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SHUWARDI BOON SEEN

academic portfolio 19/20

CONTENT ILLUSTRATED REFLECTIVE REPORT CHARRETTE | relief, what a relief! PROJECT PRIMER | sensory pod PROJECT STAGING | dementia pod FIELD TRIP CASE STUDY REPORT | nordic embassies, berlin PROJECT REALISATION | thinking through making week, residential healthcare for dementia people design proposal PROJECT SYNTHESIS | “projection of memories”

new work

improved work

celebratory piece(s)

ILLUSTRATED CULTURAL BIBLIOGRAPHY BIBLIOGRAPHY ILLUSTRATED REFLECTIVE REPORT

This year has certainly brought the word “perseverance” to a whole new level. Being a part of the House of Memories studio has now become one of the turning points in my architectural life as I notice the drastic changes in my design approach and thinking compared to where I was a year ago. This time last year I would never have imagined myself to be learning about and designing a dementia healthcare centre. It is not just another healthcare centre, and most definitely not just any hospital. As the year progressed, the project became more and more personal as I invested more and more time and effort trying to gain a better understanding of dementia, knowing well that it could happen to almost anyone and oftentimes it is completely uncalled for. Approaching it from such a personal point of view has been one of the main drivers behind my design. Working on this project has made me realise that there is so much more to architecture than it appears; for people suffering from dementia, a mere change in texture or colour or materiality could make a huge difference to their daily life. For instance, utilising the colour contrast system helps them recognise and differentiate certain surfaces a lot more easily – encouraging them to be more self-reliant while

lowering the risk of falling over or injuring themselves. For someone with dementia, every little detail matters and as a person who values details and tends to be a perfectionist (oftentimes unnecessarily), the detailing stage of the design used to be one of the things I found the most difficult to achieve. For the most part, it is because I tend to place too high of an expectation on myself and because of this I am never truly happy or satisfied with the work I produce. However, being in this studio and being guided by such supportive and knowledgeable tutors has motivated me to work outside of my comfort zone and their words of encouragement are always such a boost to my confidence and motivation. More importantly, I began learning to take pride in my work and appreciate it all better, no matter the results. Having such great and competitive studio-mates has also been extremely motivating. As a studio we worked really closely together and shared many new things with each other – one of the more memorable moments was how we chose to pull an all-nighter in the Building Science studio (the only one that had access to the simulation software programmes) and kept each other

motivated and awake throughout the night before the review. Being in this studio has not only helped me develop my thinking and approach as I continue to challenge myself, it has also allowed me to explore different ways of expressing myself – writing, painting, sketching, and drawing both by hand and digitally, to name a few. Apart from design, I found the dissertation module the most challenging despite being more interested in theory and having performed better in majority of the theory-based modules than the practical ones. However, all the researching and reading has only added to my knowledge and towards the end I began to value my writing even more. With the “death of history and architecture” being one of the primary themes of my essay, this module has undoubtedly given me the opportunity to look at and understand architecture from an entirely different angle. It was through this module that I finally came to a realisation that no matter how far forward the present architectural realm seems to be, there is no denying that at the end of the day history is perhaps one of the only things that is capable of keeping us grounded. In other words, history reminds us to take or do things stage by stage instead of looking too far forward

and risk losing our identity along the way. I think having and developing such understanding of certain things has allowed me to grow and improve not only as a designer, but also as a person. The dissertation module has helped me immensely in the journey of developing my own analytical thinking skills and my identity as a prospective architect. The technology module, on the other hand, has helped me gain a better understanding of my own design and how important it is to have a solid environmental and structural strategy without compromising the architectural language of the building. In this module, I found the environmental strategy the hardest to develop due to my limited knowledge in this area. However, with the help of the simulation software programmes and the additional reading/research, I managed to slowly familiarise myself with related keywords and towards the end I was finally able to analyse and work it out more naturally (which is hopefully apparent through my simulation analyses). I have also become more aware of my surrounding environment and realised over and over that this is indeed a significant aspect in any building design, especially in the present day where climate crisis is becoming a key part of our design resolution. On a

different note, accessibility in many instances is often overlooked, however in this project this was one of the highly fundamental aspects that needed to be addressed throughout the design process. This has indirectly forced me to pay a closer attention to things that I would not normally consider when designing. If anything, I feel that this has only added more value to my design thinking and approach. Essentially, addressing each one of these points when designing only brings me a step closer to creating a building that works structurally, sustainably and environmentally whilst maintaining my very own architectural language. Last but not least, I would like to mention that this has truly been a great year despite some unfortunate happenings. I was blessed with such an amazing studio and I have honestly learnt the most this year than I have in the past two years combined.

CHARRETTE relief, what a relief!

Capturing the essence of the high street, freezing it in time to be experienced by the viewers.

‘time

The time tunnel is based on the Northumberland Street; the stretch of tunnel’façade along the street has different types and eras of architecture. Using this we could portray different times and eras as well as activities done in that period of time.

For this activity we attempted to use reliefs as a method to portray the modernisation of the high street and create frames of the ‘high street’ from a first person point of view.

Diversity in the sense of culture and people related to surrounding buildings. A lot of people use the space, using the space without properly expe-â&#x20AC;&#x2DC;diversityâ&#x20AC;&#x2122; riencing the space or be aware of the surrounding.

PROJECT PRIMER sensory pod | ‘memories in layers’

The book ‘Lost in Space: Architecture and Dementia’ by Eckhard Feddersen talks about layers of memories, a timeline of events placed from top to bottom with the most recent ones being placed at the top. On one hand memories in layers could mean losing memories in stages, on the other it could carry an entirely different meaning and in a more positive light: making memories one at a time, in layers, also in stages. Hence, the name of our sensory pod: “Memories in Layers”. In the case of dementia patients, memories of childhood or from long ago are well encoded since the person has had longer to process and remember specific events. In contrast, when Alzheimer’s symptoms start to show, think of “Last in, first out.” It can be difficult for a person with dementia to remember something from 20 minutes ago. This discussion has then led us to talk about our childhood memories. The keywords such as temperature, materiality, view & landscape, nature, social interaction (which is the urge to be around people, to get involved in one’s community; to identify, to belong) often came up during our discussion.

