Jenna Weber

embodied movement

Jenna Weber jennkweber@gmail.com University of Cincinnati | DAAP INTD Capstone 2021 Professor Mandy Woltjer

Abstract At some point, almost everyone will experience negative feelings about their body image. This is directly related to the images that have been shown on social media and in advertising for many years. People have constantly been told that in order to achieve happiness and success in their lives, they must look a certain way. This project aims to change the narrative and combat problems with body image at the psychological source. This takes place in the form of a movement center, where users can attend movement classes as well as therapy sessions. The planning of the space encourages users to create connections within themselves and with others and offers a safe environment for people to cultivate better relationships with their bodies. The design uses texture, form, and movement to portray an abstraction of the human body. It is through experiencing these characteristics of the space that users can see the beauty of their own bodies.

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images sourced from - dr. james dowd, E! online, ok! magazine, amazon, cracked.com, mind motivations, beyonce.com, auditions free, ispot tv, pinterest, instagram

At some point, almost everyone w

This is caused by the messages portrayed in advertisements like the ones you just saw. The tru images to make people feel like they have to achieve a certain look. In the end, these compan

via discovery mood and anxiety

About 80% of women have expressed some dissatisfaction with their bodies. While women are often the biggest targets of weight-loss advertising, this problem affects men, children, teens, transgender, and non-binary people just as much, if not more.

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Self-esteem begins to form during the middle childhood developmental phase. Struggles with body image can begin as early as 8 years old and continue to progress throughout a person’s life.

will struggle with their body image.

uth is that our society has become obsessed with losing weight, and companies use certain nies profit from our insecurities.

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Feelings of shame about our bodies are connected to the limbic system, which controls our emotions.

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The importance of this problem comes from the effects of negative body image. Often times this goes beyond feeling bad about oneself and can have far more serious implications, such as body dysmorphia and eating disorders.

Body diversity is starting to come to the surface.

Fortunately, we are making great strides in changing the narrative surrounding body image. Clothing companies, such as Aerie, are taking steps to produce more inclusive advertising, and celebrities, such as Lizzo, are showing people that all different bodies are beautiful. These efforts, combined with the body positivity movement, have started to shift society’s thinking when it comes to beauty and inclusivity. However, we still have a long way to go.

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WHAT IF . . . the built enviro changing the way people f

onment could play a role in feel about their bodies?

Movement Center

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This project looks to address this question through the design of a movement center. The idea of this movement center is driven by research showing a distinct connection between movement and people’s perceptions of their bodies. This is completely different from the way people perceive their bodies when based on their appearance. Movement therapy is often used to treat body dysmorphia and eating disorders for this reason. There is also a concept called “Kinesthetic empathy,” which is the idea that synchronized movements help form emotional connections between people. This movement center would use these ideas to create a program based around movement, community, and education.

Movement - In this program, movement will be implemented through classes, such as dance, yoga, Pilates, and movement therapy. The goal of these classes is to offer a fun way to connect with one’s body physically.

Community - The idea of community will be implemented through social spaces, which can be utilized by anyone. The goal of these spaces is to offer a place where people can form connections with one another and feel less isolated and alone.

Education - Education will be integrated into the program through therapy sessions and community events. The goal of these programs is to teach people healthier practices when it comes to their relationships with their bodies.

Precedents

@autonomytherapyatx

Autonomy Movement autonomytherapyatx.com

Autonomy Movement, now Autonomy Therapy, is a barre studio in Austin, Texas. Its owner, Kim Gould, is a licensed marriage and family therapist and certified barre instructor. She decided to combine her passions by creating an inclusive barre studio and therapy center. She works to create an “anti-diet” culture and focus on intuitive movement. For her, it is about being an ally to the body positivity community and creating a safe place for everyone to enjoy exercise.

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Twice into the stre

meltem-

Twice into the Stream is a photog Meltem Isik. Most of her work is c of the human body. This work foc human body is perceived and ho entire bodies without the use of e specific detail of the body and ce

tem isik

eam - Meltem Isik

-isik.com

graphy project by Turkish artist centered around perception cused specifically on how the ow we are not able to see our external devices. It highlights a elebrates it in a beautiful image.

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Bloom - Dosu Architecture www.dosu-arch.com

Dosu Architecture has a series of projects that reflect the functions of the human body in an inhabitable form. Bloom, specifically, was an installation in California in 2011 that reflected human eyelashes. It used a metal material that, when heated, curled up to form the shape of eyelashes. The overall structure of the installation was reflective of a Victorian woman’s undergarment.

Users

The weekly therapy is visiting this p participating in the seeing progress fr sessions and feel co

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The occassional yoga class attendee The occasional yoga class attendee is someone who participates in movement classes on an occasional basis. This is not someone who is visiting the space very often but enjoys taking class every now and then.

The weekly herapy client

y client is someone who place more regularly and erapy offerings. They are rom their weekly therapy omfortable in the space.

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The dedicated member

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The dedicated member is someone who takes full advantage of the programs available. They participate in both movement classes and therapy sessions. They visit the space regularly and see the benefits in their own relationship with their body.

