The Architecture of Opportunity A Master’s Thesis Project By Danielle Barozinsky
2018 | Masters Thesis | ARCHITECTURE OF OPPORTUNITY
Danielle Barozinsky
M. Arch dbarozinsky@mail.usf.edu (972) 375-3528 Digital Publications: https://issuu.com/dbarozinsky
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ARCHITECTURE OF OPPORTUNITY | Masters Thesis | 2018
The Architecture of Opportunity
A Masters Thesis Document by Danielle Barozinsky University of South Florida School of Architecture and Community Design 2018 Thesis Chair: Steve Cooke
Professor of Architecture University of South Florida
Thesis Committee: Josue Robles Caraballo Professor of Architecture University of South Florida
Evan Markiewicz Executive Director Viviendas Leรณn
Tara Wood Dozark
Architect Adjunct Professor University of South Florida
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table of contents: p7:
The Center of Community (Intro)
p93:
Nicaragua Trip Viviendas Leรณn Interviews p27:
Thesis Mission Statement Abstract MP1 Research The Commons
p43:
A Study of Entry
The Narrative of Nebraska Avenue What Belongs, What Exists Motels + Site Materiality and Programming
p123:
The Architecture of Opportunity Final Model Plans Sections Conclusion
Entry of a Shelter Stages of Abuse Victims p63:
The Well, The Fortress, and the Perspective Towers The Well Persian Gardens Scarpa Gardens The Fortress The Perspective Site Visits
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With endless gratitude to all those who sought me through to this point in my architectural career, I have found a way to summarize my journey in the masters architecture program. Here, I am placing the dedication page of John Steinbeck’s novel, East of Eden. I’ve always thought it described my time in school so well, exemplifying how I chose to endure the 6 years more as a precious accumulation of moments, lessons, and exploration, the box, that would all lead to what I hope to be a continuation of the wonder I have so far experienced. PASCAL COVICI Dear Pat, You came upon me carving some kind of little figure out of wood and you said, “Why don’t you make something for me?” I asked you what you wanted, and you said, “A Box.” “What for?” “To put things in.” “What things?” “Whatever you have,” you said. Well, here’s your box. Nearly everyting I have is in it, and it is not full. Pain and excitement are in it, and feeling good or bad ane evil thoughts and good thoughs- the pleasure of design and some despair and the indescribable joy of creation. And on top of these are all the gratitude and love I have for you. And still the box is not full. JOHN
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Introduction
My name is Danielle Barozinsky and I am a graduate student in the School of Architecture and Community Design at the University of South Florida, Tampa. In August 2016, I began to look for programs that worked globally to solve social, environmental, health, and economic issues in impoverished communities, primarily through built projects. In the spring of 2017, I was connected with Evan Markiewicz , an architect and the co-founder of Viviendas León, a non-profit organization working in rural communities outside of León, Nicaragua for about 20 years. I expressed my interest in visiting a community for an extended amount of time in order to learn about culture, building techniques, communication, technology, and desires for their community. A year later I was able to. The core research for my masters thesis project began with my two-week stay in León, and like you’ll find in this document, continued with breaking down the interviews, breaking down the data from Viviendas León given to me throughout this process, and the research that followed my trip involving shame, vulnerability, and building community through people and architecture.
With thousands of people in Tampa and Pinellas County seeking protection and being wait listed to live in a safe shelter, I decided to investigate further into what shelter looks like on Nebraska Avenue. This included weeks of analyzing the urban and domestic characteristics that impact this particular group of women and how security, privacy, and common spaces play a key role during their time of overcoming trauma. Shame, a very human experience, has no demographic. I hope this document will participate in the larger conversation of protecting vulnerable women in our community by telling a story influenced by the great efforts of counselors, supporters, non-profits, and educators, and most importantly women, who are fighting shame world-wide. From day one in León in Nicaragua to the final hours of editing and printing, this exploration is just a lens through the mind of an architecture student desiring to understand how architecture can empower human beings.
Little did I know how much the trajectory of my project would change in the course of a few weeks. In January of 2018, I found a woman’s dissertation on the Impacts of Architecture on women in a domestic violence shelter. Ironically, Florida is the number 3 state in the U.S. for human trafficking, meaning Tampa and Pinellas County are saturated in forced sex-labor industry.
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(Fig. 1) Community Center, Viviendas Leรณn, Leรณn, Nicaragua
2018 | Masters Thesis | ARCHITECTURE OF OPPORTUNITY
(Fig. 2) Vivendas Leรณn Office at Closing Time, Leรณn, Nicaragua 012
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The Architecture of Community León, Nicaragua
Viviendas León My exploration began here. With my elementary Spanish and lack of a plan, I spent my two week trip in León mostly absorbing information. Below is the blog post extracted from my Independent Study document. To the left is a photo of the VL office. It was here that my thesis was given its first breath. It was the place where my eyes and ears began to understand a new form of human empowerment and the benefits that a community reaps from it. Empowerment begins and ends with community, a living and breakable source, nonetheless integral in the growth of every individual. It is in community we fall and are pulled back up, where houses burn and are rebuilt, where abuse and neglect can be combated with and trust. The way I see it, community is the human version of architecture, and I was navigating a part of architecture that wasn’t in a built form. To understand the architecture of community, I had to know community first. “This isn’t what it normally looked like. This photo is more for the purpose of showing a space uninhabited by people and electricity in the city of Leon. The office for Viviendas Leon is situated in what used to be a house, but was split in two. Most houses may have looked like this, I could only see through gate doors sometimes as I walked through the streets. It was an overwhelmingly warm and bumpy ride to get here from the house. The buses here are old, mildly refurbished school buses. They fill up quick in the mornings, some
with loud music which I really enjoyed, but most times just really bumpy. As I would step into the double doors of the office, greeted by the motorcycles and staff, it was a few steps down the hall past the small courtyard space, and sat at the table as I waited for my Spanish teacher, or for an interview with one of the staff members. Fans on, dim lights, fresh coffee and that bathtub. I liked the colors of the walls, yellows and turquoise that complimented the purple plants, the brick designs and the small stairs that take you to more offices with windows. There’s only one window down here. I like that it’s used to deliver food, welcome in people, and to see the small display of items in the front of the office, items made by the people of Goyena. I’ve never had to accomplish anything in a space like this. It’s funny that I imagined an indoor, air-conditioned office, but this was not that. Here, I found myself always wanting to walk, to find cooler air, to stare into space, drink more water, eat another snack, anything but focus. Martin was sure I knew my way around, but as soon as he left, I drew a map so I could find my way around on my own. I included only places I’d been where there was wifi and food. Christian and I would try to exchange a few words the most, and I wanted so badly to speak fluently to the women in the office, because even in my broken understanding of Spanish, I respected them so much. Their labor and time given to this type of work is so admirable.
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Viviendas León VIVIENDAS LEóN - From their Website: embodies an ongoing commitment to innovative sustainable development in Nicaragua since its founding in 2003. Based in the indigenous region of Sutiaba near León, Viviendas León works with communities creating integrated solutions to the interrelated issues contributing to poverty. By expanding the products they offer, our honey cooperative (COABE) and the Youth Arts Program have been able to grow and increase their financial benefits. Both programs are examples of how Viviendas León launches economic cooperatives to help Nicaraguans achieve financial independence. Viviendas León is unique in that we take a long-term view and four step approach to rural development. • •
• •
Human Capacity Training (HCT) Environmental Science and Reforestation Education
Supported launch Ongoing support
(Fig. 3) COABE members working with the bee hives
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Human Capacity Training (HCT): Our first step is when we address members’ socialemotional as well as practical challenges, and identify members’ skills so that they develop the agency, physical and human resources needed to launch such projects. Environmental science and reforestation education: Where participants implement the skills and tools acquired in HCT to start family farms. In the process, they learn how mono-crop agriculture and pollution in the recent past have damaged their local environment, which is why the family farming methods are environmentally friendly and rooted in sustainability. Supported launch: Once members have successfully maintained a sustainable farm, they have the opportunity to launch or join other business cooperatives and projects, such as the COABE honey co-op and the art program. Ongoing support: So that these co-ops can further grow. For example, our staff in León reached out to COOPEMUPROT, a woman’s organization from the city of Ticuantepe that has beekeeping as one of its economic development activities. Since November, the organization has been teaching COABE members how to convert honey (as well as other materials found inside the hives) into cosmetic products to expand their market. Now, our beekeeping cooperative is producing liquid soap, hand sanitizer, body creams, face soap, shampoo, and conditioner using bee honey and propolis, a type of glue that bees apply to strengthen the cells of their hives. By diversifying its products and making the best of every available resource, the collective is expanding its customer base and growing its market. At the same time, the Goyena Community Center’s youth art program is also increasing the variety of merchandise it can sell by teaching students how to recycle materials and create handicrafts and jewelry.
ARCHITECTURE OF OPPORTUNITY | Masters Thesis | 2018
Twice a week, students at the center make necklaces and bracelets with nylon string and scrap metal. Additionally they craft reclaimed wood and beads into earrings as well as knot fabric to form macramé textiles. At the end of the week, students have been selling their artwork in Goyena to earn some extra spending money. A wider range of products has both the honey cooperative and the art program youth more motivated, as more variety means a larger market and by extension more income. With creativity and optimization, both organizations have grown and developed their cooperatives to increase the financial benefits of their respective members.
How We Work Our development program was designed to address many of the bi-products of inter-generational poverty - lost confidence, motivation and lack of support We do this by taking a ‘capabilities to confidence’ approach - helping people build skills and see that they are capable - we start all participants with our Human Capacity Training to address the ongoing issues associated with poverty We do this with an ‘asset based view’ - looking at the problem through the lens of what assets there are vs. what deficits We do this with by taking a ‘narrow but deep’ approach – working with small groups of Participants over a 4 year period We do this by taking a ‘customizable’ approach identifying programs and launching businesses based on what Participants are excited about We do this by taking a ‘side by side’ approach – supporting participants with an established team on the ground, and with student and family groups providing periodic infusions of manpower and energy We do this with a ‘community development’ approach - facilitating group collaboration and community building We do this because our goal is to create permanent, impactful and sustainable development.