The resulting case study is ‘Nuts on Circles – the emotive tool’, which is designed to stimulate interaction between the person and the object, highlighting the moment of activity. The tool is not prescribing a certain outcome nor are there any rules for the interaction. The focus is set on the moment of the process itself. Each element can serve as a starting point of a dialogue between the patient and the initiator -- be it the designer, the carer or the family member -- and reveal a new link to his life. This scenario addresses the human ability to communicate on an emotional rather than an intellectual level. We were also asked in the beginning to browse through the healthcare building notes and tease out information that would be relevant to our project. In Part II, point 4.18, it states that healthcare buildings need to be adaptable and allow for changes in layout, function and patient volume. It is therefore important to consider flexibility and continuous change by asking questions such as “What if?” and “What happens if?” As a response to this, the sensory pod is designed as a semi-external space where it is semi-enclosed and gives the users the option to access the pod from both directions.

We then had a look at the works by Annina Gaehwiler, a Swiss designer and researcher working in Zurich, who began to explore the role objects can play in the care of a particular dementia patient. ‘Memory inFig.layers’ illustration. 1: ‘Memory Layers’ (Momoko Kotani, Primer project, 2020.)

Illustrations of memories. (google images, source unknown.)

key themes: ‘Drawers of Curiosity’ ‘A Continuous Change throughout the Fundamentals of Our Infancy’ ‘Parallels between Children and Dementia People’ ‘Vitamin D Zone’ ‘A Play on the Circadian Rhythm’ ‘Memory and the Senses’

‘Nut on Circles’ by Annina Gahwiler. (rca.ac.uk, n.d.)

Fig. 3: ‘Nut on Circles’ by Annina memories in layers: timelineGähwiler of events placed from top to bottom, with the most recent ones being placed at the top childhood: temperature, texture and materiality, view, landscape and nature, and social interaction memory boxes: relationship between people and objects ; ‘Nut on Circles’ by Annina Gähwiler continuous change (in spaces): flexibility, adaptability, and variation

Exploratory models.

Side elevation of the sensory pod.

Conceptual sketch (top) and a final rendered sketch (right) of the sensory pod. (Mariana Morales, Primer, 2020.)

Plan and elevation drawings; atmospheric drawing (right).

1:1 final model.

Drawers of Curiosity

Drawers of Curiosity Origami / Arts & Crafts

Clay Flower Pots

Because we are generally less alert and not as inclined to concentrate in the period after lunch or in the early afternoon, this is an ideal time for creative programs such as colouring or paper folding (origami). These programs tend to be not as demanding of cognitive or physical abilities, and they are relaxing and so best suited to that time period.

Social interaction

Creativity

Choice

Relaxing

Some of our strongest memories, our most potent associations, are triggered by odor. A smell that you associate with an event or moment in the past will often transport you to that moment. It can do so much more than just stir a memory. The smell of peppermint, for instance, is used to both stimulate the mind and the appetite, to calm the nerves, and to rectify absent-mindedness.

Tactile

Social interaction

Olfactory

Drawers of Curiosity

Puzzles of Memories

Little Objecfs

Puzzles for elderly with dementia provide comfort and mental stimulation, and potentially ease some of the symptoms of the disease. The activity of putting the puzzle together affords the opportunity for both verbal and non-verbal communication. Weâ&#x20AC;&#x2122;ve chosen images that will either spark a memory of a previous interest or can be used as conversation starters.

The tool is not prescribing a certain outcome nor are there any rules for the interaction. The focus is set on the moment of the process itself. The tool can be configured using a series of modular elements embodying links to the individualâ&#x20AC;&#x2122;s biography. Each element can serve as a starting point of a dialogue between the patient and the initiator, be it the designer, the carer or the family member and reveal a new link to his life.

Social interaction

Mind game

Memory

Relaxing

Tactile

Social interaction

Life story

Sensory Wall

Green Maze

Projection of Light

Individuals living with dementia can find life confusing and isolating. Handling soft and tactile items can often re-invigorate their memories and lead to meaningful discussion and returning memories. These padded, cushioned walls are comforting and soothing to touch and help alleviate stress. The use of colour also adds clarity to the environment as they clearly contrast with other elements, hence making them easily distinguishable.

Spending time outdoors, especially in green spaces, reduces stress levels, blood pressure and heart rate, while encouraging physical activity and buoying mood and mental health. This allows for activity, sociability and interaction with nature. A good light therapy (natural daylight) also ameliorates sleeping disorders (sundowning) and helps restore a more natural sleeping pattern. Additionally, playing games (e.g. maze) exercises the memory-impaired individual’s mental functions in a low-stress and enjoyable way. Muscles that are exercised regularly are much less likely to atrophy.

A Play on the Circadian Rhythm

Visual

Tactile

Social interaction

Mind game

Visual

Tactile

Sundowning, also known as “late-day confusion”, is a term used for the changes in behaviour that occur in the evening. People with dementia experience a growing sense of agitation or anxiety at this time. The projection of lights during the day-to-night transition helps minimise the effects caused by the rapid change between the day time and night-time. These scenic projections are also accompanied by an audio soundtrack in the background for a soothing effect.