Project Site

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1544 Central Parkway, Cincinnati, OH 18,000 Square Feet The site selected for this project is the Chatfield College building in the Over-theRhine neighborhood of Cincinnati. The location of this building is conducive to heavy car and foot traffic, making it an ideal location for project visibility. The large open windows on the west and south sides of the building create an opportunity to spread the message of the project to those passing by and allow for the use of natural light within the space. This project would share the building with Chatfield College, allowing the college to continue to use part of the building.

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Traffic and sightlines

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Surrounding businesses

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Centra W Liberty

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Site map

Bus stops and parking

Project Goals

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Celebrate the human form

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Be a safe space to be vulnerable

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Create a connection between body and mind

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Showcase individuality

These goals can be accomplished throu

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Body as texture Taking inspiration from the unique textures of the skin, hair, and other features of the human body.

Body a

Using the soft, curved for kinds of bodies.

ugh the abstraction of the human body

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as form

rms created by different

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Body as movement Reflecting the idea of movement produced by people when dancing, doing yoga, or even just walking.

Main entrance

As users approach the building, they will enter on the south side. This creates a distinct separation from the college’s entrance, so users know exactly where to go. 2

Reception

On arrival, users are greeted by the reception desk, where they are able to check in for their class or therapy session. This is the first interaction people have within the space. 3

Cafe

The reception desk leads users back to a small café, where they can grab a snack or drink before or after class. There is also a small seating area where users can sit and enjoy their treat.

At this point, users use the stairs to make their way to the second floor 4

Changing rooms

If needed, there are several changing rooms, restrooms, and a shower behind the wall at the top of the stair. This gives users a comfortable place to change before class. 5

Lockers

Users can take advantage of the locker room to put their belongings aside before their class. This large room doubles as a social space, with refreshments and seating to relax and get motivated. 24

Studio

The studio is where all of the action happens. This is where movement classes take place and users get to participate in the programs. After participating in their class, users have two options: connect with others or take a step back

Wellness pods

If users want to take a step back, they have the option to do so in the wellness pods. This gives users a moment for reflection or meditation.

Therapy spaces

Users also have the opportunity to participate in therapy sessions, which are held in small seating areas.

Staff area

On the second floor, there is also a small staff space. This gives staff an opportunity to lock their belongings up, prep for classes, or get some administrative work done. 3

On the roof of the building, there is an outdoor patio and indoor-outdoor multi-purpose space. This can be used for community events, movement classes, or extra social space.

Exploded axon

Multi-purpose

Key plan 25

Spatial Characteristics

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Following the idea of abstracting the human body through texture, form, and movement, this project uses several different spatial characteristics to make up its design. The first is rhythmic and repeated architectural elements. These follow with the idea of movement. The second is curvilinear shapes, which play on the idea of form, and reflect the curves of the body. The third is layered elements, which create a sense of depth, and fit with the movement and form of the space. The fourth characteristic is porous, textural materials that reflect the textures found on the human body and their unique touches. These characteristics will start to play out in the material palette and design of the space.

Materials

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Studio wood flooring

Reception desk material

Reception horizontal surface

Reception wood material

Painted wood ribbing

Studio - transparent partition

Copper staircase metal

Typical terrazzo flooring

Accent paint

Typical paint

High-back lounge chairs

Sheer curtains

Semi-transparent curtains

Locker laminate

Locker room tile flooring

Pod fabric

Lounge chair leather

The material selections for this space start to dive into the concept of the design as well as some of the spatial characteristics mentioned earlier. The use of natural materials alongside a flesh-toned color palette brings a warmth and lively feel to the space. Including materials with veining and variations of color brings the materials back to the idea of the body and individuality found in each person’s body. The otherwise neutral tone grounds the rest of the material and provides a fresh backdrop.

The first thing people a desk that, with a short w behind the stair. From t transparent partition.

Entry and reception

The perimeter of the sp system of the human bo and adds a level of mov integrated between the

The reception desk follo welcomes users to the r café. The materials bala

Finally, the sculptural sta reflect the movement o curiosity, urging people

The ceiling and floor are space to shine without o

are greeted with when entering the building is the reception area. This space holds the reception walk, becomes the café, a sculptural stair leading to the second floor, and a small social space this point, users also get a glimpse into the studio space, seeing movement beyond the

pace is lined with white, painted ribbing. This is a neutral element that reflects the skeletal ody. Just as the bones hold muscles and organs in place, this ribbing holds the space together vement and texture to what would otherwise be flat, orthogonal walls. There is also lighting e ribs to draw the eye and add a level of decorative lighting.

ows along with the idea of curvilinear forms by integrating them into the overall shape. This form reception area, where they are able to check in, and then provides a gentle push toward the ance a warm wood with a textural piece that peeks out at different points along the way.

air catches users’ eyes with its semi-reflective copper metal structure. This material is meant to of people passing by without being a complete reflection. The curved nature of the stair builds e to explore where it leads.

e designed to be simple and somewhat neutral to allow for the other design elements of the overwhelming users.

