Dissertation - Troy Chan by IA_UNSW

The role and impact of interior architecture in a post disaster environment Case study of Shigeru Ban

Troy Chan

4th Year Dissertation of UNSW Interiors

UNSW Built Environment UNSW Sydney 2019

Abstract: This dissertation explores the role and impact of interior architecture in relation to the psychology and behaviour of survivors of natural disasters. With disasters occurring frequently in recent years, there is an urgent need to sharpen our understanding of how to appropriately rebuild the damaged communities and assist survivors to restore their daily lives within a short and demanding timeframe. As architects design a physical shelter for the survivors, this dissertation considers the therapeutic value provided by interior architects with regard to the physical and mental wellbeing of the survivors.

This dissertation will firstly establish a theoretical framework based on the theories of Abraham Maslow in which human psychological needs are identified. Secondly, this theoretical framework will be applied to the discipline of interior architecture via the theories of Leon Krier and specific architectural characteristics that fulfil Maslowâ&#x20AC;&#x2122;s psychological needs will be identified through dissecting the work of Peter Zumthor, an architect who is well regarded for designing human-centric spaces that are emotionally connected. Lastly, the theoretical framework will be tested within the disaster relief environment by identifying these psychologically-supportive architectural characteristics within the temporary shelters of Shigeru Ban.

This dissertation argues the important role and social responsibility of interior architecture in the context of a post disaster environment through the study of Shigeru Banâ&#x20AC;&#x2122;s work in the established framework. The aim is to critique the importance of interior as an essential aspect in developing and achieving human-centred design,

responding to the needs of a community in a post disaster environment, and to encourage interior architects to reach out and take part in such future projects.

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Acknowledgments: I would like to thank Dr Alanya Drummond at the University of New South Wales for her enthusiasm and guidance throughout the development period of this dissertation as my supervisor. I would like to thank Lee Beaman for his time and support with proofreading and editing this dissertation. I would like to thank Cathy Nguyen and Delwyn Ke for their support and patience during the process of this dissertation and design studio.

Table of Contents Plagiarism Declaration …………………………………..…………………………..…i Abstract …………………………………………………………….…………………...ii Acknowledgements ………………………………………………………………….…iv

Introduction ………………………………………………………..…………………..1

Chapter One ………………………………………………………….............................5 1.1 Overview of modern disaster sheltering phases …..……………..………………..5 1.2 Overview of Maslow’s Hierarchy of Needs ……………..…………..……..................8 1.3 Current responses in relation to specific needs ………………..…………………10

Chapter Two …………………………………………………………….…………….14 2.1 False pluralism in emergency sheltering solutions …….....………………………15 2.2 Peter Zumthor – Architecture in fulfilling psychological needs ………………..16

Chapter Three …………………………………………………………..…………….22 3.1 Shigeru Ban: Design for people ………………………………………..…………22 3.2 Case studies ……………………………………………………………………….25 3.2.1 Nepal Reconstruction Housing Project, Nepal 2015 …………………………………………….25 3.2.2 Paper Partition System, Okayama Prefecture, Japan 2018 ………………………………………27 3.2.3 Carboard Cathedral, Christchurch, New Zealand 2011 …………………………………………30

Conclusion ………………………………………………………….………………...34

References …………………………………………………………………………….37

Introduction With natural disasters occurring frequently in recent years as a result of climate shift, many countries have increased the preparation of emergency relief procedures and immediate housing solutions. Whilst temporary housing often provides victims with an immediate response to their need for physical shelter, the consideration of the victimsâ&#x20AC;&#x2122; psychological wellbeing is often overlooked in the context of post-disaster housing. This dissertation argues the important impact of interior architecture in relation to the psychology and behaviour of disaster survivors.

According to the International Disaster Database, the average number of reported global natural disaster events per year at the beginning of 21st Century is double the number of the late 20th Century, and up to 50 times greater when compared with the average number in the early years of 20th Century (Ritchie & Roser 2019). With every disaster comes a varying degree of destruction, including the loss of life as well as economic and environmental loss. Immediately, there is an urgent need for rebuilding damaged communities and restoring survivors to their daily lives. Before the 20th century, survivors performed rebuilding by gathering remnant scrap resources and the process could often take months or even years. It wasnâ&#x20AC;&#x2122;t until the 1920s that world nations started to acknowledge the extent of natural destruction. Examination of the legal issues and framework associated with natural disaster have later been established with the International Federation of Red Cross and Red Crescent to generate the International Disaster Response Laws, which provide guidelines for government departments, international disaster relief organisations and citizens to refer to in an

emergency situation (GSDRC 2013). Since the 1970s, architects have also taken part in the rebuilding process in order to promote faster and more comprehensive rebuilding outcomes. In recent years, many organisations in the world have worked in parallel with governments to provide pre-made disaster relief packages for communities in need, providing immediate resources for survivors. Many of these immediate solutions placed a major focus on fulfilling the basic physiological needs of people. With the post-disaster housing projects introduced by Shigeru Ban, the notion that architecture is based solely on the idea of providing users a shelter on the physical perspective only has been interrogated, and it has been proposed that psychological wellbeing can also be managed through the stability and spiritual comfort promoted by interior architecture. This dissertation interrogates the processes of Ban in order to identify the needs that are met, and how they are met.

In Chapter one, the modern approach toward disaster relief and post-disaster housing is reviewed. The chapter discusses the definition of an emergency shelter, looking at the temporal phases of emergency shelter responses and architecturally critiquing each of the sheltering solutions for accommodating disaster survivors. The chapter will then examine the efficiency and comprehensiveness of the temporary shelter by looking at the content of the disaster relief packages provided in each phase and how they serve as immediate, temporary and semi-long-term solutions for the community. The analysis is taken further by applying an established framework that is based on American psychologist Abraham Maslowâ&#x20AC;&#x2122;s theory â&#x20AC;&#x153;Hierarchy of Needsâ&#x20AC;? in order to identify the human physical and psychological needs.