Relaxing

Visual

Audio

PROJECT STAGING dementia pod | ‘a home away from home’

Project name: Dementia Residential Healthcare Centre, Newcastle Upon Tyne (Potential) client: Newcastle Upon Tyne Hospitals NHS Foundation Trust The brief of this project is to design a residential healthcare centre for people with dementia. The site for this facility is located in Arthurâ&#x20AC;&#x2122;s Hill, the west end area of Newcastle upon Tyne which is situated about one mile west of the city centre. The site is currently under consideration as a potential site for a dementia facility for NHS patients on Westgate road. The site location which is in immediate vicinity of Newcastle University Campus for Ageing and Vitality has the capacity to develop

and link to healthcare professionals and provides an opportunity to supply the dementia care centre with the energy generated on the Campus. The variety of schools and community organisations in the area also provides a good platform for inter-generational exchanges. In this project, I attempt to tackle some of the issues that stem primarily from the sun-downing syndrome (also known as â&#x20AC;&#x153;late-day confusionâ&#x20AC;?) which is a term used for the changes in behaviour that occur in the evening, usually at dusk. People with dementia experience a growing sense of agitation or anxiety at this particular time of the day. Oftentimes they get confused about the current situations and the identities of the

people they are surrounded with at the time, leading them to think that they are in the wrong place and as a result they get agitated. To confront the root cause of this issue, one of the key themes that forms the poetry of my project is the projection of light. Light projections (be it on the screens or walls) using both artificial and natural daylights during the day-tonight transition help minimize the effects caused by the rapid change between the daytime and nighttime, simultaneously resulting in a play on the circadian rhythm.

Site photos. (3D google Earth, 2020.)

As the site is surrounded by main roads, there is a high risk of noise pollution. However, the existing trees along the periphery act as a noise barrier and help prevent a potential noise pollution. This is one of the key factors that has been taken into consideration when designing the landscape for my proposed building.

The idea of a central courtyard is also partly inspired by the internal courtyards of the existing buildings on site.

Com pet enc e Cent r e f or P eople w i t h D em ent i a

The precedent I have chosen to base my design approach on is the Competence Centre for Dementia People in Numberg, Germany. I am particularly interested in how the spaces are divided among the three buildings whereby each one has a different theme, giving patients the option to choose the environment they prefer. Having various themes also creates different atmospheres and living qualities. Another aspect that interests me is the circulation. Spaces used/operated by the staff mostly form the core, a circular structure which leads automatically through the common living space (see page 40-41).

location: Numberg, Germany architect: Feddersen Architekten completion: 2006 usable floor area: 3,513msq capacity: 8 units, 96 residents

Each of the three floors (illustrated below) features variations on the three types by employing different colours and materials to create a variety of different atmospheres and living qualities. One is flooded with daylight , the other is rather dark, one focuses on itself, the other is extroverted. The variation in materials and textures helps reinforce the residents’ relationship to their surroundings. Feddersen Architekten, ‘Living for the Elderly’, 2nd edn., 2017. (issuu.com)

the “patio type”

the “janus type”

the “rustic type”

private

courtyard

movement

stairs/lift

public space

In two of the pavilions, the kitchen, nursing bath, staff room and ancillary rooms each form a core, the circle of which leads automatically through the common living space. These layouts permit residents to follow a round route and return to the point where they started. The mobility that this allows within a protected environment helps to counter feelings of unease and the urge to be overactive often experienced by dementia sufferers. All the residentsâ&#x20AC;&#x2122; rooms adjoin a central space where people cook and dine together, thus allowing the corridors to be obviated. At the patio house, the northern of the three buildings, the path leads around a courtyard and past the living room and the kitchen, but not through them. lounge

circulation

The architecture Iâ&#x20AC;&#x2122;ve chosen as a precedent for the design of the cinema hall is Naust paa Aure, a timber waterside summerhouse in Aure, Norway. Designed by architects TYIN Tegnestue, the building was constructed using materials that were mostly reused and the flexible process of construction allowed on-site design reactions, effectively reducing both the construction time and cost. Flaps in the facade lift upwards to open the interior onto a deck. The shutters on the long side swing open with the help of simple steel fittings.

Naust paa Aure by TYIN Tegnestue Architects. (Pasi Aalto, Dezeen, 2011.)

Spaces reception receptionist office staff office waiting area cafe seating area cinema hall shared courtyard accessible public toilet nurse office nurse station accessible staff toilet administration office meeting space/discussion room conference room beverage bay and break space for staff male locker and changing room female locker and changing room connecting hallway (compartmentalised room for fire) storage room rehabilitation / treatment room consultation room sluice and utility room plant room kitchen and storage (cold/freezer room) en-suite bedroom private (residential) garden assisted bathroom communal lounge dining area multi-purpose room tv room internal courtyard Approximate total area

Number of Rooms Approx. given area (mÂ˛) 1 1 1 1 1 1 1 1 1 1 4 3 1 3 1 1 1 1 1 1 1 1 1 1 1 8 8 2 1 1 1 1 1

20 15 20 30 23 25 125 200 7 85 4 7 32 20 85 56 20 20 50 15 23 20 33 15 60 36 20 20 60 60 25 15 40

Total Area (mÂ˛) 20 15 20 30 23 25 125 200 7 85 16 21 32 60 85 56 20 20 50 15 23 20 33 15 60 288 160 40 60 60 25 15 40 1,770

A patient bedroom, scale 1:100 Grid: 500x500mm Layout of bedrooms, scale 1:125

Atmospheric/conceptual sketch of intial idea of an internal courtyard.

Perspective drawings of the proposed dementia pod, illustrating and experimenting with colour contrasts between the wall, floor, and ceiling. One of the key points picked up from this exercise is that the floor, wall and ceiling should all be of different and contrasting colours - the floor being the darkest, the wall lighter, and the ceiling lightest.

Lux distribution - North

This is extremely important to avoid confusion and to help the dementia residents recognise or differentiate different spaces/surfaces more easily while allowing them to be more independent and maintain their dignity.

