Z6P15 by PDF Uploads

Illustrated Reflective Report

Charrette Week

Studio Brief

Primer

Field Trip

Staging

Thinking Through Making

Realisation / Synthesis

144

152

154

Illustrated Cultural Bibliography

Bibliography

Appendix + Field Trip Case Study

Refer to Appendix

New Work

CONTENTS

‘DESIGNING FOR DEMENTIA’ House of Memories is a studio that focuses on designing for those affected with dementia. Dementia is an umbrella term, used to describe illnesses that affect a person’s cognitive ability, behaviour, feelings, relationships, and general life. Those who are affected by dementia have a different perception of the environment as a result of abnormal brain changes, and so the idea of designing to reduce agitation and stress from unfamiliar environments is key. My final output this year is a combination of learning accumulated from all aspects of the project. Using the analogy of a snowball, my understanding of designing for dementia when we started the project in Primer was a small ball of snow that has since rapidly increased in size through Staging, Realisation, and Synthesis. Research completed in Primer - such as the importance of inter-generational interaction, the importance of different textures, and the importance of familiarity in design - has constantly been referred to throughout the year, acting as a guiding design framework to ensure that I am designing correctly for dementia. At the start of the year I knew very little about dementia, nor how we should best design for those affected by it – now, although I would not consider myself a specialist in this field, I am far more aware of the science behind the topic and how successful architecture can really make a difference to the lives of those who are affected by dementia.

ILLUSTRATED REFLECTIVE REPORT

To do this, I have adopted the slogan ‘the home from home’ as an underpinning idea for all my work this year. From Primer to Synthesis, calculated decisions have been made based around the idea of creating a home away from home for residents of my dementia facility. More important to our studio than others is perhaps the way in which detail plays an important part in design; for dementia, it is not just about the form of the building, but also how it is furnished and inhabited. These ideas are reflected in both the interior and exterior spaces of my work this year, serving to remind people of home to make space more familiar. Precedent visits to existing dementia wards were incredibly valuable in teaching me this – with these, we could visibly see how the design of a space either improved or inhibited the life of someone affected by dementia, with smaller details like art, plants, and colour often making the biggest difference. Other activities have also influenced my design work this year. I thoroughly enjoyed the Thinking Through Making Week, focusing on an aspect of my design at a closer scale. For me, this task allowed me to further my exploration into the ideas of home not institution, creating a friendlier and softer alternative to a traditional piece of hospital furniture. ARC3013 Integrated Technology allowed me to focus more in depth on the

technical side to my proposal, influencing its design in various ways that will be illustrated throughout this report. Our ARC3014 Professional Practice and Management module was also beneficial, as it helped make the project feel more real, considering the logistics behind an architectural proposal through the eyes of a hypothetical practice. The ARC3015 Theory into Practice module allowed me to consider why I represent my work in the way I do, with the influence of Bjarke Ingels becoming apparent in my diagrammatic style of representation. From October to now, I have continuously developed my skills, learning new things with each project. As with each year, both my critical design thinking and representation of ideas have developed immensely. One of the greatest skills I can take from this year in particular, is learning how to use environmental software simulation to inform design. Our studio has been fortunate enough to learn the basics of software such as Integrated Environmental Solutions (IESVE), ENVIMET, and Velux Daylight Visualizer, to help us understand more about daylight, shading, and other environmental considerations. These are particularly important when designing for dementia as poorly lit spaces and excessive shade and shadow can lead to increased patient agitation, and so using softwares such as these have helped us to mitigate these factors and produce well thought out designs. Simulation has played a major role throughout my design process, particularly in the Staging, Realisation, and Synthesis modules, influencing various factors of the design. The knowledge I have gained from learning these softwares can also be carried forward heading into practice, where these considerations become even more important during design. Now more than ever, the issue of designing healthcare facilities is becoming more important. At the time of writing this report, current world crises have illuminated the fact that healthcare design – specifically design for dementia – is not where it should be, and so it is important for us as aspiring architects to consider early on in our architectural career how we must design, and design well, for those who are the most vulnerable in our society. This project has always been unique, as in the back of my mind it has constantly felt as if my design could help improve someone’s quality of life, giving it a very strong realistic and social conscious. Therefore, putting myself in the shoes of the residents of my building, I have always asked myself ‘what would I want to see if I had to stay here for weeks upon end?’. The answer to this question comes in the form of my final proposal – months of learning, iteration, and development have come to an end, marked by the work I am most proud of yet during my time at Newcastle.