In Chapter two, the fundamental argument of this dissertation that the current postdisaster solutions lack consideration and strength in serving the psychological wellbeing of the disaster survivors will be supported by analysing the published academic article “Temporary Housing After Disasters: A State of the Art Survey” by Portuguese researchers Daniel Felix, Jorge M. Branco and Artur Feio from the 2013 journal, Habitat International – A Journal for the Study of Human Settlements. The chapter will reinforce the framework established in Chapter One with additional support of the theory from the published press “The Architecture of Community” by Luxembourg architect and theorist Leon Krier, to extend Maslow’s “Hierarchy of Needs” and investigate the psychological aspects the sheltering solutions fail to serve. Lastly, the chapter will conduct an analysis of architectural examples designed by Swiss architect Peter Zumthor, who is internationally recognised in designing spaces that bring psychological impact toward users and examine how each of the overlooked psychological needs mentioned in Maslow’s theory have been met through his approaches.

In Chapter three, Japanese architect Shigeru Ban will be analysed and discussed in detail on his significant impact in developing and reshaping the traditional disaster relief sheltering schemes into designs that are humane and people-centred in a post disaster environment. Three specific disaster relief projects of his, namely the Nepal Reconstruction Housing Project in Nepal, the Paper Petition System in Okayama Prefecture, Japan and the Cardboard Cathedral in Christchurch, New Zealand, have been selected. These works will be examined on how the post-disaster structures fulfil the psychological needs of survivors, based on the specific architectural characteristics

that are required by the need for love and belonging, the need for esteem and the need for self-actualisation as established in Chapter One and Two.

Chapter One According to the definition provided by the Red Cross, the international humanitarian aid and community services charity, a post-disaster emergency shelter is a temporary form of accommodation for disaster victims who have lost or abandoned their residences in the aftermath of a natural disaster (Smith & Parsons 2015). It is a place that provides temporary security as well as a base for future development and action. In this chapter, the current phases of emergency sheltering solutions will be established chronologically and explored in order to provide a thorough understanding of their properties and the various needs they fulfil. An analysis of the phases based on Abraham Maslowâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Hierarchy of Needsâ&#x20AC;? from his 1943 paper, A Theory of Human Motivation will take place in parallel with the overview, to examine the comprehensiveness of each of the phases and the needs of victims they fulfil in a post-disaster environment. The research provides a framework in this dissertation to allow analysis of the currently recognised emergency phases focusing on serving the physical needs of disaster victims and the need for providing them with psychological and emotional support.

1.1 Overview of current disaster sheltering phases According to the Red Cross, there are currently three recognised phases of emergency sheltering that are available for a post-disaster situation. The three phases have been categorised into Immediate Sheltering, Temporary Sheltering and Temporary Housing (Smith & Parsons 2015, p.1). Each phase differs according to the duration of disaster victims taking refuge, as well as the comprehensiveness of support and equipment that is provided. 5

Immediate Sheltering is the most direct disaster response of the three, providing victims a short-term respite care that lasts between 1 to 18 hours following the occurrence of a disaster event (see fig 1.01). The form of shelter in this phase commonly takes place at a safe location with a physical coverage, which might often be the remnants of a destroyed structure that survivors consider to be “safe”.

The second phase, Temporary Sheltering, is the most common form of sheltering in

Figure 1.01: Immediate Sheltering: Binghamton University Event Centre mass care shelter, Binghamton, New York, 2011, online image, available at: https://shebicycles.com/tag/new-york/ , <Accessed on 3rd May 2019>

most post-disaster scenarios (Smith & Parsons 2015, p.2). Temporary Sheltering provides a more flexible and workable sheltering solution for one’s physical need from 18 hours up to weeks of extension (see fig 1.02). The sheltering package offers a

Figure 1.02: Temporary Sheltering: ShelterBox Oase tents, online image, available at: https://shelterboxaustralia.wordpress.com/, <Accessed on 2nd May 2019>

comprehensive material support and a reasonable scale of temporary coverage structure. The sheltering structure is often part of a designated relief or evacuation centre. Temporary Housing is the last phase in the post-disaster environment and is often the closest form of sheltering to permanent housing (Smith & Parsons 2015, p.2). This form of sheltering is more likely to involve multi-agency action in comparison to the two mentioned previously (see fig 1.03). This typology provides the most comprehensive material support and architectural coverage, and is able to offer survivors a transition from the temporary form of shelter to an actual housing structure. Moreover, this phase of emergency sheltering solution starts to take the psychological wellbeing of the victims into account more comprehensively than the previous two forms.

Figure 1.03: Temporary Housing: Multi-storey Shipping Container Housing, , Onagawa, Japan, 2011, Shigeru Ban Architects, online image, available on: https://www.dezeen.com/2011/07/21/multi-storey-temporary-housing-by-shigeruban-architects/, <Accessed on 2nd May 2019>

The consideration of the three phases of emergency sheltering is established to provide an understanding of the comprehensiveness of each of them toward survivorsâ&#x20AC;&#x2122; physical and psychological wellbeing, and to form a framework in which to examine the

potential of the coverage toward psychological wellbeing also being delivered in the form of Temporary Sheltering, or even Immediate Sheltering.

1.2 Maslow’s Hierarchy of Needs American psychologist Abraham Maslow published impactful research on human motivation titled “Hierarchy of Needs“ in his 1943 paper A Theory of Human Motivation. The theory was revolutionary due to the specifications he pinpointed and the classification system he introduced which later became the foundation for human developmental psychology. The “hierarchy of needs” is the arrangement that ranks different aspects of need from the lowest to the highest, with the lowest level of the hierarchy pyramid being the most important needs that individuals have to meet to successfully elevate to the next level. Maslow has grouped the lowest four needs – physiological need, need for physical safety, need for love and belonging, and need for esteem - as “deficiency needs” and the need of self-actualisation - as “growth needs”.