Lux distribution - East

Lux distribution - West

Lux distribution - South

FIELD TRIP CASE STUDY REPORT nordic embassies, berlin

CONCEPT AND DESIGN DEVELOPMENT

The Interlocking of Indoor and Outdoor Space The scheme ties together the individual pavilions with a banderole of green-patinated copper laminate (copper band for short) to constitute a mutual facade (Fig. 2). Therefore, visual relations are crucial in this project. One looks from the landscape upon a building that is referring to the landscape, and the interior spaces are orchestrated which then, in turn, offer a special view to the landscape. The panoramic view in the Nordic embassies inserts something entirely natural and lanscaped into the city through the corroded copper.

Fig. 1

For the architects, the relationship between the buildings with their environment and nature are key. In this project, “landscape” naturally refers to the special location beside Tiergarten (Fig. 1). With the embassies, they wanted to establish a different scale, convey different information to the outside, and not just place six little standalone buildings on the edge of Tiergarten. They simply would have gone lost in the metropolis like Berlin. The landscape-forming quality and the visual relations are crucial in this project and they lend the embassies an appropriate presence as a “Landmark” in the heart of Berlin. Fig. 1 & 3: Own drawings Fig. 2: Own photo Fig. 2

Fig. 3

CONCEPT AND DESIGN DEVELOPMENT CONCEPT AND DESIGN DEVELOPMENT The Pure Conceptual Approach The project starts from the idea of a whole, expressing the shared vision of unity. The cutting of this solid block (Fig. 4) results in six separate volumes (Fig. 5) that define six distinct units (the buildings). The cutting edges also create voids which form the main square, the pond and the streets (Fig. 6 & 8), effectively leaving no space unused.

Fig. 9

Multiplicity in a Whole An unusual (and diplomatic) departure from tradition, the embassies for the Nordic countries suggest the idea that national interests can be harmonized by a shared vision of unity.

Fig. 4

The surrounding copper band (Fig. 7) incorporates all six buildings within its boundaries and forms a continuous, autonomous element. Its flowing, uninterrupted movement transforms the scale of the individual structures, giving each embassy an appropriate presence within the unified region.

Fig. 7

The five proud pavilions and a sixth shared facility, Faelleshuset (House for All), form an architectural wonderland in the cityâ&#x20AC;&#x2122;s old diplomatic quarter.

Fig. 5

Fig. 8

Fig. 4-6: Own drawings Fig. 7-8: Own photos Fig. 6

Fig. 9: From top (clockwise starting from bottom left in Fig. 8): Denmark, Iceland, Norway, Sweden, and Finland; Images taken from Wikipedia Fig. 10: Own drawing

Fig. 10

SPATIAL SEQUENCE

Circulation Summary The circulation route becomes clear the moment the visitor steps into the building. The free-standing glass staircase which creates a vertical movement in the atrium, gives an obvious indication of how to get from one floor to another.

Fig. 2

Fig. 1: Own drawing Fig. 2-5: Own photos Fig. 3

Emergency exit Lift Coat hanger Exhibition hall Cafes Reception and information counter Glass staircase for public use Private staircase for staff Private circulation Main entrance

Fig. 4

Fig. 5

Additional access/Goods handling Auditorium

Fig. 1

SPATIAL SEQUENCE

Staircase Circulation Free-standing glass staircase & cantilevered landing between first and second floors The presence of the free-standing glass staircase in the centre of the atrium makes visitors feel more welcomed and gives the impression of a clear circulation - making it extremely accessible. The cantilevered landing allows the users to scan through the entire atrium from the roof down to the ground. This gives them a good overview of everything that is taking place, especially in the exhibition hall. Fig. 6-7: Analysis of the visual overview provided by the cantilevered landing; Own drawings Fig. 8-10: Own photos

Fig. 9

Fig. 6 Fig. 8

Fig. 10

Fig. 7

SPATIAL SEQUENCE

Key Spaces on Each Floor G. Coat hanger

Fig. 11

Fig. 14

The row of hangers adds a nice touch to the atrium as it evokes a sense of comfort and familiarity - even more so when the visitors are allowed to do it on their own. This space is particularly interesting because it could have easily become a circulation area without any particular function. The creation of this little space also allows for a continuous circulation across the atrium. 1. Exhibition hall 2. Cafeteria

Fig. 12

Fig. 13

Fig. 15

Fig. 16

The circulation patterns for both the exhibition hall and the cafeteria are rather similar. The architectural journey that each of these places presents is almost like a loop, metaphorically; it leads you in circles and there is no end to the journey.

Fig. 11-13: Own photos Fig. 14-16: From bottom: Ground floor plan, first floor plan and second floor plan; Own drawings

PROJECT REALISATION conceptual design | ‘the spatial dialogue between inside and outside from a person with dementia’s perspective’

Design summary

The main objective of the realisation stage of the project is to present a ‘critical and innovative’ approach to the conceptual design, substantiated by my analysis and interpretation of dementia-based design. The scheme is presented via a variety of mediums, such as drawings (both digital and hand-drawn), physical models, 3D modelling and urban performance simulation programmes ( as a tool to to model and refine my building’s massing decisions based on the predictions of wind speed or flow, and daylight and shadowing effects of my massing. It is at this stage that I begin to develop the poetry and architectural language of my design. My design at this stage of the project mostly revolves around the concept of light projection, and the primary concept - the memory projection - only comes after.

As the duration of stay for the residents is long-term, it is important to create a living space and environment that feels like “a home away from home.” This is especially reflected in the way each bedroom is designed and with each bedroom (ensuite) comes a private garden. There are three main thresholds in the proposed building: 1. main entrance and lobby for public use, 2. the “line” between the semi-private and public that separates the public and the staff as well as the residents, 3. the controlled access between the residential area and the staff offices. These thresholds form the circulation flow of the building, from public to semi-public, and semi-public/ private to private. The site location is surrounded by primary schools and community areas, therefore to ensure the building is integrated within

the community, the indoor/outdoor cinema is designed as the main space for inter-generational interaction to take place. The design of the cinema is also intended to mainly reflect the key theme of the project which is the projection of lights. The roofscapes in particular are also an extension of this theme; they are designed to either provide shade or bring in more daylight especially to areas with insufficient daylight (analysed through the simulation software such as IESVE and Velux). In terms of materiality and aesthetics, each wall surface in the building will have to be considered carefully in order to fully incorporate the light theme into the project; in a sense the cinematic/light experience does not end at the cinema but continues throughout the building where lights are able to be projected on different wall surfaces.