THE HOME FROM HOME

CH.

Portfolio Charrette

Is design equal for all? How are certain groups of people overlooked in the public realm? Do architects reinforce stereotypical values or challenge them? How can we do more to benefit everybody?

(Yew Zhi Xuan, 2019)

GIVE A DAMN! This Charrette aimed to highlight the aspects of the high street that many people look past on a day-to-day basis, and consider how the built environment was ill-designed for certain groups of society, particularly Northumberland Street. Most of us are content with looking at our phones or the floor whilst walking down the high street, and fail to interact with our environments or even each other. As a result, we become unaware of our surroundings and donâ&#x20AC;&#x2122;t realise how many spaces are not adequate for the most marginalised and vulnerable members of society, or how more

could be done to make the experience of walking down the street better and more equal for everyone. Each students piece conveyed an issue discovered on Northumberland Street through the use of photography, interacting with people on the street, and creating different personas to see the publicâ&#x20AC;&#x2122;s reaction These experiences were presented in the form of documentation, banners, and photographs, reflecting key points of our group manifesto.

A group performance piece protest marked a display of our feelings, showing a reflection on what we as a group felt should be necessary criteria in architectural design, not just along the high street, but everywhere. This Charrette has helped me consider how we could and should design for the most vulnerable member of society, something carried forward in my work this year whilst designing for those affected by dementia.

(Unknown, 2019)

(Image Credits: Alvernia University, 2019)

Portfolio Studio Brief

(Andrews, et. al, 2013)

Portfolio Studio Brief

(Alzheimerâ&#x20AC;&#x2122;s Society, 2020)

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Portfolio Studio Brief

(DSDC, 2013)

DESIGN FRAMEWORK Various factors have provided me with a framework for design this year. The most important of these for me were; extensive research into dementia, its associated impacts, and successful design for dementia; environmental simulation; and also visits to successful existing dementia wards such as Roker and Mowbray (photos of which can be seen in the appendix) to see how design ideas work in reality.

Research from the Stirling University Dementia Services Development Centre (DSDC) proved particularly valuable, outlining key design considerations that I have followed throughout the year when designing for dementia. The key considerations from this research can be seen to the right, and will be referred back to at various points within this document.

THE HOME FROM HOME

Portfolio Studio Brief

STUDIO MANIFESTO

PERSONAL DESIGN APPROACH

Collectively, our studio devised a more specific manifesto for our design work this year. These five points illustrated above are not the be all and end all of considerations to follow, but acted alongside my framework as a guide to design. In considering these design ideas, any final output produced should in theory be a successful attempt at designing for dementia, creating a pleasant environment for those whose environment has been altered by abnormal brain changes.

From the framework outlined previously and our studio manifesto, I have adopted three key design approaches in my work. These are: home not institution, engagement with the outdoors, and intergenerationalinteraction.Thesethree approachesworktogethertofulfilthe overallaim ofthe project: designing a dementia care facility that can be succinctly referred to as â&#x20AC;&#x2DC;the home from homeâ&#x20AC;&#x2122;.

Throughout this document, these symbols will be repeated to indicate where each design approach has been adopted, re-iterating the idea of home from home.