TO ELIMINATE RURAL POVERTY BY BUILDING SELF SUFFICIENT COMMUNITIES. - VL MISSION
Our Global Education program was designed to enable US students and families to understand poverty from all angles, to learn about and contribute to development programs that are working We do this by bringing groups of students and families to Nicaragua for Global Education trips We do this with a ‘side by side’ approach – where participants contribute to the efforts of our on-going real, development programs We do this with a ‘capabilities to confidence’ approach with experiences that build skills, give kids the confidence that they can do it, that they can make an impact now We do this with an ‘immersive’ approach – where participants can stay in homestays with local families; are exposed to unfamiliar environments and new experiences; where they get to experience poverty from all angles, from inside the community We do this with a ‘customizable’ approach – where groups can select from a series of cultural, educational and exploration oriented experiences We do this with an ‘insider’s’ approach – having a Leon based team that have operated within the same community for over 15 years We do this because impactful development is both local and global, requiring person to person engagement, and community building across borders
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A Community Taking in Students and Volunteers Fundeci, León, Nicaragua
These are the Ladies, the mamas, the abuelas, the ones who kept watch over visitors in the city. It was this group of women and a couple men who, when students or volunteers came from abroad, would host them in their homes. They gathered on the carport, shaded by old and lush trees, seated in the convenience of plastic chairs, walked over the cool tiles and surrounded by the sounds of the street - the dogs, the children, cars and fireworks. These gatherings were hosted by my abuela who had lived there for about 50 years. It is a neighborhood association located about 2 miles south of the city center that decided to open their doors, and welcome in people like myself who didn’t know much outside of home. Ali, my homestay sister, said abuela had been doing this as long as she could remember. We were also right across the street from an ice cream shop whose owner was also a host in this group; it’s where Martin was staying. It was this construct of people committed to caring for strangers, tending to their individual needs and gathering as a community to always become better at it, in a way that never let anyone feel like they were alone. It created accountability.
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(Fig. 4) Some of the women from Fundeci meeting to discuss any updates or questions about their homestays, Fundeci, Nicaragua 017
2018 | Masters Thesis | ARCHITECTURE OF OPPORTUNITY
Interviews
I only did two interviews while I was in Nicaragua. One of my biggest reasons for this was that I was only able to visit Goyena three times and only three women on the VL staff spoke fluent english. I wanted to be sure that I spent time observing and learning a little more Spanish before I jumped into asking questions or taking photos of anyone. My interview with Indiana occurred during my first week. In an hour and a half, she shared her personal story, how she found Viviendas León with Evan, and what they’ve been doing in the past 20 years. It was extremely informative and unveiled the real issues that need addressing while working in communities like Goyena and their approach on community development. It helped me understand the context that I was stepping into when I visited Goyena and later I approached her to ask if housing was strictly the issue that I was there to study. She disagreed, sort of. I got the sense there was something else that would work better. She mentioned during our interview that the staff had introduced therapy and counseling to this group and that there was now a group of women who came to the office for group counseling. It was working and healing and it was something completely new to the community. How can a space cultivate trust? I latched on to “safe spaces” and “power of vulnerability” as I threw questions onto paper. These are the questions I asked in my second interview with Sylvia, and from there I began my thesis research.
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“When people were suffering from war, we were offering hand-outs. Cultivating garden’s wasn’t a thought. They didn’t know their abuse could be treated.” - Indiana
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notes
(Fig. 5) Scanned notes from my journal I kept in NIcaragua (including interviews, questions, and spanish lessons)
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Interview with Sylvia
Recorded via Voice Memo 8.15.17 Translator: Luclia (VL Staff) Typed by: Danielle
(Fig. 6) Sylvia standing with her daughter in front of their home, Goyena, Nicaragua 020
ARCHITECTURE OF OPPORTUNITY | Masters Thesis | 2018
Because Lucila was translating, I typed word-for-word what she said to me, but I’ve separated the responses into quotes and segments between where Lucila was interpreting what Sylvia said and how Lucila translated. What do you like about your community? [She does like the community because here she can find a better way to live. ] “In the city I think it is difficult. I like working in the field, raising pigs and plants, and there is a lot of fruit.” How have the programs changed the way you live? [She just finished third grade, so] “this has enriched my knowledge a lot because I didn’t even finish primary school. They taught me how to improve my life conditions, because we have the training from the family gardens, that way I learned how to make my living through that. Having limited economic resources is not an obstacle for us, through the programs they teach us how to make a living through hard work.” What makes your community feel safe or unsafe? “It is safe. I was born here, raised here and I haven’t seen any problems. “ What other places do you feel are safe besides the home? “This is what I enjoy the most, and the place where we get the honey from” [and also when she visits the community center.] What has she enjoyed about the community center? Programs/events? “When they have the trainings” [it’s because of the training].
What do you not like about your home? What kind of improvements would you make about your home? “The toilet” (el servicia sanitary) What would make your community better? “Working together” What’s your favorite space in your home? “La salle. It’s a space to rest, and also from there you can see the dining table and you can see the other spaces in the house” How does light in your home make you feel? “It feels good, and it also helps with humidity inside the house.”
What is the most important thing in your home? If you lost everything in your home, besides people, what one thing would you save?
The water. It’s the most important.
What do you like most about your home? “My garden. 30 minutes a week”
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The following images are drawings based off of photos I took in Leรณn. I was extracting information like the sharp highlights on objects caused by the sun, how natural light filtrated in each space without the presence of electricity, and how architecture is influenced by its tropical environment.
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(Fig. 7) Vivendas Leรณn Office at Closing Time - Drawing , Leรณn, Nicaragua
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(Fig. 8) Bedroom at my homestay - Drawing , Leรณn, Nicaragua
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(Fig. 9) My homestay patio, driveway, and garden - Drawing, Leรณn, Nicaragua
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(Fig. 10) Young women making bracelets in the Zoelimax Foundation community center in Goyena Nicaragua
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Mission Statement
The mission of this project is to introduce an architectural study and typology based on opportunity for a community and how architecture shapes the many ways in which a person will navigate healing after leaving an abusive environment. Without the ability to be vulnerable, the ability to talk through and share about their traumatic experiences, a community facing high rates of trauma will not be able to grow or strengthen on its own. The significance of architecture in this case is how everyone occupies it. How does it help people be honest, learn to care for things and people, and become more dependent on themselves in a healthy way, much like a counselor helps their clients? This is a study of community and the architecture of opportunity for women escaping the life-threatening and abusive traps of sex-trafficking in Tampa.
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Thesis Abstract
Where abuse and poor mental health are fostered by the lack of space for open and safe dialogue, the ability to protect human dignity and fight the lifelong effects of trauma is dangerously limited. As one of the nations top cities for human trafficking, Tampa is host to a widely saturated sex-trafficking industry. By focusing primarily on a community known for its prostitution, strip clubs, and adult entertainment, my role as the architectural designer is to understand their influence on the community, but also how opportunity to leave those industries is limited. Having researched the several conditions that affect this specific group of people, I want to answer two questions: what is a vulnerable space and what is the social role of design in a community limited to opportunity for those caught in the sex-trafficking industry? Being vulnerable demands stepping into uncertainty, but reaps space for growth and change to occur. In order to empower human beings faced with extreme trauma and loss of control over their lives, the role of design is to cultivate the proper environment for vulnerability and change to occur. The outcome of this project will hopefully shape the architecture of opportunity.
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(Fig. 11) My Bedroom window, Leรณn, Nicaragua 032
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Extraction SEMESTER 1 When watching a documentary called “Living on One Dollar,” I learned about a community in Guatemala that, despite the absence of a bank, had a system created by 12 men who would put in $11 each month. The total collected would be given to one man in the group to use as he needed (family health, house repairs, food, etc.). That way, when the wife of one of the men was sick, he would be able to take her to a doctor sooner rather than spend a year saving up enough to pay the medical bill. It also allowed them to supply the community kitchen which was in need of repair. This concept of a shared system, a system that everyone put into and everyone received from, inspired me to begin researching other cultures or communities that do the same, and looking for a way to learn from them in person. It was a few months later that I was put in touch with a gentleman named Evan Markiewicz, an architect and the co-founder of a non-profit organization called “Viviendas León.” He listened well to my interests as a person and an architecture student, that I was looking for a group that worked with, and had established strong relationships with, the poorer communities of Central American countries. I was not sure what my project would be, but I knew there was a skill I had, a community working on eliminating poverty, and beautiful culture to learn from. At this moment, Evan had made an offer that I could go and observe, interact, and work alongside of the organization working in León, Nicaragua if that was something I wanted. Six months later, I found myself flying over the lush green landscape of the countryside in Nicaragua, noticing giant craters where lava had and still pours from and into the rivers of black. Traveling to a new city is like stepping into somebody else’s territory. Tethered to the convenience and nuisances of familiarity, my senses were more aware than usual, tuning my ears to the voices that fell over streets, eagerly trying to
understand the others’ language and hoping my footprint was not as harsh as the unusualness of the whole experience. The grounds had been trampled and controlled by U.S. leaders only a few years ago. Abused and mislead, beaten and washed away by hurricanes, blanketed in ash from volcanoes, seeded and sown soil for the sugar cane plantations, services and fresh tortillas delivered to your gate, Nicaragua is filled with scars. Within the scars I found, there were stories, people, dignity stolen and reborn, freshness of the morning breeze and watered gardens, streets invaded with song to the Virgin Mary, savor in traditions like soup, fingers wrapped on the edges of chair arms in anticipation for the sun to set and family to return home. It was two weeks of observing and listening, learning and asking questions. Drawings derived from images of light and ventilation conditions within the office, my bedroom, and the house porch. These conditions are much more noticeable in the absence of air conditioning and formal lighting. Lineweight and shading were intended to shape the light and absence of light, direction of wind, or the edges of objects highlighted by light. In each image, I was alone, so I’m trying to draw out the things more noticeable in isolation. The afternoon I addressed Indiana, the other co-founder of the organization, I asked her if it was important for me to spend the second week documenting housing, the conditions, and building materials. It was a question that anticipated “improving housing conditions” as an answer to combating poverty; but in the moment that the question left my mouth, we both realized it was a different condition that needed to be met, a need for counseling, a safe space. In my interview with her earlier that week, the statement that struck me most was when she began to critique charity. She said, “When people were suffering war, we were giving handouts. Cultivating gardens wasn’t a thought… They didn’t know their abuse could be treated.” Indiana had mentioned that VL had hired professional psychologists to help the organization understand the mental conditions they were working with - povertyinduced anxiety and stress, domestic violence, child abandonment, anger management - in order to address these issues appropriately. What I learned from this is that humans can create an environment where trust
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and mutual respect act as a foundation for vulnerability and change to occur as people acknowledged their trauma and worked towards healing. We are talking about a community made up of 250-300 families; some have been wiped out of their homes when a mudslide killed 10,000 people after Hurricane Mitch in 1998, seen their capital torched by fire and communities bombarded during war, had their land leveled, flooded, and shaken during earthquakes, tossed between political warfare and leadership. So if my architectural answer to devastation this enormous is by providing a new housing type, then I would be completely negating the opportunity to introduce a new form of architecture that considered the security needed for a person to be honest with themselves, where they can identify the mental effects of trauma and be treated and trained to overcome the obstacles they face from their reality. Immediately following the conversation, she went back to her desk and I went to pen and paper, coming up with questions that I could ask somebody in the community. Safe spaces. Two days before I left, I was able to sit with Sylvia, one of the women living in Goyena, and Lucila, a staff member of VL and my translator for the time. I began the conversation by asking “What do you like about your community?” and “How have the programs changed the way you live?” to which she responded that she had never been past third grade, and that the programs and trainings had taught her how to improve her life conditions and make a living. I then wondered about the conditions of her home, if her home made her feel safe or unsafe and why. She responded to this series of questions, “I enjoy home the most… the living room… it’s a space to rest, and also from there you can see the dining table and you can see the other spaces in the house.” What I found so profound was her admiration of being in a central place, where she could observe what was happening in her house, as if she could identify beauty in the monotony of everyday life. The home is also where she and some of the women meet when working on the honey products they make and sell. The home is a space for community, productivity, and rest. One of my final questions was, “what would make your community better” to which she replied, “working together.” What was interesting about this was that Indiana had mentioned the difficulty in making a shareable place for the separate communities