The shared courtyard between the cinema and the main building -- enclosed by a series of raised plant beds and tall trees, supporting the free and safe movement of patients, while allowing passive surveillance by the carers/staff at all times -- provides a venue for the people with dementia to reduce agitation specifically to those with “wandering attitudes.” In the case of dementia patients, the relationship between indoors and outdoors enhances the sensory experience. As a response to this, an internal courtyard is added to the design, integrating the sensory pod built in the Primer stage in addition to being a result of precedent studies and research.

A series of floor plan iterations and a 1:200 massing model.

Thinking Through Making Week (TTMW) model at 1:25 scale My interest in the early stage of the design lies mainly on timber and modular units. This model is an exploration of a half-lap joint timber structure for the design of the cinema hall which initially has a square form.

Design development sketches: (top row, from left) 1. male and female bedrooms, duplicated in both form and angle. Issue: some bedrooms do not get a direct access to natural daylight. 2. bedrooms, now pods, rotated 45 degree angle, simultaneously creating a potential private green space for each resident. Solution to the issue: now all four pods on each side facing the East and West get access to natural daylight. 3. each pod is offset about 1300mm from each other, creating a gap between every pod. Reason: this allows for passive surveillance by the staff/carers from the inside, besides bringing in some daylight to the corridors (which form the â&#x20AC;&#x153;wanderingâ&#x20AC;? route).

Plan and section drawings presented at the realisation review. Key: 1. Drop-off 2. Reception 3. Waiting/seating area 4. Cafe 5. Manager’s office 6. Working space (receptionists) 7. Changing + locker room 8. Accessible toilet 9. Nurse station 10. Residential bedroom (en-suite) 11. Assisted bathroom 12. Courtyard 13. Shared communal lounge 14. Shared dining area 15. Kitchen 16. Break-out space 17. Private garden 18. Nurses’ working space 19. Admin. director’s office 20. Archive + store room 21. Admin. office 22. Station doctor’s room 23. Clean and soiled utility rooms 24. Waiting/seating area 25. Conference room 26. Rest area and kitchennette for staff 27. Roof garden 28. Covered walkway 29. Indoor/outdoor cinema 30. Shared courtyard

79 21st December

Urban performance simulation programmes (such as enviMET, IESVE and Velux) are used as a tool to model and refine my buildingâ&#x20AC;&#x2122;s massing decisions based on the predictions of wind speed or flow, and daylight and shadowing effects of my massing. For instance, the shared courtyard is pushed back to minimise the wind speed/flow from the south-west, ensuring thermal comfort for the users especially during the colder months. Apart from the site analysis, these simulations have also proved to be fundamental to my landscape design. Another key design improvement would be the design of the roofscapes which is based particularly on the daylight simulations. The angles of the roof on different sections of the buildings depend on the amount of daylight received in each area/room; the roof planes are inclined to a certain angle either to scoop in more daylight or provide shade where there is potential for over-heating during the warmer months. The iteration of the design is mostly based on the sun behaviour in December, June and March (outlined in pink) with December and June being central to the study because of the drastic changes in the daylight factor.

21st June

0600

0900

Thermal comfort analysis, enviMet.

1200

1500

Wind speed analysis, enviMet.

1800 Daylight simulations, IESVE.

21st March

Visualisation of the roofscape design through hand-drawn sketches and an intial attempt at the roofscape using a physical model.

Atmospheric sketches of the entrance, communal lounge and the balcony on the first floor overlooking the communal lounge.

PROJECT SYNTHESIS residential healthcare centre for people with dementia | ‘projection of memories’

Final design summary The new-build will be constructed approximately 10 metres north of the existing – partly demolished – building on site and comprise of a two-storey building. The proposed design, covering majority of the given site and extending around 80 metres from north to south and 55 metres from east to west, has a building footprint of approximately 4,400m². The ground level of the main building will be divided into three zones: public, semi-pri-

vate, and private. Whereas the first floor will only be extruded from the North part of the building – where the staff workspaces are – therefore it will be private and only accessible by the staff. To ensure the building is integrated within the community, an indoor-outdoor cinema will be proposed as part of the design brief to serve as the main activity space for inter-generational exchanges to take place. The cinema will be constructed as a separate unit with an approximate total area

of 123m² on the south-east of the main building and in between these two structures there will be a shared courtyard. There will be varying heights across the different sections of the building mainly for daylight purposes with the average height being six metres. As the duration of stay is longterm, the design approach is to create a living space and environment that feels like a home away from home. In order to achieve this, the design approach from the very beginning will include

the analytics of how the space may be perceived from the perspective of a person with dementia.

Designing a healthcare building that includes special features such as the indoor-outdoor cinema and the “Garden of the Senses” will provide a platform for inter-generational exchanges, thus minimising the negative perceptions many have with healthcare facilities. Providing therapeutic outdoor environments where residents can wander safely and engage with neighbouring communities will not only help slow down the progression of the disease, but also keep both the residents and the carers active and healthy. More importantly, having these features will provide an opportunity to normalize inter-generational encounters.

Design development sketch: - formation of the cinema hall, from a square to a hexagonal-shaped building. (similar to the public and staff buildings). - door “flap” design inspired by Naust paa Aure (see page 44-45 for an introduction to the precedent and page 101 for a more in-depth study of the cinema hall design).

Design development sketch: (bottom, left) - floor-to-ceiling timber framed glass at every corner connecting each wall. - making the masonry walls appear indepedent and free-standing - similar in language to the “fragmented” roofscape. Having these glass structures provide an opportunity to bring the outdoor in without needing to incorprate large full-length windows which would have greatly affected/increased the daylight factor.