The most fundamental need Maslow proposed is the physiological need which involves firstly the development of the concept homeostasis, the body’s automatic efforts to maintain a constant, normal state of the blood stream, and secondly, the finding that appetites are a fairly efficient indication of actual needs or lacks in the body (Maslow 1943, p.372). He suggested that this need is the most important out of the five as it serves as the base channel for all sorts of other needs. If the physiological need is unsatisfied, then one will be dominated by the need and all other needs may become simply non-existent or be pushed into the background. The second level is the need for safety, where one’s desire for protection, as well as preference for familiar rather than 8

unfamiliar things, or for the known rather than the unknown is emphasised (Maslow 1943, p.379). In the case of an emergency, the need for safety can also be seen as an active and dominant mobiliser of one’s resources.

When both physiological and safety needs are gratified, the need for love and belonging will emerge in which one starts to attempt to connect or build a relationship with a thing or a person, and identify it as one’s centre point or source of support (Maslow 1943, p.380-381). The striving for this need is most commonly found in case of physical maladjustment, such as dislocation at a place, or conceptual maladjustment such as severe psychopathology.

The fourth level is the need for esteem, where Maslow proposed that all people in society have a need or desire for a stable, firmly based, high evaluation of themselves (Maslow 1943, p.381-383). The need for esteem can be both in relation to oneself, in the form of self-respect or self-esteem, and in relation to others. The need for esteem can be classified into secondary categories which are firstly, one’s desire for strength, achievement, adequacy, confidence, independence and freedom; and secondly, the desire for reputation or prestige, recognition, attention, importance or appreciation. The satisfaction of the self-esteem need leads to feelings of empowerment which is useful and necessary in this world.

The last need is the need for self-actualisation which Maslow referred to as the new discontent and restlessness that one desires to develop in order to do or become what he/she is fitted for (Maslow 1943, p.382). The need is evoked by one’s desire for self-

fulfilment, the tendency to become actualised in what one is believed to have potential for or is capable of becoming, which can commonly achieved through development of knowledge and physical appearance.

The identification of the five human needs in Maslow’s theory will form a theoretical framework for analysis to take place in this dissertation, in order to analyse and critique the current emergency sheltering solutions.

1.3 Current emergency sheltering: an analysis against Maslow’s “Hierarchy of Needs” In the case of Immediate Sheltering, the focus of the relief doesn’t often result in providing the victims their own living space, but rather on assisting them with meeting physiological needs such as meals and bedding. The sheltering solution fulfils the fundamental human needs by promoting one’s bodily comfort such as a solution to hunger, thirst and warmth. In terms of the efficiency of the solution in fulfilling one’s safety needs, the answer mostly depends on the living condition of the victims or with the most common question to ask: Is one out of physical danger? As mentioned, Immediate Shelter in most cases does not have the ability to provide victims a place of their own, but rather the security of finding a physically safe place. It is debatable what a “safe place” is, but when examining it in an architectural perspective, the idea of displacement can still be experienced due to the absence of a permanent dwelling structure and the sense of ownership of one’s residence. Moreover, the lack of permanent structure suggests that victims are still likely to be exposed within the environment, which introduces numerous unknown factors to one’s habitation. 10

Therefore, the effect of immediate sheltering in fulfilling the need for safety is rather unconvincing. Immediate shelter provides a moderate level of response to the physical safety need of victims, but minimal concern in regard to oneâ&#x20AC;&#x2122;s psychological wellbeing.

Temporary Sheltering is the second phase of the disaster housing solution. It is also the most common form of sheltering that is featured in many past disaster events. An example of temporary shelter can be explored through the case of ShelterBox, an international disaster relief charity founded in 2000, with the mission statement of providing temporary shelter and life-saving supplies to displaced families in the postdisaster situation. The charityâ&#x20AC;&#x2122;s temporary sheltering package offers family sized padded tents that can withstand extreme weather conditions and temperatures, with additional tools such as fixings and tarpaulins to reinforce the durability and liveability of the light structure. The form of sheltering provides victims a sense of enclosure on a more personal scale, which enhances the feeling of being protected and promotes a sense of privacy. The form of the temporary shelter also begins to reassemble elements of a traditional dwelling, specifically walls and roof which evoke a sense of homeliness and stability. The package also offers substantial meals, however, equipment such as cookery tools and life-saving tools such as lights and clean water kits are also supplied to allow families to further enhance the sense of security and stability by engaging them with opportunities to carry through their house duties such as cooking and cleaning. The phase of temporary shelter fulfils a reasonable level of physical needs of the victims and attempts to provide a minimal level of psychological comfort.

As the last phase of emergency sheltering, Temporary Housing is the most comprehensive post-disaster sheltering typology that often involves builders, designers and even architects in its planning process. The form of sheltering elevates from a light, temporary structure to a more extensive housing structure. With the most comprehensive emergency supplement provided, this typology takes a more direct and serious focus on the psychological wellbeing of the people. The building process of the housing often involves actual construction steps which further enhance the sense of safety and security through the stability that comes from the weight of the more substantial building materials and detailed components such as lockable doors and windows. This typology also empowers and motivates victims by allowing them to regain experiences of dignity, confidence and security through re-establishing their household routines on a more extensive scale. Moreover, this typology further fulfils one’s need for safety by not just simply providing a space of their own, but the potential to be able to carry through their daily lives as normal individuals, along with the freedom to achieve tasks, to explore and to live as one wishes. However, although some of these housing options have the potential to become permanent for the dwellers, both the level of physical and psychological comfort still cannot be compared with what is provided with traditional, full-scale residences.