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(Fig. 12) Sylvia and her daughter standing outside of their home in Goyena, Nicaragua
within and surrounding Goyena, that people become territorial over spaces where they’ve put their money into building. So I knew this would be something to address in my project, a space that could be shared and show the power created by people working together. Upon my return home, I recorded my interviews, read through my notes, and began my research by looking into shame. Gershen Kaufman and Lev Raphael identify shame in this way: “shame divides us from ourselves, just as it divides us from others, and because we still yearn for reunion, shame is deeply disturbing” (Allen, 29). I wondered “if shame causes division, then what causes shame and how are people suffering from it?” To understand what shame is, I read a book called “Shame: The Human Nemesis.” written by David Allen, Medical Doctor and Master of Public Health. Throughout Allen’s book, he addresses the various identifiers of shame, which are all instinctive reactions to a lack of one of three human needs: safety, connection, and a sense of control. Allen states, “[people] cannot be treated effectively until the shame is identified, defined, confronted, and resolved” (Allen, 37). What this tells me is that the first step towards change takes a relationship, rooted in trust and mutual respect, where transparency is encouraged, for somebody dealing with deeply rooted shame to identify their personal struggle. M.D. Abigail Brenner would say this is the point where you “take full responsibility of yourself, grieve the loss, gather your
ARCHITECTURE OF OPPORTUNITY | Masters Thesis | 2018
strengths, make a plan for the immediate future, and create a ritual” (Brenner, 1). Can design create spaces that allow for vulnerability so that communities dealing with trauma like in Goyena can have safe spaces to mourn their loss, to gather strength, to resolve their issues? What the community has seen is that when these issues are not taken care of, the results are child abandonment, marital issues, domestic violence, anger management problems, and depression, all on top of intergenerational poverty. I recalled my interview with Indiana where she said this:
“Nicaraguans were raised under very aggressive conditions and weren’t given ways to deal with the abuse.” Viviendas León has begun offering counseling sessions in their office located in the city, available for the women in Goyena. But what about architecture? Can architecture, space, light, and design help heal people? What is the role of architecture in this situation? Is shame a human condition treatable through a space the person is in? The second book I read was called “Daring Greatly,” written by Brene Brown, Phd., LMSW, who studied shame in women for 4 years before being confronted and challenged to include men, which she then did and continued her research for another 8 years. I chose to read it after a conversation with a friend
who mentioned the book and a section where Brown discussed what she had learned from including men in her studies. It hit me then that as a woman, in order to combat shame, I had to know what vulnerability was and how both women and men experienced it. Brown says this about Vulnerability:
“Vulnerability is not weakness. Vulnerability is emotional risk, exposure, uncertainty, it fuels our daily lives, it is our most accurate measurement of courage. To be vulnerable, to let ourselves be seen, to be honest. Vulnerability is the birthplace of innovation, creativity, and change. The two most powerful words when we’re in struggle: me too.” (Brown, 2) Her philosophy inspired me to imagine an architectural design condition that becomes this “birthplace for change,” a space where somebody can hear the words “me too.” I had already seen it in Goyena’s community center. While reading, I also learned that vulnerability is not only admitting to parts of one’s past, but stepping into uncertainty of the present and future. Vulnerability is an action. “To be alive is to be vulnerable,” Madeleine L’engle says (Brown, 43). Being vulnerable comes with feelings that affect our soul, dignity, pride, and nature. It feels deeply disturbing to imagine losing part of our identity, a relationship, our job, so one does whatever he or she can do to preserve what they have, and it sometimes results in cutting people off, putting others down, losing an opportunity to become better or healthier. In the context of Goyena, avoiding change prevents people from becoming leaders in their community based off experience with gender roles, unresolved conflict, cultural norms, and domestic violence. When Brown asked her study groups about the importance of being vulnerable, she was responded to by a series of questions about trust. She states: “...the answers to these questions emerged from the data. The bad news is that it’s a chicken-or-the-egg issue: We need to feel trust to be vulnerable and we need to be vulnerable in order to trust.” (Brown, 47) I thought about design, how it also cannot directly solve this issue of trust and vulnerability, but by understanding the environment or relationships necessary for helping, perhaps it could. In the context of Goyena, the VL staff
(Fig. 13) SusanMeiselas, Returning home, Masaya, Nicaragua.September 1978. ©Susan MeiselasMeiselas Studio
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(Fig. 14) Community members gathering in the community center, Goyena, Nicaragua - Viviendasleon.org
(Fig. 15) Community center courtyard, Goyena, Nicaragua - Viviendasleon.org
has already created a foundation of trust that helped women get to the point of receiving counseling or allowing them to offer each other support. This made me think about their community center. It took 7 years to build, but now is a large space, outdoor and indoor, that is only used when the staff is hosting gatherings or trainings. Because of this, there is a notion of “purpose” and “productivity” that people identify with the center. I thought, if a purposeful and productive space, with the right people, was where some could speak truthfully, honestly, and openly with one another, and that these trainings were improving the lives of those living in the community, how much stronger would they be if there
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were more spaces like that. The trainings offered by VL are teaching people how to care for their businesses, farms, families and selves. Could architecture also teach people how to care? Kim Trogal writes a chapter in “The Social (Re) Production of Architecture: Politics, Values and Actions in Contemporary Practice” called “Caring: Making Connections, Making Commons.” She talks about the correlation she found between care and architecture: “I think to bring care into understandings of the ‘Social Production of Architecture’ means considering the paradigms in which things are both produced and taken care of’; it means considering the spatiality of interdependence and care (collective care, commoning and mutual aid).” (Trogal, 43) The significance of this passage is that it was the first one I’d seen that paired a human trait (caring) and applied it to the role of architecture. It makes me think about the honey business that a few people have started in Goyena. During my time with Sylvia in Nicaragua, I asked if a place to make their honeybased products would be something she and the other workers would like. She said yes, and said it should be sanitary and have places to store the products they had made. I had asked this with the anticipation of her answer, because in the back of my mind, I knew my project would have to be something that expanded upon the characteristics of the current community center and a business already existing within the community. Based on the above statement by Trogal, this project would consider the paradigms in which the honey would be produced and the bees taken care of. It would certainly give purpose to the space, purpose for somebody to be in the space and purpose to care in that space. Building with and for purpose in the context of this community is important. One of the commons that Trogal mentioned is based on the connection of object and task within a particular community: “Kropotkin tells of wine growers who formed associations, consisting of between 10 and 30 growers, who had a steam-powered water pump in common ownership. There was thus a network of people attached to this object, which moved across private space. The group or part of the group would cooperate in such a way that each vineyard could be irrigated... considered ordinary... the object and task that connected.” (Trogal, 45) It is this common practice that works for the sake of the
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ordinary task in that area. So then I must consider the spatiality of practice based on an ordinary task and the care that is necessary for that task. Trogal also mentioned a community that in a time of need (somebody needing to rebuild their house) would come together, use the common building material that they used on all of their houses, and help rebuild the home. This means, one way to bring people together through a project would be to use a common material that the community of Goyena is familiar with and perhaps introduce this communal act of building as a task members of Goyena can be taught to do as another form of training. I think the biggest takeaway from Trogal’s writing on care and architecture is the power in people working together based on two things: a task and the need for human connection. Earlier, I mentioned how Indiana had criticized charity, and Nabeel Hamdi, author of “Placemakers Guide to Building Community,” I think explains what she was trying to say. Hamdi says that it is not enough to provide for communities such as Goyena, because to provide them with something beyond their education, professionalism, or ability would be the opposite of empowerment. He suggests closing the gap between expert and non-expert, and the way I see it, anything introduced to Goyena in terms of a building must also be constructed by the community members, designed in a way that plays to their strengths, and uses local materials. This way, the profession of architecture can play a sociable role in communities living in poverty rather than oppressive. A huge element of the project includes the role of the counselor. First, I needed to understand the difference between counseling in the United States and Central America before I assumed the nature of it. Lucky for me, a study had been done to show the impact of Honduran counseling on North American practices, and Honduras being the country just north of Nicaragua means the characteristics should be similar. One of the major differences they found between the two is that North American counseling is individualist, formal, and structured while Honduran counseling was found to be spontaneous, collective, flexible, and relational. Some of the interviewed counselors expressed the spontaneity like this: “Counseling not just in his office, but more often out in the street, under a tree, on a bus, and in the neighborhoods... Counselors were more likely to
conduct professional practice as an adjunct to other salaried responsibilities such as teaching, ministry, or community developers.” (Sells, 6). This makes sense that the organization, Viviendas León acts indirectly as the counselor in situations across the community. If the need for a counselor is fulfilled through the staff and their training programs, is there a spatiality defined by caregiving needs? Does this look like a space for a caregiver, or is their presence simply required to be in the space? However, the counselor can be in several places, “the counseling is woven into the fabric of their culture, society, and daily living,” which means a multi-part project could also work (Sells, 7). What does this all come down to? At this point in my research, having a better grasp on the mental, social and spatial needs and elements of caring, vulnerability, and communities, I had to move my focus into the community of Goyena. Goyena, located 9 km west of the city in the countryside, is made up of 250-300 families and 75-80% of children educated up to 6th grade (now seeing up to 11th). It has little agricultural development and a lack of jobs besides labor on sugarcane and peanut plantations, and the community is mostly women while men and sons leave for 6-10 months of the year to work in other countries. The average monthly income is about $120/month and the average lifespan is 55 years old. From this we see majority women and children, a lack of education, and slim chances of making any money within the context of their community. Viviendas León’s mission is to “eliminate rural poverty by building self-sufficient communities,” and through the last 20 years has helped Goyena become self-sufficient by training them in reforestation, family farming, business, and human capacity training. This is what they’ve said about the process so far: “Through organized, deliberate and conscious community engagement, we continuously assess the conditions and commitment to making change in the rural communities of Leon, Nicaragua. As development objectives are identified and qualified, we respond with creative solutions that are based on available resources, skills, talent, and supported by our partnerships, interns and volunteers who help to implement projects that result in permanent change.” (VL) In 2012, VL began a honey co-op business called the Little Honey Bee company as a project to support the graduates of the human capacity training. In their
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first year, they raised $400 with 6 people and 10 hives. The first half of my project is to design a place for the production of these honey products to occur based on the need for sanitation and storage, and to also provide another safe environment to support mental health and growth. Before beginning the design phase, I looked into a couple projects done by other non-profit organizations that worked in rural communities facing poverty (VL, 1). During my first presentation, one of the largest critiques was to find what the global organizations were doing about this type of work dealing with mental illness, abuse and trauma. One of the groups I found, Mass Design Group, a non-profit organization based in Boston, MA, addressed the needs for healthcare, affordable housing, and minimizing infections through one of their projects called the Butaro Hospital. While the project didn’t directly deal with trauma, it did use building qualities to help people heal. During the building process, they were able to hire almost 4,000 locals, train them and offer food, housing, water and healthcare, and use only human physical labor (except for one bulldozer). I think this time period reflects the philosophy of Nabeel Hamdi and Viviendas León by training the community to be a part of the empowerment through building onto their physical environment for the sake of their health and broadening their building skills while utilizing local resources. This is the “social role” of architecture I am talking about in my thesis statement. (MASS, 1) Another organization called Give Volunteers does work in Nicaragua as well. In the past, they’ve built a school using sand-filled water bottles as bricks, and then placed the school in a more central location than their container school. The result of that was educating the community on proper recycling, sustainable building solutions, and a rise in numbers of students attending classes offered (Give, 1). ISSUES One of the issues I’ve encountered throughout my extraction process was finding successful and failed projects done by global organizations such as Habitat for Humanity or UNESCO. It’s common to find their story about it, but not a lot of research or follow-up is provided. I have just been put into contact with a woman who works for the UN, specifically with women and children, who should be able to give some insight there. Another has been a lack of developed maps of Nicaragua, zero GIS maps, and poor aerial quality images, which makes analyzing site difficult, but the VL
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(Fig. 16) Sketches of the Butaro hospital study the hierarchy of color, light, landscaping, outdoor procession, ceiling height. One of the goals with this project was to use design that heals, which they experimented through use of these hierarchical elements.