Design development sketch: (bottom, middle and right) - additive-subtractive diagram sketch of the staff building with the highlighted areas being the subtracted ones.

Hierarchy diagram, highlighting the architectural language across the building on plan view.

Zoning diagram.

Bubble diagram showing the connection of spaces.

Design development across the year; rendered site analysis showing sun path and wind direction (presented at the synthesis review).

Pedestrian and bicycle entrances and paths which are located on the Southeast side are separated from the vehicular entrance and route (Southwest) for safety purposes.

The courtyard, also known as the â&#x20AC;&#x2DC;Garden of the Sensesâ&#x20AC;&#x2122;, provides a variety of opportunities for activity as well as contemplation. The contact with nature has a positive effect on the health: relieves stress, lowers heart rate etc. In the garden, there are no tropical plants and certainly no thorns or poisonous berries. Local, well-known shrubs, bushes and flowers, on the other hand, convey the desired sense of security. The footpaths around external areas, particularly between the main public building and the cinema hall, are designed in a clear manner -- level and barrier-free to boost the residentsâ&#x20AC;&#x2122; confidence and independence. They are also clearly distinguished from the surroundings. Raised plant beds allow for a direct contact between the elderly (and wheelchair users) and the plants without having to bend down. (see page 96 for a more detailed study.)

Illustrations of the sensory pod which is to be located in the internal courtyard. (Primer Exhibition, Group work, 2020.)

On both sides of the residential centre, the kitchen and the multi-purpose room on the right as well as the courtyard on the left each form a core, the “circle” that is intercepted by a horizontal social/common living space. This layout permits residents to follow a round route and return to the point where they

Diagram showing the position of the beds in every bedroom facing the bathroom and the location of the internal courtyard, private gardens and seating areas (highlighted in blue).

started. The mobility that this allows within a protected environment helps to counter feelings of unease and the urge to be overactive often experienced by dementia sufferers. All the residents’ rooms adjoin a central space where people cook and dine together, thus allowing the corridors to be obviated.

Diagram highlighting the continuous wandering routes without dead ends and the exits which are located away from the residents’ eyesight to prevent them from escaping/running out.

Illustrations of the sensory pod which is to be located in the internal courtyard. (Primer Exhibition, Group work, 2020.)

Scenic / light projection. (Primer Exhibition, Group work, 2020.)

The contrast of tone is used to aid perceptions of surfaces and objects. For instance, the doors and window frames that contrast with walls. Elements such as doors for staff are deliberately disguised by lack of tone as these should only be recognised by the caregivers. The diverse wall surfaces also have an impact on the acoustics.- different material use for acoustics, besides providing visual and tactile stimulations. The kitchen is placed in the middle to stimulate the residents’ appetites; the nurse stations are placed at the centre on each side to ensure the effectiveness of passive surveillance; the controlled access doors remain open during the day and locked during the night. For the most part, they are intended to maintain the dignity of each resident (female bedrooms on the left and male, on the right).

Cinema on floor plan.

The shared courtyard between the cinema and the main building provides a venue for the people with dementia to reduce agitation specifically to those with “wandering attitudes.” In the case of dementia patients, the relationship between indoors and outdoors enhances the sensory experience.

the courtyard area and where wind flow is kept at minimum and optimal, ensuring a comfortable environment for the occupants to sit in and improve their exposure to the sun and generation of vitamin D.

It is also essential to design a safe place with easy access. This means barrier-free The building is orientat- access, level and noned in a way that allows slip surfacing, and no sufficient daylight into gradients in the grass

and planting areas that could cause someone to fall over. There should be no sharply contrasting colours in the surfacing or at the door threshold. Intimate seating areas arranged at intervals along the paths encourage walking from one place to the next, and provide an opportunity to sit down on one’s own or in small groups; a single seat offers a retreat, longer benches

or seating groups promote communication. Additionally, the location of the courtyard which is between the public building and the cinema hall also ensures that there is no blinding daylight in the area. In the case of dementia, shady areas should be predominate because of the sensitive skin of the elderly.

Different material use on wall surfaces, Competence Centre for People with Dementia by Feddersen Architekten, 2006.

Diagram highlighting the utilisation of access control and the locations of nurse stations, kitchen, and assisted bathrooms.

“Double door” design, Competence Centre for People with Dementia by Feddersen Architekten, 2006.

Different material use on wall surfaces (e.g. matte painted residential bedroom walls and stone finish on alternating walls), and double door design inspired by Feddersen Architektenâ&#x20AC;&#x2122;s Competence Centre for People with Dementia.

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During the warmer months the cinema “unfolds” - in a way that is similar to the design language of the other roofs - transforming it into an outdoor cinema. The flaps in the facades lift upwards to open the interior onto the courtyard where residents and family members (visitors) as well as the staff members are able to experience either an outdoor cinema or projections of light on different surfaces around the courtyard.

experience. Structurally, the shutters on the long side swing open with the help of simple steel fittings.

will provide a platform for inter-generational exchanges, thus minimising the negative perceptions many have with healthcare facilities.

The language present in the roofscapes of the main building is continued throughout the cinema hall in the form of doors, rather than the roof itself. This is mainly because the cinema does not require any natural daylight which is the key factor in the roofscape design.

During the colder months, the doors close up, enclosing the entire building and converting the outdoor experience indoor. This also allows for a more private

It is also worth mentioning that designing a healthcare building that includes special features such as the indoor-outdoor cinema and the “Garden of the Senses”

Providing therapeutic outdoor environments where residents can wander safely and engage with neighbouring communities will not only help slow down the progression of the disease, but also keep both the residents and the carers active and healthy. More importantly, having these features will provide an opportunity to normalize inter-generational encounters.

1:25 exploratory model of Naust paa Aure, Stage 1, ARC1014.