Through the overview of the current emergency sheltering phases, as well as the crossanalysis done in parallel with Maslow’s theory “Hierarchy of Needs”, Chapter One provides an understanding of the differentiation between three emergency sheltering phases and their covered contents. By analysing them, examination has taken place on how, architecturally, each of the typologies performs in serving the physical and

psychological needs of disaster victims in the post-disaster environment. Through the understanding of the current context, Chapter One provides a foundation for further examination that will take place in Chapter Two, where professional responses and analysis of examples will be examined in order to explore the shortcomings of the current sheltering solutions in managing and serving peopleâ&#x20AC;&#x2122;s psychological wellbeing.

Chapter Two Portuguese researchers Daniel Felix, Jorge M. Branco and Artur Feio have stated in their research paper “Temporary Housing After Disaster: A State of Art Survey”, the crucial role that housing provision plays in the post-disaster environment as the loss of one’s dwelling is more than just a physical deprivation, but also very much a loss of dignity, identity and belongingness (Felix, Branco & Feio 2013). Unfortunately, many postdisaster housing solutions often fail their objectives toward one’s psychological wellbeing due to a number of inadequate factors and the pressure of rapid and largescale action under chaotic conditions in the post-disaster scenarios. The chapter will compare Luxembourg architect and theorist Leon Krier ‘s publication, “The Architecture of Community”, his theory of pluralism from the press with Maslow’s theory as the framework for interrogations on the shortcomings of the current emergency sheltering solutions and how they fail to serve dwellers’ psychological wellbeing architecturally. Lastly, the chapter examines three general examples of interior architecture which are the Saint Benedict Chapel in Sumbitg, Graubünden, the Kunsthaus Bregenz Museum in Bregenz, Austria and the Thermal Baths Vals in Graubunden, Switzerland, designed by Swiss architect Peter Zumthor, and examine how they serve the three often-overlooked needs in Maslow’s theory: the need for love and belonging, the need for esteem and the need for self-actualisation. This will be done through discovering and establishing some of the architectural design strategies that are crucial in serving these needs and arguing the potential that the psychological quality in Temporary Housing can also be delivered in Temporary Sheltering or even Immediate Sheltering. 14

2.1 False pluralism in emergency sheltering solutions In 2009, Luxembourg architect and theorist Leon Krier published the press “The Architecture of Community” in a discussion of his theories and thoughts in regard to the making of sustainable, humane and attractive communities in the rapidly growing realm of architecture and urbanisation. In the book, Krier introduced the term “False Pluralism” when discussing the current development of modern urban planning in certain parts of the world, where the development is solely dedicated to either tradition or modernity. As a result, the style of living is dominated by the particular style of urbanisation which causes a suspension in the public pursuing a sense of democracy and individuality (Krier L, Thadani D & Hetzel P 2009).

Based on Maslow’s theory, the three psychological needs after the need for safety require several critical factors in order to be fulfilled. The need for love and belonging requires one’s particular affection and connection to a place, an object or a person, which are mostly developing from one’s memory, experience and cultural influence (Maslow 1943, p.380-381). The need for esteem can be developed through one’s personal experience with strength, as well as a sense of reputation and recognition from others (Maslow 1943, p.381-383). However, these experiences are often achieved based on the precondition that one has the freedom and independence to act. The pre-condition also applies to the need for self-actualisation, where it is necessary for one to have freedom in order to explore, to learn and to develop one’s understanding toward self and what one can become. All three psychological needs require the sense of freedom one normally possesses yet in the post-disaster situation, the freedom is often negated by the chaotic 15

conditions and Temporary Sheltering often fails to restore it. The phase of disaster shelter can be compared to the idea of false pluralism as the mass-produced structure ‘ignores’ the different cultural and environmental contexts in which one’s freedom of choice, expression, exploration and self-realisation are developed.

“Pluralism does not necessarily mean a confusion of styles, but rather a respect for differences (Krier L, Thadani D & Hetzel P 2009).”

Krier has stated that democracy is a conviviality of differences and their free development in a context of tolerance, and tolerance does not mean that people abandon convictions, but gives a variety of options in which people have the freedom to choose whatever suits them best (Krier L, Thadani D & Hetzel P 2009). By extension, if we apply the same theory to the design of the emergency sheltering solutions, it would mean that individuals would get their choices in choosing the form and content of their dwellings; or in a more general perspective, the emergency sheltering solution should design specifically to correspond with specific location, its environmental and cultural contexts.

2.2 Peter Zumthor – Architecture that fulfils psychological needs Peter Zumthor is a Swiss architect who is well regarded for designing human-centric spaces that are emotionally connected. Three of his projects – the Saint Benedict Chapel in Sumvitg, Graubünden, the Kunsthaus Bregenz in Bregenz, Austria and the Thermal Baths Vals in Graubunden will be analysed in general from the perspective of interior

architecture in order to establish crucial architectural elements and strategies that have met Maslow’s psychological needs.

According to Maslow’s theory, a person would commonly be found hungry for the sense of love and belonging in the midst of maladjustment and dislocation (Maslow 1943). However, the response to such need is varied between individuals, and is mostly influenced by one’s memory, experience, habituating environment and cultural background. Zumthor has mentioned in his 1998 publication “Thinking Architecture” that his connection with architecture generally contains the professional knowledge about it, but other times they are rather simple memory and images that are associated with his childhood, and with it he got to experience architecture without thinking about it (Zumthor P 2017, p.7-8). The Saint Benedict Chapel in Sumvitg, Graubünden, designed by Zumthor in 1988 was constructed following the baroque-style chapel of the village that was destroyed by an avalanche in 1984. The new chapel shares similarities in its form, materiality and spatial configuration with the old baroque-style chapel and the local traditional houses which allows it to integrate naturally with the cultural and historical context of the village (Merin 2013). The sense of belonging and connection is established by reminding and evoking one’s memory and previous association with the village structures through the architectural detailing of the new chapel (see fig 2.01).