staff has been very helpful in providing what they can, which is substantial. The amount of community input I need is also lacking in terms of Goyena’s thoughts on safe spaces, the importance of vulnerability, and where they’d like common spaces or their honey co-op to be (technically this would be a task for myself to perform). This will be really important in deciding which locations are used most often, where density is, or connecting the several parts of the community. I should be able to speak more with the co-founders of VL on this, including permissions for interviews and photos that I plan on using in further documentation. Also, vulnerability is simply difficult for human beings, so considering the spatiality of what allows people to be vulnerable is mostly based on human needs to be cared for and be connected to one another. Programmatically, one honey co-op wouldn’t be enough for the semester. Are there any other possible businesses that can support this thesis or opportunities to bring the community together? Perhaps engage nodes of meeting, waiting, and visiting spots. Lastly, this community is still fighting cultural gender roles. I am not attempting to directly change those roles or make a statement about them as much as I’m hoping to provide other options of empowering people through their strengths and broadening their knowledge of architecture and design as a tool to bring healing and connection. NEXT STEPS By using similar approaches based on the strengths of my precedent studies (including psychological evidence), the overall goals would be to start with
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(Fig. 17) The first drawing is from the idea of isolation, common space, and semi-private space being in one entity. The second is the notion of grandeur, how it can be overwhelming and provoke a response, being vulnerable by allowing the self to be in awe of something grandeur. The third and fourth image were ideas about isolation, how we notice certain spatial elements or detail in a space we may not if there was somebody distracting us, and how that sense of focus can provoke internal reflection on self.
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(Fig. 18) This series of sketches were from personal experiences of vulnerability, the feeling of being alone, overwhelmed with the past, the inability to escape anger or shame, the beauty of light in darkness. The theme of this series would be the beauty of light in dark places, as a metaphor for healing.
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physically as a means of bringing stronger connections to a predominately walking community. Each project must include a common space for common tasks and gatherings for everyone who wants to participate, small enough to keep the intimacy, and large enough to allow for larger production. The design must incorporate sustainable design and include natural ventilation and cooling techniques that are used in Central America. Starting with the Honey Co-op, the first design will provide security and reliability of materials, encourage care for the environment, and provide proper storage and space for the honey production and products. Spatially, the design will include space for communal gatherings and semi-private spaces in the case where privacy is needed. Materiality will be based off of local materials, potentially using volcanic rock, perforated bricks, and wooden pallets. The construction of the projects should be understood through proper training to the community members as a way to introduce new and sustainable building techniques for future projects as well. Most importantly, the design process should heavily play to women’s strengths because the majority of people in the community around to receive training on how to build will be women. After the honey co-op design, there will be a series of elements in places of public common gathering as opportunities to create conversation between people, and others that are more for security purposes for those walking alone. These locations will influence a physical path that can help connect the communities and give identity.
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The Commons The Common Task/Object
The Common Person
Shared By Object: Ordinary Object Ordinary Task Community
Counseling in Honduras: Collective Relational Flexible Spontaneous
Agriculture + Production
Shared By Build: Community Common Material Call for Aid Celebrate Together
CARING: MAKING COMMONS, MAKING CONNECTIONS - Kim Trogal The Social (Re)Production of Architecture: Politics, Values and Actions in Contemporary Practice
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Role of the Counselor
Counseling in the U.S.: Individualist Formal Structured
THE EFFECT OF HONDURAN COUNSELING PRACTICES ON THE NORTH AMERICAN COUNSELING PROFESSION: THE POWER OF POVERTY - James N. Sells, Francesca G. Giordano, Laura Bokar, Jim Kleign, Georgina Panting Sierra, and Beverly Thume
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A Common Issue Trauma and the affects Shame
The Common Space Familiarity and Security
Vulnerability is not weakness. Vulnerability is emotional risk, exposure, uncertainty, it fuels our daily lives, it is our most accurate measurement of courage. To be vulnerable, to let ourselves be seen, to be honest. Vulnerability is the birthplace of innovation, creativity, and change. (Fig. 19) Notes taken while reading Allen’s book
The two most powerful words when we’re in struggle: me too.
“the effects of shame block out the beauty around us, the people, the flowers, and the trees.” (Allen, 43)
DARING GREATLY: HOW THE COURAGE TO BE VULNERABLE TRANSFORMS THE WAY WE LIVE, LOVE, PARENT, AND LEAD
SHAME: THE HUMAN NEMESIS - David F. Allen, M.D., M.P.H.
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A Study of Entry
Following the mid-term presentation in December, I came across a dissertation by a woman named Laura Elizabeth Prestwood. It was called “Architectural design factors of domestic violence shelters that affect outcomes for female domestic violence victims: a naturalistic inquiry to establish grounded theory for future research.� It opened new doors, and changed the trajectory of my project. The foundation remains the same, creating safe space for dialogue and healing, but pushes the architectural design of opportunity and providing resources for a very specific group of women who have experienced abuse.
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FROM PRESTWOOD’S DISSERTATION: “ARCHITECTURAL DESIGN FACTORS OF DOMESTIC VIOLENCE SHELTERS THAT AFFECT OUTCOMES FOR FEMALE DOMESTICVIOLENCE VICTIMS: A NATURALISTIC INQUIRY TO ESTABLISH GROUNDED THEORY FOR FUTURE RESEARCH A Dissertation by Laura Elizabeth Prestwood, B.S., Meredith College; M.F.A., Winthrop University Abstract: “Designing domestic violence shelters for women must be considered from a feminist perspective, inclusive of theories of embodiment, as the female victim’s emotional state (mind) is a critical component in determining her overall state (i.e., level of distress). The primary objective of this study (Specific Aim 1) was to identify the mental and emotional state of female domestic violence victims upon entry into a shelter as a means of establishing specific user needs which should directly impact the design of the shelter. The primary hypothesis (Hypothesis 1) was that upon entry into a shelter environment, victims are experiencing high levels of distress compared to normative controls. The secondary objective of this study (Specific Aim 2) was to identify shelter users’ perceptions of the current shelter environment in which they lived as a foundation for matching specific design criteria with the specific needs of the female domestic violence victim (i.e., stress reduction) in an attempt to understand the relationship between user needs and individual design characteristics of the shelter. The secondary exploratory hypothesis (Hypothesis 2) was that anxiety or stress is reduced over time; iv therefore, the architectural design of a shelter that promotes independence will result in less distress among domestic violence victims utilizing the shelter.
Thirty-three domestic violence victims in Fort Worth, Texas participated in focus groups and interviews conducted over a four-month period of time in 2009. Qualitative analysis of this data yielded four emergent themes: (1) loss of independence and control: the second layer of fear; (2) the search for security; (3) reconnecting to self; and (4) expressions of humanity. Quantitative analysis was utilized to measure participant stress levels at three intervals during their thirty day shelter program: (1) within the first twenty-four hours of shelter entry; (2) seven to ten days after shelter entry; and (3) fourteen or more days after shelter entry. Findings of this researcher have been utilized to generate design objectives that can be extrapolated to apply to other locations of shelters and could impact the design of new facilities as well as the redesign of current shelters.”
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Entry
(Fig. 20) First sketch dealing with entry as a hidden escape for somebody being followed; introduced the idea of having double entries
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(Fig. 21) Sketch models exploring subtlety in the connection of planes, openings of facades, and playing with light.
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(Fig. 22) Sketch model exploring facade as a discreet entry and two-way system; a response to fear of being followed.
(Fig. 23) Plan view showing the two entries; turning left would lead to a locked gate only opened from the inside, and turning right would lead to a double-door system allowing the person entering to close one door before waiting for access into the building, which is a common instance when keeping a shelter secure.
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(Fig. 24) Sketch model built off of the first sketch (Fig. 20) including double entry inside.
In both models, I considered a double entry into the safe space. That way, if somebody was being followed, the person being followed would know about a safe entrance while the follower may get confused about which door was entered. Design and materiality was kept subtle to emphasize the focus on green spaces when entering into the safe zones.
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(Fig. 25) Model based off of the stages of entering a shelter that the women spoke about in Prestwood’s dissertation
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Stages “a place to lay it all down”
After reading the dissertation, I began to explore these “stages” in which women from abusive situations would approach a shelter. In their stories, there is fear in entry, fear of being followed, desire for solitude, frustration in being controlled, and a need to “lay it all down.” Each design is shaped by the desires voiced by women and influenced by my architectural studies (models and drawings). I’ve placed excerpts from the dissertation throughout to understand what influenced my decisions.
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(Fig. 26) Rear view of the model, showing the next door one would walk through after entering the space.
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(Fig. 27) Framed Views - Model
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1. “All you really want to do is just lay it down. And you just want to lay down and rest” [R014, Focus Group D, 03/28/09, page 28, line 175-176]. Due to mental and physical exhaustion at the time of shelter admission, participants cited the need for rest not only before beginning the intake process but also before tackling the daily regimen of shelter life and, more importantly, the steps toward their return to independence” (101, Prestwood). This design explored the experience of entry, how one can enter into a bright, quiet, and calm room that frames the garden behind it, as a way of saying “you can come and lay it all down here.”
(Fig. 28) Plan (above) and section (below) of using architectural elements to control light, and frame views.
The main space is adjacent to the offices behind a wall where the water from the roof spills down creating a water feature. The space is created to seem like one room, for one person, who decides when they’re ready to move forward, enticed by sounds of community or smells from somebody cooking entering through the room.
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(Fig. 29) Section exploration of the plan on the right, looking at how changes in elevation can help with identity to each programmed room, starting with the entry room on the right, and moving west into the common space where the women would eat together or take classes and it overlooks one of the courtyards.