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Communal lounge and dining area, before (top) and after (bottom). From left: March, June, September, December. Time, date and sky condition: 1200, 21st, Overcast. Improvement: Addition of skylights (outlined on drawing in pink) to bring in more daylight during the colder months. Note: Increased window depth (the frames protrude both upwards and downwards) for solar shading.

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Residential bedrooms (top: facing West, bottom: facing East) From left: March, June, September, December. Time, date and sky condition: 1200, 21st, Overcast. Improvement: Increased window depth and 1 metre extended roof overhang for solar shading. Note: The increased window depth is followed by a window seat design to bring an extra dimension to each bedroom.

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North-south section, facing East. Time, day and month and sky condition: 1200, 21st March, Overcast. Optimal results whereby the amount of daylight across the communal lounge and dining area (outlined above) is uniform after replacing the prism-like roofscape with a flat roof.

East-west section, before (top) and after (bottom). From left: March, June, September, December. Time, date and sky condition: 1200, 21st, Overcast sky. Improvement: Replacing the triangular roofscape (above the communal lounge and dining area) with a flat roof and with a series of skylights integrated to bring in a more uniform amount of daylight, besides also ensuring a continuity in the overall architectural language.

North-south section, facing West. Time, day and month and sky condition: 1200, 21st March, Overcast. Issue: High level of glare in the public zone (outlined above) Improvement: Addition of horizontal brise soleil as a solar shading device to prevent the daylight from reaching the glazed windows directly. (see axonometric drawing of the public building on page 111 for the incorporation of the horizontally-mounted timber brise soleil.) (also see the following pages for a comparison between the lux levels before and after the use of the solar shading device.)

106 Daylight simulation results superimposed on ground floor plans (nts), Velux.

High lux levels in this particular public zone.

Decrease in daylight factor and a more even spread of daylight after the addition of brise soleil.

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In the first round of simulations, the lux levels in the public zone are extremely high (as shown and mentioned in the simulation analysis on page 105). As a response to this, structural solar shading device such as a horizontal timber brise soleil (see page 109) is used to prevent over-heating and glare without compromising either the architectural language of the facades or the efficiency of the environmental strategy of the proposed design (see page 112115). Incorporating the device means during the warmer months the solar-controlled windows can be kept opened during the day to allow for natural cross-ventilation without worrying about bringing in too much daylight (or heat). This horizontally mounted ladder screening is used particularly to stop the sun rays from coming into contact with the glazed surfaces. Apart from this, landscape design also plays a crucial role

in ensuring an optimal daylight factor throughout the year. Placing tall, deciduous trees such as maple and poplar along the periphery of the dementia centre site does not only provide a layer of privacy and security for the residents, it also helps create cooler areas especially along the East and West-facing residential area where the external private gardens are. These trees also act as a shield against high wind speed passing through the site (especially around the primary entrance.) Using the tree-shade as an external shading strategy can significantly reduce direct solar absorption by the buildingâ&#x20AC;&#x2122;s wall (when shade is cast upon the wall through daytime.) Utilisting these strategies could also aid in the decrease in cooling loads; therefore, as a result there is reduction in electricity consumption. (see rendered floor plans for a more accurate landscape design proposal.)

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Axonometric drawings showing the location of thin-film solar panels as part of the proposed designâ&#x20AC;&#x2122;s environmental strategy.

Public building.

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Residential building.

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Environmental strategy for the public building.

Environmental strategy for the residential building (page 113). Note: the roof design for the middle section has changed, however the concept of thermal mass remains the same.

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6. Composite floor slab 114 19mm wood flooring Vapour control layer continues up 100mm at room perimeters behind the skirting board 70mm screed layer 60mm profiled steel deck 200mm Kingspan Thermafloor insulation (Kingspan, 2017.) 300mm steel beam with circular web openings for services 250mm aluminium wire mesh ceiling for services and with integrated lighting Cavity stop for fire safety purposes

100mm concrete floor slab Damp proof course lapped over damp proof membrane to prevent cold bridging 50mm sand blinding 150mm hardcore 12. Foundation Damp proof course 150mm above ground level 50mm residual cavity Cavity fill 225mm below damp proof course 300mm x 600mm concrete strip foundation

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7. Partial cavity wall Vapour barrier 50mm coarsed stone wall cladding 140mm Kingspan Thermaroof insulation (Kingspan, 2019.) 100mm low density lightweight aggregate blockwork Wall tie with retaining clip (wall tie slopes slightly down towards the outer wall to allow moisture to find its own way out) 100mm cavity Kingspan Thermawall insulation board, 50mm (Kingspan, 2019.) 100mm low density lightweight aggregate blockwork 12.5 plasterboard 8. Independent lintel Pre-cast concrete lintel. Rolled steel angle supporting blockwork outer leaf Cavity closer with a PIR insulation core 9. Glazing Double pane glazing filled with argon (as an insulator for both noise and heat) 10. Sill MDF sill board 50mm frame overlap to reduce PSI-values of the lintel, sill and jamb (to deal with thermal bridging) Cavity closer with a PIR insulation core 11. Flooring 19mm wood flooring Vapour control layer continues up 100mm at room perimeters behind the skirting board 70mm sand screed with underground heating pipes (ground source heating pump) (see GSHP diagram on page 117.) 75mm Kingspan Thermafloor (TF70) insulation board (Kingspan, 2020.) 100mm concrete floor slab

1:20 detailed section (page 116). Highlighted in pink are the details and key words I have attempted to address as part of the buildingâ&#x20AC;&#x2122;s environmental strategy.

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Exposed pratt steel truss for flat roofs and monopitch steel truss with glazing (below) for pitched roofs.

Monopitch steel trusses with glazing are used as support for every pitched roof plane across the building. This system is chosen particularly because it is able to span a distance without requiring any columns, therefore resulting in a flexible, column-free internal spaces and reducing substructure costs and construction times.