Figure 2.01: New chapel shares similarity with surrounding local housing in form and materiality, Saint Benedict Chapel, Sumvith, GraubĂźnden, 1988, Peter Zumthor, online image, available on: https://www.archdaily.com/418996/ad-classics-saint-benedict-chapel-peterzum, <Accessed on 2nd May 2019>

Moreover, the new chapel provides openings that allow the surrounding environment to enter into the interior (see fig 2.02), through predominately natural lighting and thus, one can experience themselves still being placed in the village environment that they are familiar with whilst being within the chapel interior. The need for love and belonging is engaged in this case with familiar architectural experience which is provided to evoke and connect them to their memory and past.

Figure 2.02: Light enters from chapel openings, creates connection between the interior and the surrounding landscape, Saint Benedict Chapel, Sumvith, GraubĂźnden, 1988, Peter Zumthor, online image, available on: https://www.archdaily.com/418996/ad-classics-saint-benedict-chapel-peterzum, <Accessed on 2nd May 2019>

The Kunsthaus Bregenz in Bregenz, Austria by Zumthor is an example of architecture serving the need for esteem by offering a democratic place where everyone can interact freely. As Maslow mentioned, the need for esteem can be satisfied in two ways â&#x20AC;&#x201C; through the desire for strength and achievement from adequacy of independence and freedom, or through the adequacy of reputation, attention and recognition. The exhibition space designed by Zumthor creates a coexisting and redefining relationship between people, art, architecture and surrounding nature (Kroll 2011). The museum serves as a point of intersection that collects, absorbs and reflects the cultural and historical context that is exhibited in the interior, as well as the surrounding landscape invited from the outside through primarily the muted material palette and minimalistic form. The architectural composition and configuration allows a fluid and liminal form of transition expressing a level of freedom that allows one to experience the space as a democratic place. In the space, people are not defined by the differences between individuals, as they all become part of the matters that are happening within this point of intersection. The sense of reputation or recognition is introduced as the idea of individuality is respected and celebrated through the allowance of open discussion and freedom of speech encouraged through the lack of visual barriers in the exhibition space.

Fiure 2.03: Open space promotes a democratic atmosphere and encourages interaction of all forms, Kunsthaus Bregenz Museum, Bregenz, 2011, Peter Zumthor, online image, available on https://www.archdaily.com/107500/adclassics-kunsthaus-bregenz-peter-zumthor/5037fd732, <Accessed on 2nd May 2019>

The spatial strategy also has a major influence in the way communication is established in the museum (see fig 2.03). As the redefined boundary between external and internal, public and private sharpens peopleâ&#x20AC;&#x2122;s experience of language, communication through words becomes very fragmentary due to the level of movement and scale in the museum and thus an alternative communication option such as through eye contact and body language has been utilised between different groups of people within the space. The use of alternative communication techniques also then connects different individuals in this big public realm and thus contributes once again as the support to fulfil the need for esteem through establishing a sense of equality.

Zumthor in his publication has also suggested that architecture has the ability to provide the opportunity and space for free exploration and learning, which aligns with Maslowâ&#x20AC;&#x2122;s identification on what the need for self-actualisation can be fulfilled with. Thermal Baths Vals in Graubunden, Switzerland, has been reviewed as an example in the book to explore how the space invites encounters and offers opportunity through architectural planning and detailing to allow one to experience with all their senses (Zumthor 2017). The experience of the architectural journey begins at a ritualistic entry corridor, where oneâ&#x20AC;&#x2122;s attention has been drawn and engaged. As one transitions along the corridor and

up the steps, tension has been created and causes one to wonder what would be expected to come (see fig 2.04). When the participant reaches the level of the baths, the spatial experience is no longer prescriptive, instead one is suddenly opened up to an

Figure 2.04: Individual senses enhanced by spatial atmosphere to encourage one to explore freely, Thermal Baths Vals, Graubunden, 1996, Peter Zumthor, online image, available on: https://www.archdaily.com/13358/the-therme-vals/500f246628ba0d0cc7001d41-the-thermevals, <Accessed on 2nd May 2019>

explorative space where the freedom of discovery is offered. Moreover, the spatial elements also serve as additional enhancement for oneâ&#x20AC;&#x2122;s sensory experience in the architectural journey. The treatment of the wall details, the sound and smell from the bathing water, the mixed use of natural and artificial lightings, the rough texture from the stacked, locally-sourced stones and the overall mood created by the composition between all these elements. The ritualistic and sensory experience has been further enhanced by all the interior detailing whereby one does not simply rely on experiencing by sight, but also by using the senses of smell, touch and hearing and could even have the possibility to reach beyond the five senses, extending to the sense of spirituality and proprioception. In the space, one is able to explore, to learn and to be enlightened freely which all allow the development of oneâ&#x20AC;&#x2122;s own self-actualisation. This chapter has reviewed and examined the argument that the current emergency sheltering solutions, especially the phase of Temporary Sheltering lack consideration

and strength in fulfilling the psychological needs of disaster survivors by applying theories from Maslow’s “Hierarchy of Needs” and Leon Krier’s “The Architecture of Community”, with additional architectural precedents designed by Peter Zumthor to examine and establish the crucial architectural elements in serving the need for love and belonging, the need for esteem and the need for self-actualisation. The architectural characteristics have been evidenced and established through the analysis of the three precedents in the chapter in which it has been established that the need for love and belonging comes from one’s connection with small scale details that have sentimental reference evoked by familiar features and memory; the need for esteem can be achieved through the overall promotion of the sense of community and physical interaction such as eye contact and body language is promoted through spatial configuration, and the need for self-actualisation can be developed by allowing one to engage and explore in a space with various senses. With the understanding of the argument against the current emergency sheltering solutions, Chapter Three will provide a series of case studies of Japanese architect Shingeru Ban’s post-disaster emergency sheltering projects and explore how his research and design strategies in relation to one’s psychological wellbeing have been incorporated into his design practice as an extension of the research to support the potentiality of Temporary Sheltering and Immediate Sheltering incorporating the quality to fulfil disaster survivors’ psychological needs.