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(Fig. 30) One of the first ideas of programming space, how interiors circulate around outdoor spaces and how natural light can enter into the spaces
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2. Full Quote:
(Fig. 31) The entry is a narrow corridor where I imagined somebody having the ability to shut the door behind them, keeping them safe if being followed by their abuser, and also have the ability to shut everything else out for a moment. At this point, there’s only one way to move, and it’s forward, into shelter.
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Question 1, “What made you decide to come into the shelter when you did?” and Question 2, “What was your biggest concern about entering a shelter?” yielded the most information about entering a shelter by choice. In both instances, women responded with comments about how helpless they felt because they had no control over what was happening to them with their abuser [R026, R027, Focus Group H, 05/16/09, page 24]. For most shelter residents, the decision to enter a shelter occurred when the women felt they had nowhere else to go [R008, Interview C, 03/26/09, page 20; R028, Focus Group I, 05/23/09, page 2]. Women also cited that they “could not plan when you were coming” into a shelter because you never really knew the moment that you would leave [R006, Focus Group B, 03/16/09, page 89, line 600-601]. With no other options available to victims, the choice to enter a shelter is made for many women often leaving the women feeling demoralized. Due to prolonged abuse, victims become increasingly depressed and withdrawn especially as the victim’s sense of self worth diminishes (Aguilar & Nightingale, 1994; Barnett, 2001; Cascardi & O’Leary, 1992; Lynch & GrahamBermann, 2000). (135, Prestwood)
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(Fig. 32) The second piece includes a study of outdoor space, privacy and semi-private, and entry.
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(Fig. 33) Side view of the entry hall and patio space
(Fig. 34) Entry hall visible on the left, entry to patio on the right
“So we go out on the smoke porch because it’s like the only place we can go where you have fresh air besides the children’s playground” [R008, Interview C, 03/26/09, page 16]. (139, Prestwood).
I tried to think of ways in which women could occupy outdoor spaces and be amongst one another, but still have an opportunity to be separated by various heights of walls. This allows them the freedom to be outside and make the choice for themselves whether they spend their time alone or not. It’s about giving opportunity, or a sense of independence, like the smoke porch.
Participant Observation, June 27, 2008: As I watched the smoking porch on the security camera (when I could not physically be in close proximity to the smoking porch), I was again reminded of my perception that this shelter provides no places of solitude or reflection. Could the high volume of activity affiliated with the smoking porch be some expression of seeking solitude? Is the attraction more than the smoking and socializing? Is the access/ integration/view of nature a draw for going to the smoking porch?” (134, Prestwood)
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(Fig. 35) Overview shot of separated outdoor spaces
(Fig. 36) Connection of the stages with open patios between more intimate spaces for solitude and the entry
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“The building itself is never poetic. At most, it may possess subtle qualities, which, at certain moments, permit us to understand something that we were never able to understand in quite this way before.” - Peter Zumthor, Thinking Architecture p.19
3. Full Quote: “Participants continually requested solitude during their shelter stay. Solitude, as an emotional component, accompanied the request for physical locations removed from others in the shelter. Activities for times of solitude included reading a book [R005, Focus Group B, 03/16/09, page 49; R006, Focus Group B, 03/16/09, page 50]. Places of solitude were requested when women felt as if they had reached a “breaking point” (137, Prestwood). -
(Fig. 37) Overhead view of the place for solitude, where light and water entry is controlled through narrow openings in the roof,
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This is a space for solitude, to meet God or yourself, a removed place, inspired by Peter Zumthor’s thermal baths. You enter on one side and can sit by the water that enters. Light is controlled by the breaking of the heavy walls and their disconnections, as a tool to help somebody focus. During my time in Nicaragua, I spent most of my time alone, but I noticed more of what the light was doing in the spaces I sat in, my eye was drawn to where the light was striking and I focused on those things. I hope by giving a place for solitude and also using water and light as focusing mechanisms, women could practice mindfulness as a healing practice.
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(Fig. 38) The entry here is on the left, passes through the wall and into the low-lit space, but doesn’t completely cut you off from other spaces.
(Fig. 39) Overview shot of space for solitude (Fig. 40) SIde view showing how heaviness amplifies the controlled light entering the space
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The Well, the Fortress, and the Perspective
I sat with my sketchbook one day and thought about each stage as a tower. Each woman would be coming from or out of different towers depending on their situation. I thought about the landscape that would surround it, some barren and some reaching the higher parts of some of the towers, and how in the middle would be a common place. It was as I was drawing, a friend asked, how do they get out? I began to add steps in different directions, thinking they could disperse and re-enter differently as well. Then I remembered the Indian stepped wells. They are these deep wells dug to collect water from. Some have thousands of steps that scale the walls entering the well, or chambers and altars. I explored the wells, fortresses, and the power of perspective as driving concepts for the final design of the women’s shelter. They are explained on the next few pages.
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(Fig. 41) First drawing about the interacting towers. They all control light, water, and scale differently to represent the different experiences of each woman.
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(Fig. 42) Drawings exploring the towers of experiences, the use of perspective through architecture 067
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The Well
Indian stepped wells were used primarily for collecting water in arid climates, but became places of social gathering because of the coolness it provided in the hot seasons. Interestingly, it was primarily the women’s job to collect water, so this source of nourishment also became a main social gathering space for women.
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(Fig. 43) Collage of Indian Stepped Wells, exploring their use of chambers and creating more opportunity to gather. 069
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The Fortress
The Garden by Carlos Scarpa in the Querini Stampalia Foundation in Venice I used this as a precedent study to drive the design for the landscape and water features that would be integrated into the landscape of the final design. In this restoration project, Carlos Scarpa was able to carry water throughout the entire garden creating instances to sit by or observe the water. The sculptural and water elements are integral to carrying somebody through the garden, guiding the eye to see entries and plants, and creating different spatial experiences.
(Fig. 44) Image of Carlo Scarpa’s Palazzo Querini Stampalia - http://designlifenetwork.com/interior-alchemy-carlo-scarpas-palazzo-querini-stampalia/
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(Fig. 45) Image of Carlo Scarpa’s Palazzo Querini Stampalia - http://designlifenetwork.com/interior-alchemy-carlo-scarpas-palazzo-querini-stampalia/
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(Fig. 46) La Alhambra - looking at how water features lead the eye to places of gathering https://locuraviajes.com/ la-alhambra-nuestro-legado-andalusi/
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(Fig. 47) Chehel Sotun - palace in the middle of a park at the edge of a long pond in the city of Asfahan in Iran - A UNESCO World Heritage site- Chehel Sotun in Isfahan, Iran.
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The Fortress
Persian Gardens “The word “paradise” entered English from the French paradis, inherited from the Latin paradisus, from Greek parádeisos, from an Old Iranian *paridayda- “walled enclosure”. By the 6th/5th century BCE, the Old Iranian word had been adopted as Assyrian pardesu “domain”. It subsequently came to indicate the expansive walled gardens of the First Persian Empire.” (2, Wiki) It also referred to this sanctuary, a protected garden, and some influenced by the religious texts and referring to the “four corners” I thought about how pools of water or fountains guide your eye to main spaces, but create the journey of getting to the space as well.
(Fig. 48) Shazdeh [Prince] Garden is a historical Persian garden located near Mahan in Kerman province. http://whc.unesco.org/en/list/1372
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The Fortress
I collected and collaged several photos of what I thought to be massive, concrete architecture. Two goals in creating a barrier of protection was to create pockets of respite which would break up the heaviness of the structure, but also make a statement that even though this is a place for safety on the inside, it still offers moments of serenity and rest for those on the outside. Collaging and creating a perspective drawing helps produce new ideas of fortress that would later influence the final design.
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(Fig. 49) Collage perspective of the fortress. 075
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(Fig. 50) Sketches of massive walls opening and closing to create different places of rest to observe light and water
The Fortress If this shelter should provide security for those who live inside, how can it act as a fortress that also provides rest for people outside of it? Walls become places of rest, sources of water become drinking fountains and foot washings, and openings allow views into the serene gardens. A fortress that provides security for the inside should also do the same for those who live on the outside.
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(Fig. 51) Model in plan view based off of sketches from fig. 50, exploring the idea of fortress as a wall system, entry on the right, entering north, and leftside mostly containing a large plane of water
(Fig. 52) Model from the side, highlighting the entry
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(Fig. 53) The barrier between the site and the street is implied be the curved edge of the ground condition, and the implied rest area on the right for the public
(Fig. 54) Entry of the well from the site
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Where the street meets the fortress was an important interaction to study. I wanted to keep privacy for the residents, but also allow somebody from the outside a moment where they could see into a beautiful garden, or a quiet sanctuary. I imagined water running through the gardens of the site would even extend out to the outside of the wall as a drinking fountain, or even just the sound of running water. In this particular model, the wall creates a mini-labyrinth for a resident to step into when they need to get away. Water runs throughout creating a calming sound of running water that visually and physically connects with the outside. Earlier in my studies, I wondered how architecture could teach people to care for people, and I think by sharing water, the ultimate life source, is one way.
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(Fig. 55) Overhead view of the well wall 079
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The Perspective
The Salk Institute has one of the most powerful uses of architectural perspective. What is it about being so focused on what lies ahead of you, being caught in a stare, but perhaps being in a place where stares capture negative thoughts and memories, the person is surrounded by their community, never alone. I wanted to create this freedom and reassurance.
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(Fig. 56) Collage speculating the use of perspective and materiality in Louis Kahn’s Salk Institute 081
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(FIg. 58) Process sketches about the approach, the entry, the well as a gathering space, perspective, and movement through 083
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The Perspective Perspective creates awareness to place, either physical or mental. During the healing process for the women living in the shelter, it is important they are aware of their present state and how far they’ve come. Perspective also draws the eye in a certain direction, which can be used to direct views to gardens, vegetation, or calm waters, which is important when somebody is overcoming trauma.
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(Fig. 59) Concept model, overhead view
(Fig. 60) This conceptual model, based of the sketchs in figures 57 + 58, visually connects eye up the steps, past the water, and into the main gathering spaces 085
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Women’s Shelters Site Visits
My first visit was to the CASA Shelter. One of my committee members, Tara Wood Dozark, was the project architect behind the whole thing. She was able to work alongside of the founder, Sr. Margaret Freeman but the project was completed after Margaret’s passing. We had to drive through a neighborhood of houses before coming up to a tall, white fence and long gate that I would need to drive through. Having been further into my research, it reminded me of this idea of “fortress” I had been analyzing. I was with Tara when we walked into the entrance, the only one on the side of the building. Our tour was given by a gentleman who seemed honored to share the dream of Margaret before taking more than three steps in. In every room, there was a window connected to a place for children, being a very important aspect for women coming in with theirs. Natural light filtered most spaces, the walls had warm, calming colors. There were two main wings, which were just reflections of the other, and opposite of the entrance side of the building was the back yard (photo #1). During our tour, we learned about budget changes affecting what certain spaces became what, where rooms became multi-use versus their original purpose, and about the addition in the back for a dog shelter (some people need to bring their dog too!). The yard was also adjusted according to furniture and playground equipment donations. There was storage everywhere (there were over 100 people living in the facility at the time) and even the kitchens were lined to expand the view of the yard as well. Tara talked about how much working side-by-side with Margaret heavily influenced the design, which was overall impressive
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when you consider all of the small, thought-out room connections that happened throughout the first floor. Two very influential spaces to me were the resource center, a bright room full of computers, a small library of skill-building resources, and a pleasant woman who was there to help anyone. The second was the store that had new and gently-used clothing for women to purchase, especially more formal attire for any job-interviews. Everything was created to bring opportunity, security.