THE HOME FROM HOME

IN COLLABORATION WITH COLIN ELKINGTON, JERRICA LIU, AND SIMRAN RAVINDAN (REPRESENTATIVE DIAGRAMS CREDITED WHERE APPLICABLE; ALL MODELS AND FINAL OUTPUT REMAIN COMBINED GROUP EFFORT)

“But it’s not true. I forget things—I know that—but I’m not mad. Not yet. And I’m sick of being treated as if I am. I’m tired of the sympathetic smiles and the little pats people give you when you get things confused, and I’m bloody fed up with everyone deferring to Helen rather than listening to what I have to say.” Emma Healey, Elizabeth Is Missing

The focus of our Primer project was to design a ‘sensory pod’ for those affected by dementia. This small group project provided us with an introduction into designing for dementia, specifically design that evoked tactile responses to various stimuli. It was also an opportunity to gain more knowledge on the topic, and move past our naive and limited understanding of the disease. Our group’s pod focused largely on the idea of a child’s play space, to encourage intergenerational interaction between our residents and children from the surrounding area of our site in Newcastle Upon Tyne. Someone who is affected by dementia has the same brain characteristics as a child, and so forming a link in this way reflected research we had undertaken as a group. Creating a familiar environment and the option of choice were also central ideas for our work, in order to reduce stress levels (which can affect short-term and long-term memory recall), provide mental stimulation to engage the brain, and allow patients greater autonomy. Fun interactive activities were included in the pod to engage the brain, and surrounding themes are reflective of a child’s learning environment. Trips to current facilities during this part of the project also inspired our own thinking, in particular the successful design of the Roker and Mowbray Ward in Sunderland (photos of which can be seen in the illustrated bibliography), with our group aiming to incorporate some of these successes within our own work. Our final output presented at the Primer Exhibition was a strong reflection of our group research and design development, and would not have been possible without our combined effort as a team. This incredibly hands on project was a great way to get to know our studio better, both in terms of design philosophy and as a group of people.

PR.

Portfolio Primer

PR.

IMPORTANCE OF PATIENT CONTACT

ABILITY TO EVOKE MEMORIES THROUGH SURFACES

IMPORTANCE OF INTER-GENERATIONAL INTERACTION

ENGAGING AND MENTALLY STIMULATING OPPORTUNITIES

FAMILIARITY THROUGH DESIGN

IMPORTANCE OF NATURAL AND ARTIFICIAL LIGHTING

RESEARCH, RESEARCH, RESEARCH In order to produce a final output that was suitable for those affected by dementia, it was necessary to undertake extensive research to learn more about dementia, the different ways it can affect people, and what can be done to alleviate certain symptoms - there is no cure for dementia, and so the only action that can be taken to improve quality of life is consider how the disease can be slowed in its progression. Key learning points that our group took from this research have been stated above. Although this project was focused on designing for dementia on a smaller scale, each

key research point holds a high level of importance, influencing my thinking in the Primer project and work throughout the rest of the year. Immersing ourselves in the research for this project allowed us to understand the disease more, and design a sensory pod with a strongly researched and well-informed concept.

INITIAL IDEAS THE HOME FROM HOME

PR.

Portfolio Primer

Targeted Stimuli: Visual - allows freedom to create images, patterns, impressions. Tactile - the need for touch on multiple surfaces stimulates another sense. Spatial - requires an understanding of the third dimension (pushing of pins) to create 2D visuals.

DESIGN DEVELOPMENT

MAQUETTE DEVELOPMENT

Use of objects and 3D letters allow for creative expression & opportunity for word identification/memory games.

Opportunity for inter-generational activities & physical movement - for eg. ‘shape-mimic’ game.

(Colin Elkington, 2019)

PIN WALL CONCEPT: As dementia can come in many forms, patients will likely experience slightly different symptoms, due to the damaging of different parts of the brain. Damage can occur to the frontal lobe (affecting problem solving), the temporal lobe (affecting memory), the sensory cortex (affecting sensations), the parietal lobe (affecting perception and spatial awareness), and the occipital lobe (affecting vision).

Through our ‘pin impression’ wall concept, we aim to address a wide range of possible dementia symptoms, and to provide a form of stimulation specific to each. Dementia can also be hard for young relatives of the patient to understand. Providing a fun setting for both generations to interact and express themselves through different means can aid communication, connection, and the creation of new memories.

(Colin Elkington, 2019)

PR.

Portfolio Primer

1. Sliding frame

Example scene options:

Existing wall

Rigid boards with various scenes on are stacked behind one another. Patients choose scene by sliding out desired board and sliding back into bracket in front position.

Participants enjoy the freedom to contribute to what is chosen on the display.