Chapter Three Japanese architect Shigeru Ban has challenged and changed the agency of traditional disaster sheltering since the introduction of his first disaster relief project built for the Rwandan refugees in 1994 (Shaw 2016). Banâ&#x20AC;&#x2122;s approach toward humanitarian work pushes for innovative and individually fitted responses, and rejects generic and inappropriate responses to vastly different contexts. The chapter will firstly introduce Ban and investigate his significant impact in the realm of post-disaster architecture. Then, three specific disaster sheltering projects of his, which are the Nepal Reconstruction Housing Project in Nepal, the Paper Partition System in Okayama Prefecture, Japan and Cardboard Cathedral in Christchurch, New Zealand, will be thoroughly analysed based on the specific architectural characteristics that have been established in the two previous chapters and specifically evidenced in Zumthorâ&#x20AC;&#x2122;s projects in order to fulfil the individual requirement of the need for love and belonging, need for esteem and need for self-actualisation.

3.1 Shigeru Ban: Design for people Shigeru Ban is a Japanese architect who was the recipient of the Pritzker Architecture Prize in 2014 (Hill 2014). The architect is known for his inventive and resourceful design approach, along with his extensive dedication and effort toward humanitarian architecture. Ban is mostly recognised from his innovative and exclusive use of paper tubes and other paper products in his designs since his first interaction with the material in the Emilio Ambasz Exhibition in Tokyo Japan in 1985 (Ban 2017, p.38 - 41). In 1990, Ban designed Odawara Pavilion and East Gate in Kanagawa Prefecture, Japan as his first 23

paper structure and since then, Ban has been consistently pushing the boundary of form and materiality. His significant projects include the Japan Pavilion in Hannover Expo in 2000, Centre Pompidou-Metz in Paris in 2010 and the Maison Hermes Pavilion in 2011.

In 1994, Ban has designed emergency shelters for the intergovernmental organisation United Nations for the Rwandan victims of the Rwandan civil war and since then, Ban has become closely involved with humanitarian works internationally (Hawthorne 2014). In the following year, Ban designed and built the Paper Log House for Vietnamese refugees and soon after, the Takatori Paper Church for the affected community that suffered in the Kobe Earthquake in Japan. Banâ&#x20AC;&#x2122;s post-disaster work is revolutionary and significant as he challenges the traditional templated design of postdisaster housing solutions and argues that a post-disaster structure must be made with consideration of cultural adaptivity, with modification applied to a design accord specifically to the cultural and environmental context of a place (Ban 2017, p.11). Banâ&#x20AC;&#x2122;s design practice is often based on rigorous research of the culture and geographic information, and supported by much prototyping and testing (Shigeru Ban: Permanent Impermanent n.d.). Such an approach allows him to design customised post-disaster solutions that are humane and people-centred, which opposes the singularity and false pluralism traditional methods hold. It also allows him to embrace and engage the psychological needs of the survivors and provide suitable solutions, mostly in the form of interior architecture. Therefore, research-based design process allows him to not only fulfil the physiological need of the survivors, but also to take the three often overlooked psychological needs into account.

3.2 Case Studies 3.2.1 Nepal Reconstruction Housing Project, Nepal 2015 The Nepal Reconstruction Housing Project (Nepal Project) is a post-disaster housing project designed by Ban in 2015 to provide accommodation for the homeless disaster victims after Nepal been struck by two devastating earthquakes in that year. Nepal Project aimed to provide semi-permanent houses for some of the local victims, primarily using rubble sourced from the surrounding earthquake debris as infill material, framed by structural wooden frames and roof that were built using a truss system of cardboard tubes (Ban 2017, p.338-339).

In the Journal of Cultural Geography in July 2009, architectural researcher Mohan N. Shrestha described in his research article “Nepal’s Traditional Settlement: Pattern and Architecture” the traditional architectural characteristics of Newar style architecture in Nepal. Ban’s project engages with the need for love and belonging firstly through his spatial configuration reference of the interior to the traditional Newar style architecture. The simple, rectangular layout with the living room serving as the centre point of the dwelling and with other spaces placed around it as supporting components (see fig 3.01)

Figure 3.01: Centralised spatial configuration reflects to traditional Newar residentials, Nepal Reconstruction Housing Project, Nepal, 2015, Shigeru Ban, online image, available on: https://www.dezeen.com/2015/08/14/shigeru-ban-designs-modular-shelters-for-nepalearthquake -victims-disaster-relief/, <Accessed 2nd May 2019>

pays homage to the spatial configuration of traditional Newar residences (Shrestha 1981, p.33). The idea of symmetry is shown in both the plan and the gabled roof that is aligned and placed directly above the living room which helps one experience the feeling of being centred and orientated within the space.

Secondly, the use of material and material composition share the similar appearance and properties, reflecting both the traditional materials of locally sourced timber, sun

3.02: Visual connection established through rubbles gathered and used as construction and finishing material, Nepal Reconstruction Housing Project, Nepal, 2015, Shigeru Ban, online image, available on: https://www.dezeen.com/2015/08/14/shigeru-ban-designsmodular-shelters-for-nepal-earthquake -victims-disaster-relief/, <Accessed on 2nd May 2019>

dried or fire burnt mud bricks, tiles and mud, and the way different styles of decorative patterns are used to form the building facade through material and colour compositions (Shrestha 1981, p.33-36). In Banâ&#x20AC;&#x2122;s design, the connection between dwellers and structures is further enhanced as the rubble gathered from the surrounding ruins is used as both structural and finishing material. The space becomes intensely sentimental for dwellers as a reference to oneâ&#x20AC;&#x2122;s memory of the past and the disaster itself are they are constantly reminded through visual connection with the materiality and experience of the atmosphere within the space (see fig 3.02).