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From the CASA website: “CASA was founded by Sr. Margaret Freeman in 1977 as the “Free Clinic Spouse Abuse Shelter,” a service of the St. Petersburg Free Clinic providing emergency housing for up to 8 domestic violence survivors at a time. It soon became an independent 501c3 nonprofit organization, able to expand its services with financial support from a network of caring community organizations and members. CASA was incorporated in 1981 as the “Center Against Spousal Abuse” under the leadership of Executive Director Silvia Tucker. (The name was later changed to “Community Action Stops Abuse” to become inclusive of domestic violence occurring outside marital relations.) With Tucker’s guidance, CASA’s emergency shelter was expanded to accommodate 22 participants, children’s programs were created, an Outreach department was formed to provide support
groups and peer counseling, and the fundraising groundwork was laid in order develop a 30 bed shelter, which opened in 1992. In 1989 Linda A. Osmundson was hired as Executive Director, a role she held until July 2015. Under her leadership CASA grew to include enhanced support groups, a 24-hour domestic violence hotline, outreach services, training for law enforcement and other community members, and youth programs such as the Peacemakers Program teaching violence prevention in Pre-K through 8th grade classes. CASA Collections Thrift Shoppe was opened in 1998 to collect items for domestic violence survivors and raise funds for CASA. In July 2015, CASA opened the doors to a newly constructed 133bed domestic violence center. In addition to providing safe refuge to more than three times as many people at a time than before, it adds an integrated array of on-site support services such as a resource center and rapid re-housing program to help domestic violence survivors attain safety and economic opportunity. Shandra L. Riffey took the helm at CASA for a year to steer the organization during this time of great growth and change. CASA is currently led by CEO Lariana Forsythe, an experienced executive with more than two decades in the nonprofit sector.
(Fig. 61) View from the backyard, facing the building of CASA
(Fig. 62) View of a small walking trail behind CASA leading to a bus stop 087
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Site Visits
On a Friday morning, I gathered all of my cooking tools and ingredients I would need to make breakfast for 1012 people. I had an address and instructions on getting through the gate. Sooner than later, the kitchen, small and with one operable window, was filled partly with smoke from the cooking bacon and partly with the sweet and decadent aroma of cinnamon rolls. A resident came through and filled the coffee maker, a couple women offered to carry the Plant City strawberries and rolls to the table and eventually it was all set. I sat with 12 women, all from a different past, all with different colored skin, voices, stories. It was deep, vulnerable, confusing, frustrating, enlightening, hopeful conversations. Loss and gain of faith, money, jobs, family, homes were all brought up. The hope outweighed the doubt, and it was all around this long, heavy wooden table. The table was between the living room, meeting space, thrift shop entrance, and kitchen. It was the center of the home, where community gathered and talked about their struggles and their joy. It was safe, protected and honored by the community. When we wrapped up breakfast, I took a few minutes to see what each room was used for. It was an old house, re-purposed to fit the needs of the organization, but still very much like a home. When I opened the door to their craft room (photoed on next page), a wave of fresh lemon, lavender, or mint, all used in some of the products made by women at Created, pushed past me
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standing in the door. I thought about how refreshing it must be sometimes to walk into a room like that. It was like breathing new air, a sense of calmness. There weren’t any windows directly by the table though. The cool weather and fresh grass called a couple of the women outside where one journaled sitting in the grass and another in the gazebo. It must be a nice change, to be able to freely step out of your house and enjoy the setting of a backyard on a Monday morning after eating a big breakfast. Maybe it was routine, but it was the beauty in the pause before rushing into the week.
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(Fig. 63) Meeting Space at the Created House
(Fig. 64) Backyard between the house and renovated motel at Created 089
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About Created From Website:
DISCIPLESHIP. We believe every woman should have the opportunity for a new life in relationship with Jesus Christ. Therefore, we proclaim the good news of His kingdom and invite vulnerable women to become followers of Jesus. We do this in a context of friendship, mentoring and communal encounters Gods Word. ADVOCACY. We believe Gods image affords every woman the right to speak and be heard. Therefore, we both advocate for and empower women to express themselves. We do this through advocacy, offering life skills and partnership with other organizations in order to be a voice for change in the lives of sexually and relationally broken women and the systems that keep them bound to sexual exploitation. COMMUNITY. Authentic relationships provide the context for nurturing spiritual growth. We hope to provide safe places of meaningful community for vulnerable women where they can journey together toward healing, wholeness, and new life in Jesus. RESIDENTIAL PROGRAM We provide a year long, free (donor based) safe housing for women who have been sex trafficked or have had any involvement with the sex industry. We provide community, accountability,NA meetings, Christian therapy, Bible study, Life skills, mentors, and much more
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APARTMENTS We provide apartments for Created alumni to move into after they’ve completed the program. JOBS We provide cleaning jobs and work at our Created Boutique thrift store. Come shop for a cause at our thrift store at 3102 N Nebraska Ave, Tampa, FL. Our store hours may vary, so please call ahead at 813-228-9412. OUTREACH We go into the strip clubs, on the streets, and in the jails with the goal of befriending vulnerable women and sharing God’s love for them. The goal of outreach is to love women we’re they’re at. 85-95% of women in the strip clubs have grown up in church and are very familiar with religion and Christianity. Their fathers are pastors, or grew up in the church choir, have been on mission trips etc. Instead of being another Christian protestor, our approach is unconditional love. We go into the dark places with gifts for the women, in hopes that we can redeem their past, broken experiences with The Church. It is common for us to here women say,” Wow, I can not believe a church lady is inside of this club talking to me. I can’t believe you all care about us enough to come each month with gifts. Why are you so loving? Why do you do this?” This is music to our ears. When their walls of hostility and confusion break down, we get to share God’s perfect love for them and pray with them. Our approach is simple, it is consistent love.
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(Fig. 65) Workshop room where soaps, scrubs, and crafts are made to sell at local markets 091
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(Fig. 66) Night shot of Nebraska Avenue and Broad Street, Tampa, FL 093
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The role architecture plays in shaping new opportunity
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The Narrative of Nebraska Avenue
The final segment of my research focused on the neighborhood around my selected site. U.S. Route 41 (US 41) in the U.S. state of Florida is a north–south United States Highway. It runs 479 miles (771 km) from Miami in South Florida northwest to the Georgia border north of the Lake City area. Along this route is a segment known as Nebraska Avenue. Currently lined with old motels, auto-repair shops, laundry facilities, grocery stores, pizza joints, appliance stores with washing machines out along the road, furniture resales and small businesses, Nebraska also has a repertoire for being home to a majority of Tampa’s prostitution and strip clubs. Tampa has the most strip clubs per capita than any other U.S. city, so I diagrammed a map of where these strip clubs were located in relation to motels and shelters, hoping to find the largest concentration of them. Motels around Nebraska are also known to host prostitution and my approach was almost a redemption of these dark and cut off places, to be places of opportunity and hope. I think it’s also important to bring up the point of creating opportunity. In Tampa, a person arrested for prostitution more than 3 times is convicted of a felon. The possibility of somebody getting a job with a felon on their record is extremely limited. Creating places for women to gain a new set of skills to apply to their resume, and experience as well, a place for healthy opportunity is necessary.
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The Narrative of Nebraska Avenue Nebraska Avenue
Documenting Nebraska was challenging in its own way. I felt as if I was being watched the entire time, although I was photographing motels that were all a bit run down and built over 30 years ago. I could see the violation of privacy that may go in hand with that. Regardless, it was a Sunday and had just rained. I noticed the quietness of the motels. It was in February and still cool in Florida, so some people resided to sitting outside, but for the most part, I saw windows closed with blinds and cars left alone in the parking lots. The tree canopy was limited to the rear of the properties which created a buffer between the residential housing in Seminole Heights. The next few pages show photographs of the motels in all their day-time glory, surrounded by chainlink fencing, and varying characteristics.
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(Fig. 67) Context map of Nebraska Avenue, showing I-275 to the west 097
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(Fig. 68) Casa Loma Motel #2, Nebraska Avenue + Lambright 098
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(Fig. 69) Oasis Motel, Nebraska Avenue + Elm
(Fig. 70) Casa Loma Motel
(Fig. 71) Casa Loma Motel, Nebraska Avenue + Diana 099
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(Fig. 72) Live Oak Cabins, Nebraska Avenue 0100
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(Fig. 73) Swan Motel, Nebraska Avenue + Lambright
(Fig. 74) Mac’s Motel, Nebraska Avenue
(Fig. 75) Alamo Motel, Nebraska Avenue + E Hanna 0101
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(Fig. 76) Mac’s Motel, Nebraska Avenue
(Fig. 77) Haven Motel, Nebraska Ave + Flora
(Fig. 78) Royal Palm Hotel, Nebraska Avenue + E Clifton St. 0102
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(Fig. 79) Royal Palm Hotel, Nebraska Avenue + E Clifton St. 0103
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(Fig. 80) Building roof and cable connection on site 0105
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“There is power in the ordinary things of everyday life, as Edward Hopper’s paintings seem to say. We only have to look at them long enough to see it.” Peter Zumthor, Thinking Architecture, p. 17
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Site
At first, I thought about reclaiming an old motel, as a metaphor for redeeming Nebraska in the same way that I hoped lives would be redeemed through the project, but after driving up and down Nebraska a few times, I came across E. North Street and Nebraska, where one auto-body repair shop sat next to a car title service. The businesses occupied at least 4 very different buildings and had 40-foot tall oak trees that fell between Nebraska avenue and the properties. My goal was not look into the character of this specific site and see how space and materiality is currently used as an explorative device for pushing the final design.
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(Fig. 81) Building roof and cable connection on site
(Fig. 82) Foliage on site
(Fig. 83) Metal roof on existing buildings 0108
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(Fig. 84) Existing buildings, framing the greenery in the back 0109
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(Fig. 85) Existing buildings, on site
“These buildings appear to be anchored firmly in the ground. They give the impression of being a self-evident part of their surroundings and they seem to be saying: “I am as you see me and I belong here.”
- Peter Zumthor, Thinking Architecture, p 17
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(Fig. 86) Existing buildings, west of site, alley fence seen on the right of photo
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(Fig. 87) Sketches exploring adaptive reuse of buildings and building within the existing tree canopy (Fig. 88) Older sketches about programming of spaces necessary for a women’s shelter (Fig. 89) Site specific sketches that programmed common spaces adjacent to the other and around the main gathering pool, also exploring how greenery is integrated with the architecture
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(Fig. 90) Sketch models made of scraps, exploring various materiality
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(Fig. 91) Sketch models made of scraps, exploring various materiality
(Fig. 92) Sketch models made of scraps, exploring various materiality
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(Fig. 93) Trying to use minimal square footage, programmins space with the dining area as the center
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(Fig. 94) Using two wings that create the main entrance and open up as one moves through, I imagined the shelter being a taller structure that had opportunities for natural light and greenery to enter into certain spaces.