Key plan

Entry rendering

The studio space is whe general classes and eve

Using a suspended syst the idea of layers of skin skin tones and fleshy co for different levels of pri become less visible, lea

Studio

The function of these cu needed. As these curtai open ceiling above. On ceiling up to the second into the studio space fro

The wood floor is versat the space. The natural li in the space. Artificial lig colors as needed.

ere all of the action happens. This is where movement classes will be held as well as other ents. For this reason, the studio needs to be very flexible.

tem of curtains, the studio can take on many forms and sizes. The curtains are meant to reflect n, creating a protection from the surrounding area. For this reason, the curtains reflect different olors. They are also made of a mix of sheer and semi-transparent fabrics that, when layered, allow ivacy, based on the needs of users. As a person moves deeper into the layers of curtains, they aving only their movements to be seen by those outside.

urtains can be seen when they are raised or lowered based on the size of class and privacy levels ins are raised, they bunch up and create a soft, organic ceiling condition that contrasts the hard n the outer layer of curtains, there is also a section that penetrates through the opening in the d floor. This creates a connection between the levels and a sense of interest in looking down om above.

tile enough for the different movement class offerings and adds a natural sense of warmth in ight from the windows also brings in a connection with the natural world, grounding people ghting is applied in the space to create an additional ambient light and the option to change

Key plan

Studio rendering

Curtain System These diagrams describe the different functions of the suspended curtain system. Depending on the size of the class and levels of privacy needed, the curtains can be lifted up out of the way or brought down to hang in space. For a large class of 20 to 30 people, the outer most curtain may be the only one needed. For a medium class of 10 to 20 people, the middle curtain could also be lowered. For a small class of 1 to 10 people, users could take advantage of the inner most curtain. This could also be true if users wanted more privacy. In the case that there are two classes going on at once, there are two tracks that can be lowered to offer medium to small sized classes, with an acoustical curtain in between for more acoustical privacy. Also, if one medium to small class wants to use the space but allow for an open area for stretching, one of those tracks can be lifted, while the other can still be utilized for class. Finally, if a certain class wants additional privacy from the exterior windows, there are more opaque curtains that can be lowered to block the view from outside.

Large class

Two classes Key plan 40

Medium class

Small class

Class + individual space

Extra privacy

The wellness space can respite. It is made up of body and mind.

Wellness space

The main features of thi are not separate rooms therapy areas, as they su and bring the focus inw Acoustical treatments o them can hear what the they can be moved out

This space is also once the ceiling. Integrated in a safe, protective place that provides a break fo

n be utilized at any time a user occupies the building and is designed to offer a moment of f therapy spaces and wellness pods, which are aimed to further define the connection between

is space are the therapy areas. These look different from the traditional therapy office in that they s, but still function as if they were. The curtains from the studio can once again be seen in these urround a small section of seating. The furniture used in these spaces form around the body ward. The curtains surrounding act as a visual and acoustical barrier from the surrounding space. on the ceiling also add a level of acoustical privacy, so users do not feel that people around ey are saying. These privacy curtains also function similarly to the curtains in the studio in that t of the way when not in use, allowing for additional seating options on the second floor.

again characterized by the neutral ribbing, which emerges from the first floor and fades into nto these ribs are wellness pods, which are designed to reflect the womb, and in turn provide for people to step back and breathe. The material inside these pods is a soft, acoustical fabric or the senses.

Key plan

Wellness space rendering

Wellness Pods

These pods become seamlessly integrated into the ribbing on the walls. They have a rou They are set fairly deep into the wall, so users have the option to sit back further to avoid connection to one’s inner self. These pods offer a moment for reflection and meditation

Wellness pod wall elevation

Section through wellness pod

unded form that encompasses users without feeling claustrophobic. distraction. The soft, pink tone of the fabric offers comfort and for users and want to feel private despite being open on one side. Key plan

The exterior of the build stayed the same for the person is outside.

Exterior

As people pass by the b the large windows on th studio space and, more are even able to see int space on the rooftop.

These elements of the d and sparks curiosity abo the experience they had

ding plays a major role in the mission and concept of this project. While the architecture has e most part, the beauty of this new design comes through experiencing the inside even when a

building, whether by car or foot, they are able to look directly into the studio space through he front and side of the building. People passing by are able to see the curtains that define the e importantly, the movement of the people participating in classes. If a little further away, people to the locker area to see people creating connections with each other, and the multi-purpose

design flowing out into the community is what spreads the message of positive body image out the space. It also doubles as an opportunity for those leaving the space to be reminded of d inside and be inspired to return.

Key plan

Exterior rendering

Negative body image is an age-old problem that has gotten increasingly worse with the rise of tv advertising and social media. It is something that affects almost everyone, regardless of age, race, identity, or ability. Although we have made great strides toward a more inclusive society, there is still a long way to go. Design has the power to change the world, and it definitely has the potential to change the way people feel about their bodies. Through the abstraction of the human body, a combination of texture, form, and movement, space can combat struggles body image at the psychological source and help people see the beauty in their own bodies.

thank you

Jenna Weber jennkweber@gmail.com University of Cincinnati | DAAP INTD Capstone 2021 Professor Mandy Woltjer