Lastly, the sense of belonging is also established with the act of the survivors rebuilding their own dwellings, which is enabled by the simple structural requirement in Ban’s design. Traditionally, the idea of handcrafting mostly comes from a carpenter or artisan handcrafting or hand carving the different types of wooden window frames (see fig 3.03)

3.03: Traditional handcrafted window frames in Newar architecture, Nepal, image from published article “Nepal’s Traditional Settlement: Patterns and Architecture”, Mohan N. Shrestha, 2009

in Newar architecture in order to express and showcase a good sense of taste and the carpenter’s artistic skills and imagination (Shrestha 1981, p.35-36). A sense of familiarity and connection is established when one treats the structure or a product by hand, through the physical effort that is spent and the experience of touching, understanding and modifying the material. In this case, dwellers are able to contribute time and effort in rebuilding a home for themselves, while possible customisation is encouraged to be included in the process to fit individual needs and preferences. As result, one is able to develop their individual association with the structure and ultimately establish their need for love and belonging.

3.2.2 Paper Partition System, Okayama Prefecture, Japan 2018 In 2018, Ban joined the disaster relief organisation in Okayama Prefecture, Japan to assist and set up his Paper Partition System for the evacuees (Block 2018). The Paper 27

Partition System (PPS) was firstly introduced after the 2004 Niigata Chuetsu Earthquake, known as the PPS1, with the purpose of serving and protecting privacy in an emergency sheltering environment such as an evacuation centre or gymnasium (Japanese Architecture News 2018). Ban has been continuously advancing his design and applying his ideas to different post-disaster scenarios and in 2011, the most recognised version of the design PPS4 was developed. The PPS4 allowed survivors to be involved in its simple assembly process, with paper pipe made out of columns and beams and then cloth being applied to it for blinds for each family within the space formed by the partitions.

The need for esteem is firstly established through the level of privacy provided within the partition structures. Architectural researcher Matthew T. Kubota has analysed in his published research article “Thinking Inside The Box: Tracing Japan’s Traditional Design in Modern Japanese Architecture” some of the crucial architectural components and strategies in traditional Japanese architecture. Ban’s PPS4 reflects cultural reference from the shoji screen, a type of Japanese partition and screening that is traditionally made out of wooden framing structure covered with panes of oiled paper (Kubota 2016, p.36-42). The shoji screen is a significant component in traditional Japanese architecture due to its capability of controlling the level of light entering a space, which ultimately controls the level of connection an interior has with the exterior and the surrounding environment. A similar architectural characteristic is shown in the PPS4. Although there are adjustments with the use of material, the partition still creates a visual reference of the shoji screen and instead of dividing between interior and exterior,

the partition serves to create a divider between families during the time of the day when privacy is required (see fig 3.04).

Secondly, the negative space formed by the partition system becomes a transitional area for accessibility and visual interaction between families. The idea of the transition zone resembles the traditional Japanese design called the engawa, which is known as the space of circulation and often serves as a multifunctional space that traditionally allows for the connection between other spaces that are located along the path the engawa

Figure 3.05: Similarity in form and purpose shared between transitioning and gathering zone (left) with traditional engara (right), PPS4, Okayama Prefecture, Japan, 2018, Shigeru Ban, image edited by Troy Chan on 2nd May 2019

Figure 3.04: Similarity in materiality and form shared between traditional Shoji screen (left) and Banâ&#x20AC;&#x2122;s PPS4 (right), PPS4, Okayama Prefecture, Japan, 2018, Shigeru Ban, image edited by Troy Chan on 2nd May 2019

follows (Kubota 2016, P.34-36). During the day, the engawa becomes a zone where visual and physical interaction between survivors is achieved, mostly through eye contact across the walkway and people transitioning, but also communication made through body language and visual signals (see fig 3.05). The engawa also aligns the temporary partitioning structure in which a sense of equality is promoted, with

survivors living on the same plane, alongside each other disregarding their various backgrounds and individual differences as they are being represented in the space as a collective rather than specific individuals. The need for esteem is established in this case mostly through the cultural references the temporary structure shares and the equality promoted with people of difference sharing the same interior space and live equally.

3.2.3 Carboard Cathedral, Christchurch, New Zealand 2011 The Cardboard Cathedral, designed by Ban in New Zealand in 2011 was intended to serve as a temporary replacement for the cityâ&#x20AC;&#x2122;s former Anglican church, the Christchurch Cathedral, designed by English architect Sir George Gilbert Scott in between 1864 and 1865, which was destroyed by the earthquake in February of 2011 (Ban 2017, p.326). Ban and the government recognised the importance of the original cathedral being the symbol of the city and the need for such symbolic elements to uplift the publicâ&#x20AC;&#x2122;s spirit and therefore paper tubes of equal length and 6m shipping containers were used to form the temporary cardboard cathedral as a response to the situation. The material components were stacked together and formed a triangular shape and, in its geometry, homage is dedicated to the plan and elevations of the original cathedral.