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(Fig. 95) A continuation of the previous drawing, a deeper analization of the designated spaces and how they interact with one another
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(Fig. 96) Model of the sketches in Fig 95
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(Fig. 97) Final drawings before the final design, where programming was placed into 3 main buildings and the path of the water feature was placed
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(Fig. 98) Drawing showing the built versus green spaees and the main water features. The circle on the top left is based on the earlier model of how shelter meets street.
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(Fig. 99) Abstract Model based off drawings, simplifying materiality
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Sylvia’s House
A year’s worth of research, conversations, asking questions, listening to victims, photographing, drawing, analyzing and building, all comes to this point. Architecturally providing a space for security, vulnerability, opportunity, and hope for female victims of sex-trafficking in Tampa. With thousands of women wait-listed to live in shelters in Tampa and Pinellas County alone, I knew there was a call to create more sanctuaries, more shelters based off of the natural and traumatic experiences women in the area had. Named after the woman I interviewed in Nicaragua, Sylvia’s House doesn’t only nourish the 8 women who would live there, but also provides a place of rest to those on the outside. At the end of Sylvia’s interview, I asked “if you lost everything in your house, but could save one thing, what would you save?” She responded, “The water. It’s the most important thing.” Throughout my research I’ve learned more about the significance of water and how it’s shaped architecture and community culture in ways that make it stronger. I’ve also learned about the specific ways in which space is used to help women gain self-confidence and skills they had been cut off from before. It’s a home, a shelter, a sanctuary, a place to lay it all down.
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(Fig. 100) Final model, public entry #1
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(Fig. 101) Final model, Overview, facing South East
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(Fig. 102) Final Floor Plans
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Sylvia’s House
“Sylvia’s House” has two main entries, one on the north end for public entry, and one on the south end for residents. The North entry allows somebody to slip into a small sanctuary space before entering into the main pavillion. The point in having a pavillion as the first building rather than an enclosed space is to allow a woman to come inside without feeling controlled or limited in their space. It also allows somebody to see the entire outdoor space and courtyard as they process into the space. In this pavillion, highlighted in blue, there are two offices: admin and counseling rooms. To the left of the pavillion is a small pool that reaches the place of solitude, a place for one person to have a sacred space. The building following the pavillion, highlighted in yellow, is the workshop. Inspired by the workshop at Created and the resource center at CASA, the building allows complete circulation, increasing the entering of light, and for storage and the bathroom to be in the center. The walls to the east would contain bookshelves and space for computers so women could study or apply for jobs online. The long table on the west side of this building is for large group skill-building and classes. It purposefully faces the main courtyard. The next building is the entry into the residential portion of the building. While women can come and visit for counseling or classes, this portion is limited to the 8 residents. The living space connects you to the laundry room which then leads outside into a small courtyard. The dining table also purposefully faces the courtyard, visually connecting main gathering spaces.
The kitchen and dining lead towards the dorms side of the building. The dorms have a main stair to the north that takes you to the second floor which is a copy of the first floor. By wrapping the buildings around the courtyard, the privacy of interior spaces is maximized and allows for more transparency rather than facing them out towards the street. The main water feature begins at the north entry as a small fountain, creating the calming sound of running water for somebody entering the shelter. It then flows into the solitude pool before connecting to the main pool, a place to cool off and socialize. The water then visually connects through the kitchen where water is used often as a drinking source and for cooking, then through the laundry where our clothes are cleaned by water, then ends at the communit bench as a drinking fountain.
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(Fig. 103) Final Section Cuts, help understand the relationship between interior and exterior spaces, how outdoor spaces and greenery are framed, and how women gather in each area. 0133
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(Fig. 104) The workshop for skill building and resources has a complete circulation around storage and utility space. This allows full circulation of lighting entering the spaces which helps the healing process and opens views to the outside. The long table is placed across the main pool which connects main gathering spaces together as a way of providing community.
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(#) Usti omnis earum anderer spelit, que venimus.
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(Fig. 105) Using Carlos Scarpa’s work as an inspiration for carrying water through a site, the water features connect main spaces that also works with previous studies of creating perspective. This is the view when somebody walks through the main entrance. Like Persian Gardens, the water line leads to the main gathering space, which in this case is the dining room.
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(Fig. 106) Final model, facing north east, looking into the dorm hall
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The main buildings are designed to circulate around the main pool and courtyard. This creates a strong visual connection between the interior spaces and allows each building a strong sense of transparency. This rendering on the left shows the hall just outside of the dorm rooms with the upper level above that opens to the ground floor as well.
(Fig. 107) Final model, looking at the dorm hall
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(Fig. 108) Final model, facade of dorms, limited openings provide privacy
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(Fig. 109) Final model, facing South West into courtyard
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Keeping a physical connection to the neighborhood from the shelter was important. On the right is a rendering of the bench created as a place of rest but also has a water fountain that is visually connected tot he inside of the shelter. The design was inspired by one of the process models.
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(Fig 110) Final Rendering of the place of rest for the community
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(Fig. 111) Close up image of the fortress walls. They were built semi-private to allow a sense of transparency into and out of the shelter, with apertures purposefully placed with controlled views. This one lines up with the water that runs from the entrance, through the space for solitude, the main pool, the kitchen, and finally to the community bench. The entry was inspired by the first sketch, a very subtle opening in the wall.
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(Fig. 112) The community bench along the sidewalk of Nebraska Avenue, facing West
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(Fig. 113) Courtyard and main pool as the central space for outdoor gathering
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(Fig. 114) Loyal B. Stearns Memorial Fountain, Washington Park, Portland, OR
Water for All
During my travels, I came upon a wall before entering the forest in the city of Portland, OR. On it were three water fountains, all different heights. I stopped in my tracks as I was struck by its significance, a place for everyone to come and drink freely. Noticing its smooth marble surface and the moss that had grown along the bottom, I walked around and noticed the foot washing stations in the back. While symbolic in religious ways, it still sung the song of invitation; whoever you are, come drink, be clean, and keep moving.
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Conclusion
Where there is light, there is also dark. Not everyone’s story is the same. Sometimes people only experience darkness for a few days, while some are still figuring their way out. Some of us choose a path, and some choose a path for us. Vulnerability, the act of stepping into uncertainty, is free for all to experience, but sometimes we let uncertainty steal our courage, our voice. Some will leave this world screaming, fighting passionately until their voice turns to vapor. Some will not be given the chance to speak. What I’ve learned is that all of these experiences occur within the bounds of architecture, or the inhabitation of it; our homes, schools, communities, businesses, hotels and civic centers. Half of my research was dedicated to learning about world-wide oppression towards women, and luckily in that I learned about the millions of people fighting for women’s opportunity. Once I learned that my current hometown of Tampa was one of the top cities in the U.S. for human trafficking, the research took a nosedive into understanding how existing urban conditions and human trafficking statistics create opportunity for women to fail, or succeed. That being said, one of the biggest questions I asked through this process was: What is the social role of architecture in a community which lacks proper spaces of opportunity for female sex-trafficking victims in Tampa? The community center in Leon is a purposeful and empowering center for productivity and conversation dedicated to a community confronting anxiety, depression and domestic violence through Human Capacity Training and counseling. From the moment I understood its value to the people it hosted, it became
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the safe space I wanted to understand through the lens of architecture. Much of my time was spent analyzing a few topics: the architecture of common spaces and tasks, community-wide approaches toward disaster or poverty, affects of shelters for women who had experienced domestic violence, the role of the counselor in the U.S. and in Central America, worldwide non-profit organization approaches to design in impoverished communities, and the sex-trafficking conditions within Tampa Bay. By gaining a greater understanding of these topics, I began visualize these positive and negative spatial experiences people described in my research; the steam-powered water pump, the living room as a place to observe your home, finding independence on the smoke patio, fear of returning to a controlled environment or being followed, a desire to have a place to “lay it all down.” All of these items or experiences play a huge factor in the lives of women either by their direct relationship with it or their community. A huge aspect to approaching a group of people who have been forced into sexual labor, or experienced domestic violence first hand, is to first listen. These women that I interviewed and read about are very normal from the outside, so to probe for extremely sensitive information would be detrimental to both the victim and my research approach. Unfolding through time, similar aspects of the conversations and productivity I witnessed in Goyena’s community center began to resurface. Women, especially those who have been oppressed domestically, through forced sexual labor, or by their community, need a safe space where resources and empowerment are bountiful. My contribution to the efforts that protect and empower
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our sex-trafficking victims in Tampa is an architecture student’s approach on creating safe space within one of the most saturated streets for prostitution. The final design is programmed to welcome in the tired and broken, to support them in their journey of healing and rebuilding, offering places for solitude or community, supporting the skill-building and resource gaining activities that may be necessary, and protecting the women like a fortress while offering rest and nourishment to its surrounding community. This is the architecture of opportunity.