These steel trusses are utilized to reinforce the steel square hollow sections that are supporting the roof planes as well as the monopitch roof trusses in all four directions. As each one of the planes has different measurements (and angles) and the columns are not located at the centre of the building, this type of steel truss is used on each side of the atrium-like structure to provide additional support and stability as well as to resist lateral loads.

In the case of my proposed building, the biggest span is up to 12m. The increased depth of these trusses allows them to span greater distances than steel beams and girders. (Francis D.K. Ching, Building Construction Illustrated, 2019, 6.08.)

Steel truss system for columns and roof; perspective section cutting through the residential pod, corridor and common space; axonometric drawings of staff building (top) and public building (bottom).

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Summary and critical reflection of technical strategies (extracted and edited from ARC3013 Integrated Technical Study report, 2020) The material and structural strategies as a whole rely heavily on the poetic aspect of the design. In short, the architectural language is intended to reflect the memories of the people with dementia in layers. The roof structure, besides being a result of the daylight simulations, symbolises the residents’ gradual loss of memory or their state of mind in general which becomes more fragmented with time. Due to site constraints such as being overshadowed by the existing building on the south of the site, the roof structure, combined with the load-bearing masonry cavity wall system, becomes a dominant feature of the overall design strategy. The roof structure respons-

es to the daylight simulations whereas the masonry wall strengthens the environmental aspect of the design -for instance, where the roof “scoops” light in, the thermal mass of the wall absorbs and stores the heat energy from the sun and provides heating during the winter months. Opting for a roof structure that offers the building the ability to play with and manipulate natural daylight contributes to the environmetal strategy. The design of the roofscape also incorporates sustainable design as it looks to reuse, reclaim and upcycle steel. This strategy is further enhanced by utilising solar-powered automatic glazed windows

for natural ventilation (especially for the windows facing north) coupled with a layer of louvres to prevent overheating. Because this is fundamentally a building for dementia people, it is important to use open plan layouts for safety purposes and passive surveillance as well as to provide the residents with barrier-free, open spaces for wandering. Therefore, one of the primary elements that has allowed the project to achieve its intended design approach is the utilisation of a steel truss system. It is also equally important to provide enough segregation between the male and female residents to help them maintain a sense of dignity. This has resulted in more rooms for the residents to be moved or

transferred to and from in the case of a fire. Every location and position of the windows has also been considered carefully; for example, lesser windows on the north-facing facade to reduce heat loss. The number of windows in the residents’ bedrooms has also been reduced because too much shadow for the residents may result in agitation. In terms of accessibility, the building has been designed to be easily accessed by every person, no matter his or her mobility.

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Summary of the architectural language and the poetic aspect of my proposed design There are two underlying themes that are dominant throughout my design process; 1. light projection, 2. memory projection. The light projection is essentially an extension to the Primer project whereas the memory projection is based on the real life event experienced by dementia sufferers. Ultimately, it is the story behind the â&#x20AC;&#x153;projection of memoriesâ&#x20AC;? that forms the poetry and language of my architectural design. In light of this, the main concept that stamps my design is the idea of a memory box. The building as a whole is intended to reflect the unfolding of memories of the people with dementia (the residents). In this particular concept illustration, the fragments of shattered glass symbolise the loss of memory experienced by people with dementia. As the symptoms worsen, they lose the ability to recognise their own faces and memories from childhood (long-term memories) begin to resurface, overlapping the recent ones (short-term memories), hence the reflection of a younger version of the person holding and looking into the mirror. In terms of design, I have attempted to interpret this occurence mainly through the design of the roofscape. Each plane is intended to mimic the behaviour of shattered pieces of glass, or, in a more poetic language, pieces or layers of memories. In plan and elevation views, the portruded glass walls in the public building are meant symbolise the distorted memories caused by dementia - illustrated here as the slightly misshapen face.

Note: Full-sized A1 drawings at 1:200 scale will be uploaded as a separate file along with this portfolio.

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Final rendered floor plans Key: A. Vehicle drop-off and principal entrance B. Secondary entrance for pedestrian and cyclist C. Secondary entrance for staff D. Emergency exit (for ambulance)

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1. Foyer 2. Reception 3. Reception office 4. Waiting and seating area 5. Cafe 6. Cafe seating area 7. Shared courtyard 8. Cinema hall 9. Male changing and locker room 10. Female changing and locker room 11. Staff office 12. Accessible toilet 13. Connecting hallway (fire compartment wall) 14. Communal lounge and dining area 15. Internal courtyard 16. Residential bedroom (en-suite) 17. Private garden 18. TV/multi-purpose room 19. Kitchen 20. Storage (cold/freezer room) 21. Assisted bathroom 22. Plant room 23. Storage 24. Clean and soiled utility room 25. Station doctorâ&#x20AC;&#x2122;s room 26. Treatment room 27. Nurse office 28. Conference room 29. Discussion/meeting space - closed and open 30. Archive and storage room 31. Admin. office 32. Rest area and beverage bay for staff 33. Nurse station 34. Balcony for staff

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Rendered floor plan at 1:50 scale showing the relationship between the residential bedroom (facing West) and the surrounding environment.

This superimposed plan drawing of the bedroom shows that the amount of daylight entering the room is kept at an optimal level, ensuring a comfortable environment for the residents as well as the staff/carers (along the corridors). Increasing the window depth clearly plays a crucial role in achieving such results. Apart from the 1m roof overhang, the increase of the window depth provides solar shading. It also allows for a window seat/table design, so there is less obstruction, simultaneously lowering the risk of tripping over additional furniture.

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CULTURAL BIBLIOGRAPHY field trip in berlin | site visits to dementia healthcare centres

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Site visit to Castleside Inpatient Dementia Ward in Newcastle on the 6th of December 2019.

Site visit to a Dementia Care Centre Roker and Mowbray in Sunderland on the 29th of October 2019.

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