

Design Proposal II Since the main aim of the project is to break the social stigma associated with mental illness, the design forces theraputical and exhibition areas to blend in for but not space. The strips house the exhibitional spaces, while the boxes house the medical spaces. The strips symbolize the journey the mentally ill patient goes through. Their chaotic intersection resembles the complex states their minds go through. Since a cube and square are considered static and stable forms, they are used to symbolize treatment and stability. This intersection resulted in interesting spaces inbetween the forms that can be utilized as gardens.

266

7.1 Design Proposal I

267

â&#x20AC;&#x153;A hallucination is a fact, not an error; what is erroneous is a judgment based upon it.â&#x20AC;&#x153; -Bertrand Russell

268

269

270

271

Bibliography Section I [1]

Ohayon, Maurice M. “ .” History of Hallucinations. Sleep Eval. Research, 05 Nov. 2012. Web. 15 Oct. 2015.

Blom, J. D. “Hallucination.” Academic Dictionaries and Encyclopedias. Academic Dictionaries & Encyclopedias, 1 Jan. 2010. Web. 14 Oct. 2015.

[2]

M.C. Escher.” M.C. Escher Biography. M.C. Escher, n.d. Web. 12 Dec. 2015.

[3]

Seckel, Al. Masters of Deception: Escher, Dalí & the Artists of Optical Illusion. Illustrated ed. Vol. 1. N.p.: Sterling, 2004. Print. Ser. 1402705778. [4]

[5]

Escher, M. C., J. L. Locher, and Marjolijn De Jager. The Magic of M.C. Escher. New York: Harry N. Abrams, 2000. Print.

[6]

Francis, George K. A Topological Picturebook. New York U.a.: Springer, 1988. Print.

[7]

Poole, Steven. “The Impossible World of MC Escher.” The Guardian. The Guardian, 20 June 2015. Web. 2 Nov. 2015.

[8]

Grey, Alex. “Alex Grey Biography.” Alex Grey. Alex Grey, 16 May 2010. Web. 2 Dec. 2015.

[9]

Kuspit, Donald B. Redeeming Art: Critical Reveries. New York: Allworth, 2000. Print.

[10]

Maizels, John. Outsider Art Sourcebook: Art Brut, Folk Art, Outsider Art. , Herts: Raw Vision, 2009. Print.

[11]

Sacks, Oliver. Hallucinations. New York: Alfred A. Knopf, 2012. Print.

[12]

Mitchell, John K. Headache with Visual Hallucination. New York: Raff, 1897. Print.

Berrios, G. E. “Tactile Hallucinations: Conceptual and Historical Aspects.” Journal of Neurology, Neurosurgery, and Psychiatry. U.S. National Library of Medicine, 9 Apr. 1982. Web. 12 Dec. 2015. [13]

Manford, M., and F. Andermann. “Brain.” Complex Visual Hallucinations. Clinical and Neurobiological Insights. Oxford Press, 1 Oct. 1998. Web. 12 Oct. 2015. [14]

[15]

Healy, David. Psychiatric Drugs Explained. Edinburgh: Churchill Livingstone, 2005. Print.

Fisher, Gary L., and Nancy A. Roget. Encyclopedia of Substance Abuse Prevention, Treatment, & Recovery. Los Angeles: SAGE, 2009. Print. [16]

Ching, Frank. Architecture, Form, Space, & Order. 3rd ed. New York: Van Nostrand Rein hold, 1979. Print.

[18]

Neufert, Ernst, Peter Neufert, and Johannes Kister. “The Eye: Perception”. Architects’ Data. 3rd ed. Chichester, West Sussex, UK: Wiley- Blackwell, 2012. 24. Print. [19]

Salgado, Tomás García. “ Anamorphic Perspective & Illusory Architecture.” Generative Art. National Autonomus University of México, 4 Mar. 2005. Web. 12 Nov. 2015. [20]

Gregory, R. L. Even Odder Perceptions. London: Routledge, 1994. Print.

[21]

272

Bibliography

Kelsey, Michael R. Non-technical Canyon Hiking Guide to the Colorado Plateau. Provo, UT: Kelsey Pub., 2011. Print.

[22]

Jencks, Charles. The Garden of Cosmic Speculation. London: Frances Lincoln, 2003. Print.

[23]

â&#x20AC;?Gijs Van Vaerenbergh Creates Labyrinth Steel Maze in Belgium.â&#x20AC;? Dezeen Gijs Van Vaerenberghs Steel Maze Features Spherical Cylindrical and Coneshaped Voids Comments. Dezeen Magazine, 24 July 2015. Web. 13 Dec. 2015. [24]

273

274

275