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2018 | Masters Thesis | ARCHITECTURE OF OPPORTUNITY
List of FIgures (Fig. 1) Community Center, Viviendas León, León, Nicaragua (Fig. 2) Vivendas León Office at Closing Time, León, Nicaragua (Fig. 3) COABE members working with the bee hives (Fig. 4) Some of the women from Fundeci meeting to discuss any updates or questions about their homestays, Fundeci, Nicaragua (Fig. 5) Scanned notes from my journal I kept in NIcaragua (including interviews, questions, and spanish lessons) (Fig. 6) Sylvia standing with her daughter in front of their home, Goyena, Nicaragua (Fig. 7) Vivendas León Office at Closing Time - Drawing , León, Nicaragua (Fig. 8) Bedroom at my homestay - Drawing , León, Nicaragua (Fig. 9) My homestay patio, driveway, and garden - Drawing, León, Nicaragua (Fig. 10) Young women making bracelets in the Zoelimax Foundation community center in Goyena Nicaragua (Fig. 11) My Bedroom window, León, Nicaragua (Fig. 12) Sylvia and her daughter standing outside of their home in Goyena, Nicaragua (Fig. 13) SusanMeiselas, Returning home, Masaya, Nicaragua.September 1978. ©Susan MeiselasMeiselas Studio (Fig. 14) Community members gathering in the community center, Goyena, Nicaragua - Viviendasleon.org (Fig. 15) Community center courtyard, Goyena, Nicaragua - Viviendasleon.org (Fig. 16) Sketches of the Butaro hospital study the hierarchy of color, light, landscaping, outdoor procession, ceiling height. One of the goals with this project was to use design that heals, which they experimented through use of these hierarchical elements. (Fig. 17) The first drawing is from the idea of isolation, common space, and semi-private space being in one entity. The second is the notion of grandeur, how it can be overwhelming and provoke a response, being vulnerable by allowing the self to be in awe of something grandeur. The third and fourth image were ideas about isolation, how we notice certain spatial elements or detail in a space we may not if there was somebody distracting us, and how that sense of focus can provoke internal reflection on self. (Fig. 18) This series of sketches were from personal experiences of vulnerability, the feeling of being alone, overwhelmed with the past, the inability to escape anger or shame, the beauty of light in darkness. The theme of this series would be the beauty of light in dark places, as a metaphor for healing. (Fig. 19) Notes taken while reading Allen’s book (Fig. 20) First sketch dealing with entry as a hidden escape for somebody being followed; introduced the idea of having double entries (Fig. 21) Sketch models exploring subtlety in the connection of planes, openings of facades, and playing with light. (Fig. 22) Sketch model exploring facade as a discreet entry and two-way system; a response to fear of being followed. (Fig. 23) Plan view showing the two entries; turning left would lead to a locked gate only opened from the inside, and turning right would lead to a double-door system allowing the person entering to close one door before waiting for access into the building, which is a common instance when keeping a shelter secure. (Fig. 24) Sketch model built off of the first sketch (fig. #) including double entry inside. (Fig. 25) Model based off of the stages of entering a shelter that the women spoke about in Prestwood’s dissertation (Fig. 26) Rear view of the model, showing the next door one would walk through after entering the space. (Fig. 27) Framed Views - Model (Fig. 28) Plan (above) and section (below) of using architectural elements to control light, and frame views. (Fig. 29) Section exploration of the plan on the right, looking at how changes in elevation can help with identity to each programmed room, starting with the entry room on the right, and moving west into the common space where the women would eat together or take classes and it overlooks one of the courtyards. (Fig. 30) One of the first ideas of programming space, how interiors circulate around outdoor spaces and how natural light can enter into the spaces (Fig. 31) The entry is a narrow corridor where I imagined somebody having the ability to shut the door behind them, keeping them safe if being followed by their abuser, and also have the ability to shut everything else out for a moment. At this point, there’s only one way to move, and it’s forward, into shelter. (Fig. 33) Side view of the entry hall and patio space (Fig. 34) Entry hall visible on the left, entry to patio on the right (Fig. 35) Overview shot of separated outdoor spaces (Fig. 36) Connection of the stages with open patios between more intimate spaces for solitude and the entry (Fig. 37) Overhead view of the place for solitude, where light and water entry is controlled through narrow openings in the roof, (Fig. 38) The entry here is on the left, passes through the wall and into the low-lit space, but doesn’t complely cut you off from other spaces. (Fig. 39) Overview shot of space for solitude (Fig 40) SIde view showing how heaviness amplifies the controlled light entering the space (Fig. 41) First drawing about the interacting towers. They all control light, water, and scale differently to represent the different experiences of each woman. (Fig. 42) Drawings exploring the towers of experiences, the use of perspective through architecture (Fig. 43) Collage of Indian Stepped Wells, exploring their use of chambers and creating more opportunity to gather. (Fig. 44) Image of Carlo Scarpa’s Palazzo Querini Stampalia - http://designlifenetwork.com/interior-alchemy-carlo-scarpas-palazzo-querini-stampalia/ (Fig. 45) Image of Carlo Scarpa’s Palazzo Querini Stampalia - http://designlifenetwork.com/interior-alchemy-carlo-scarpas-palazzo-querini-stampalia/ (Fig. 45) Image of Carlo Scarpa’s Palazzo Querini Stampalia - http://designlifenetwork.com/interior-alchemy-carlo-scarpas-palazzo-querini-stampalia/ (Fig. 47) Chehel Sotun - palace in the middle of a park at the edge of a long pond in the city of 0150
ARCHITECTURE OF OPPORTUNITY | Masters Thesis | 2018
(Fig. 48) Shazdeh [Prince] Garden is a historical Persian garden located near Mahan in Kerman province. http://whc.unesco.org/ en/list/1372 (Fig. 49) Collage perspective of the fortress. (Fig. 50) Sketches of massive walls opening and closing to create different places of rest to observe light and water (Fig. 51) Model in plan view based off of sketches from fig. 50, exploring the idea of fortress as a wall system, entry on the right, entering north, and leftside mostly containing a large plane of water (Fig. 52) Model from the side, highlighting the entry (Fig. 53) The barrier between the site and the street is implied be the curved edge of the ground condition, and the implied rest area on the right for the public (Fig. 54) Entry of the well from the site (Fig. 55) Overhead view of the well wall (Fig. 56) Collage speculating the use of perspective and materiality in Louis Kahn’s Salk Institute (FIg. 57) Process sketches about the approach, the entry, the well as a gathering space, perspective, and movement through space. (FIg. 58) Process sketches about the approach, the entry, the well as a gathering space, perspective, and movement through space. (Fig. 59) Concept model, overhead view (Fig. 60) This conceptual model, based of the sketchs in figures 57 + 58, visually connects eye up the steps, past the water, and into the main gathering spaces (Fig. 61) View from the backyard, facing the building of CASA (Fig. 62) View of a small walking trail behind CASA leading to a bus stop (Fig. 63) Meeting Space at the Created House (Fig. 64) Backyard between the house and renovated motel at Created (Fig. 65) Workshop room where soaps, scrubs, and crafts are made to sell at local markets (Fig. 66) Night shot of Nebraska Avenue and Broad Street, Tampa, FL (Fig. 67) Context map of Nebraska Avenue, showing I-275 to the west (Fig. 68) Casa Loma Motel #2, Nebraska Avenue + Lambright (Fig. 69) Oasis Motel, Nebraska Avenue + Elm (Fig. 70) Casa Loma Motel (Fig. 71) Casa Loma Motel, Nebraska Avenue + Diana (Fig. 72) Live Oak Cabins, Nebraska Avenue (Fig. 73) Swan Motel, Nebraska Avenue + Lambright (Fig. 74) Mac’s Motel, Nebraska Avenue (Fig. 75) Alamo Motel, Nebraska Avenue + E Hanna (Fig. 76) Mac’s Motel, Nebraska Avenue (Fig. 77) Haven Motel, Nebraska Ave + Flora (Fig. 78) Royal Palm Hotel, Nebraska Avenue + E Clifton St. (Fig. 79) Royal Palm Hotel, Nebraska Avenue + E Clifton St. (Fig. 80) Building roof and cable connection on site (Fig. 81) Building roof and cable connection on site (Fig. 82) Foliage on site (Fig. 83) Metal roof on existing buildings (Fig. 84) Existing buildings, framing the greenery in the back (Fig. 85) Existing buildings, on site (Fig. 86) Existing buildings, west of site, alley fence seen on the right of photo (Fig. 87) Sketches exploring adaptive reuse of buildings and building within the existing tree canopy (Fig. 88) Older sketches about programming of spaces necessary for a women’s shelter (Fig. 89) Site specific sketches that programmed common spaces adjacent to the other and around the main gathering pool, also exploring how greenery is integrated with the architecture (Fig. 90) Sketch models made of scraps, exploring various materiality (Fig. 91) Sketch models made of scraps, exploring various materiality (Fig. 92) Sketch models made of scraps, exploring various materiality (Fig. 93) Trying to use minimal square footage, programmins space with the dining area as the center (Fig. 94) IUsing two wings that create the main entrance and open up as one moves through, I imagined the shelter being a taller structure that had opportunities for natural light and greenery to enter into certain spaces. (Fig. 95) A continuation of the previous drawing, a deeper analization of the designated spaces and how they interact with one another (Fig. 96) Model of the sketches in Fig 95 (Fig. 97) Final drawings before the final design, where programming was placed into 3 main buildings and the path of the water feature was placed (Fig. 98) Drawing showing the built versus green spaees and the main water features. The circle on the top left is based on the earlier model of how shelter meets street. (Fig. 99) Abstract Model based off drawings, simplifying materiality (Fig. 100) Final model, public entry #1 (Fig. 101) Final model, Overview, facing South East (Fig. 102) Final Floor Plans (Fig. 103) Final Section Cuts, help understand the relationship between interior and exterior spaces, how outdoor spaces and greenery are framed, and how women gather in each area. (Fig. 104) The workshop for skill building and resources has a complete circulation around storage and utility space. This allows full circulation of lighting entering the spaces which helps the healing process and opens views to the outside. The long table is placed across the main pool which connects main gathering spaces together as a way of providing community.
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2018 | Masters Thesis | ARCHITECTURE OF OPPORTUNITY
(Fig. 105) Using Carlos Scarpa’s work as an inspiration for carrying water through a site, the water features connect main spaces that also works with previous studies of creating perspective. This is the view when somebody walks through the main entrance. Like Persian Gardens, the water line leads to the main gathering space, which in this case is the dining room. (Fig. 106) Final model, facing north east, looking into the dorm hall (Fig. 107) Final model, looking at the dorm hall (Fig. 108) Final model, facade of dorms, limited openings provide privacy (Fig. 109) Final model, facing South West into courtyard (Fig 110) Final Rendering of the place of rest for the community (Fig. 111) Close up image of the fortress walls. They were built semi-private to allow a sense of transparency into and out of the shelter, with apertures purposefully placed with controlled views. This one lines up with the water that runs from the entrance, through the space for solitude, the main pool, the kitchen, and finally to the community bench (Fig. 112) The community bench along the sidewalk of Nebraska Avenue, facing West (Fig. 113) Courtyard and main pool as the central space for outdoor gathering (Fig. 114) Loyal B. Stearns Memorial Fountain, Washington Park, Portland, OR
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BIBLIOGRAPHY Allen, D. F. (2010). Shame: The human nemesis. Washington D.C: Eleuthera Publications. Brenner, Abigail M.D. (2011, April 6) 5 Ways to find Closure from the Past, Retrieved from https://www.psychologytoday.com/ blog/in-flux/201104/5-ways-find-closure-the-past Brown, B. (2012). Daring greatly: How the courage to be vulnerable transforms the way we live, love, parent, and lead. New York, NY: Gotham Books. Hamdi, N. (2010). The placemaker’s guide to building community. [electronic resource]. London ; Washington, D.C. : Earthscan, 2010. Not Just Aid, Impact. (n.d.) Retrieved from http://viviendasleon.org/projects/ WOur Mission and Methodology. (n.d.) Retrieved from https://www.givevolunteers.org/ why-give/our-mission/ Petrescu, D., & Trogal, K. (2017). The social (re)production of architecture: Politics, values and actions in contemporary practice. Sells, J. N., Giordano, F. G., Bokar, L., Klein, J., Sierra, G. P., & Thume, B. (2007). The Effect of Honduran Counseling Practices on the North American Counseling Profession: The Power of Poverty. Journal Of Counseling & Development, 85(4), 431-439. The Butaro District Hospital. (n.d.) Retrieved from https://massdesigngroup.org/work/ design/butaro-district-hospital Zumthor, P. (2017). Thinking Architecture. Third, Expanded Edition. Basel, Switzerland: Birkhauser. Website Information: CASA https://www.casa-stpete.org/news,brief-history-of-casa Created http://www.createdwomen.com/what-we-do/ Viviendas León
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