The need for self-actualisation is firstly met with the newly achieved geometric form as one can experience a sense of familiarity with its external and internal features and characteristics and can immediately relate to the original church structure. Yet, the new element and experience can still be discovered and explored furthermore with oneâ&#x20AC;&#x2122;s interaction with the new design, mostly coming from the new selection of materials. The original material and features of the church showcase much masonry work and 30

craftmanship including the high altar flanked by three wooden carvings and the pulpit with its four white alabaster carvings (Rice & Sharfe 2008). The new material palette

Figure 3.06: Similarity in spatial configuration shared between original Christchurch Cathedral (left) and Cardboard Cathedral (right), Cardboard Cathedral, Christchurch, New Zealand, 2011, Shigeru Ban, image edited by Troy Chan on 2nd May 2019

introduces a sense of lightness in its physical appearance that is different from the original. However, the sense of spiritual substance still remains within its present form coming primarily from the dramatic contrast in scale created through the significant ceiling height and the muted colour tone in the interior space which continues the sense of purity and holiness (see fig 3.06).

The idea of exploration and discovery continues with oneâ&#x20AC;&#x2122;s interaction and experience with the atmosphere created through the introduction of natural lighting in the space. The new design features a large scaled, coloured glass window made from tessellating triangles and decorated with images from the original cathedralâ&#x20AC;&#x2122;s rose window (Frearson 2013). The use of the window predominantly invites an appropriate level of natural lighting into the interior. However, as the natural sunlight enters through the coloured glass, a reaction occurs due to the property and materiality in which firstly, the boundary between inside and outside is redefined and secondly, a warm and holistic 31

atmosphere that is an ever changing accord with the time of the day is created in the interior to which one is allowed to have their personal interacting and interpretation

Figure 3.07: Spirituality created with natural lighting enters through coloured glass windows in both Christchurch Cathedral (left) and Cardboard Cathedral (right), Cardboard Cathedral, Christchurch, New Zealand, 2011, Shigeru Ban, image edited by Troy Chan on 2nd May 2019

within the space. Such an interaction between the user and the space often happens differently according to both the changes introduced by the surrounding environment and to oneâ&#x20AC;&#x2122;s unique perception of the space. In the space, Ban has introduced the idea of spirituality that allows self-actualisation to happen through individual discovery, understanding and exploration (see fig 3.07). This specific sense of spirituality is not necessarily meant to be religious but instead, it simply heightens the sensitivity of oneâ&#x20AC;&#x2122;s senses and thus allows a unique and personal connection to be established with the space, which ultimately allows the need for self-actualisation to be fulfilled.

In this chapter, three specific post-disaster sheltering solutions designed by Japanese Architect Shingeru Ban have been explored and analysed based on the architectural characteristics established in previous two chapters. To summarise, Ban has established the requirements for the need for love and belonging, esteem and self-actualisation through research-based design practice. It is evidenced that the psychological relief can 32

be promoted and served in a post-disaster environment. In the Nepal Reconstruction Housing Project, Ban fulfilled the need for love and belonging by introducing direct interaction and visual connection of the past through primarily the use of materiality. The Paper Partition System used in the Okayama flooding situation has fulfilled the need for esteem by paying homage to the traditional form of Japanese architecture components and as well as creating a sense of community through the placement of structures. In Cardboard Cathedral, Ban has allowed self-actualisation to proceed by creating an ever-changing internal atmosphere that allows people to discover and explore individually. All the interior architectural characteristics and strategies discussed above are not the only way to fulfil these psychological needs, but they do serve as evidence to demonstrate that it is possible to take the psychological needs of the survivors into account even though the post-disaster situation is urgent.

Conclusion This dissertation has argued that the current disaster sheltering solutions lack consideration and strength in serving the psychological needs of disaster survivors. Through the examination and analysis of academic research, theories and case studies, it has been evidenced that psychological comfort can be established in a post-disaster situation through the use of interior architecture.

In Chapter One, the modern approach toward disaster relief and post-disaster housing has been reviewed and examined. The definition of an emergency shelter has been introduced, along with the current phase of emergency shelter and architecturally, how each of the sheltering solutions accommodate disaster survivors. The chapter questioned and examined the efficiency and comprehensiveness of the temporary shelter through reviewing the content of disaster relief packages provided in each phase and how they serve as immediate, temporary and semi-long term solutions for the community. American psychologist Abraham Maslow’s theory “Hierarchy of Needs” was introduced in the chapter to allow a thorough understanding of the level of human needs introduced in the theory with regard to the sheltering solutions to be developed and serve as a theoretical framework for future discussion.

In Chapter Two, the published academic article “Temporary Housing After Disasters: A State of the Art Survey” by Portuguese researchers Daniel Felix, Jorge M. Branco and Artur Feio from the 2013 journal, Habitat International – A Journal for the Study of Human Settlements has been introduced and analysed to provide additional support to 34

the fundamental argument of this dissertation, where current post-disaster solutions lack consideration and strength in serving the psychological wellbeing of the disaster survivors. The chapter has compared the theory from the published press “The Architecture of Community” by Luxembourg architect and theorist Leon Krier and continued with Maslow’s “Hierarchy of Needs” to investigate the psychological aspects the sheltering solutions fail to serve. The chapter has also examined architectural examples designed by Swiss architect Peter Zumthor for evidence of the three overlooked psychological needs mentioned in Maslow’s theory being met through interiors.

In Chapter Three, Japanese architect Shigeru Ban has been analysed in detail on his significant impact in developing and reshaping the traditional disaster relief sheltering schemes into designs that are humane and people-centred in a post-disaster environment. Three specific disaster relief projects of his - the Nepal Reconstruction Housing Project in Nepal, the Paper Petition System in Okayama Prefecture, Japan and the Cardboard Cathedral in Christchurch, New Zealand - have been explored and examined in order to understand how post-disaster structures can fulfil the psychological needs of the survivors, based on the specific architectural characteristics that are required by the need for love and belonging, for esteem and for self-actualisation as established in Chapters One and Two.

The dissertation has provided evidence that psychological comfort can be established and promoted through research-based design practice that takes references from the

specific cultural, historical and geographical context of a particular place where disaster has occurred.

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