PR.

Wooden bracket Picture board tab/handle Picture board

+ Tactile/requires physical movement to alter scene. - Patients may find changing scenes difficult if boards are rigid and width of pod is limited.

Front Elevation

Section

DESIGN DEVELOPMENT

2. Drawn blind

Need for affordances & signifiers: “Affordances determine what actions are possible. Signifiers communicate where the action should take place.” Don Norman: The Design of Everyday Things pg.14

Existing wall

Scenes printed onto rolled paper act like window blinds, allowing patients to pull down the scene they desire.

Roll Rolled picture

+ Tactile/requires physical movement to alter scene.

Picture pull tab

+ ‘Pulling blind’ action reinforces idea of a window to the outdoors.

Hook for securing rolled picture

- Difficult to make scenes roll down and back up neatly.

Front Elevation

Section

3. Television screen

(Colin Elkington, 2019)

SET THE SCENE

Opportunities for self-regulation and choice stimulate various parts of the brain, such as the pre-frontal lobe (memory), thalamus (senses), and occipital lobe (visualisation). This activity also provided residents with the opportunity to re-familiarise themselves

Television screen

+ No complicated contraption for hiding numerous scenes needed.

CONCEPT: Research has shown dementia patients may enjoy the opportunity to contribute to what is chosen for display.

Existing wall

Television screen placed in pod, allowing patients to choose a personal scene to them. iPad/tablet connected below, from which a variety of choices can be made.

in a new setting, choosing locations that were more personal and specific to them. This played into the idea of creating a home from home, as the option existed to ‘set the scene’ to a familiar street, park, or even house in order to make the environment more comfortable.

+ Allows larger variety of scenes to choose from; can personalise scenes using Google Earth (eg. patient’s home).

Tablet on stand

(Colin Elkington, 2019) Front Elevation

Section

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PR.

Portfolio Primer

Adjustable headings

Completed patient ‘story’ Biopsychosocial model: Card-holder brackets

Positive aspects of activity relating to research: Participants have the chance to decide what is on display. Long-term autobiographical memories are triggered. Carers can learn more about patients, helping to contribute to the patients’ profiles (usually attained through the biopsychosocial model).

Additional sensory stimuli: Opportunity for individual cards to have a texture or scent added, relating to the image shown.

Social interaction can spark between patients, as they discover similarities and common interests. Children, grandchildren, and other young visitors can learn more about their relatives lives.

(Colin Elkington, 2019)

‘STORY OF YOU’ WALL CONCEPT: As part of the admission process, patient profiles are created, looking at biological, psychological, and social aspects of the patient’s life. This enables staff to get to know the individual better, which has numerous benefits for the patient’s experience in the facility. Potential triggers for changes in behaviour and emotion can be identified, and from this possible interventions can be planned. Furthermore, it helps staff find interesting topics to be discussed with patients, in order to maintain and develop social stimulation.

The ‘Story of You’ wall draws on the concept of the ‘Book of You’ project, which uses digital imagery to tell patients’ life-stories during reminiscence therapy.

huge variety of images that can relate to the topic categories. For example, pictures of different home types, sports equipment, animals, holiday settings and more.

The wall features numerous wall-brackets that cards can be slid in to, creating a display. Headers at the top of the wall indicate a certain topic area relating to a patient’s life, that they then are encouraged to respond to. Cards, stored in a tray at the bottom, depict a

After writing their name on the left, patients can then complete their own life-story display, as told through a visual activity.

MAQUETTE DEVELOPMENT

Card tray

PR.

Portfolio Primer

MORNING - 1,000K-8,000K

PR.

1. Projector + More direct light over the entire pod from above + Additional sheet below projector will help to diffuse light; less intense May create intense shadows on - ground; can cause feelings of agitation Might become difficult to suspend - projector from the ceiling

DESIGN DEVELOPMENT

EVENING - 8,000K-2,700K

MIDDAY - 6,500K

2. Light bulb + Accurate light colours; made in factory, so no ‘guessing’ of colour hues + Easy to set up; screw in light bulb to lamp - Have to switch off to get next colour; not smooth transition - More expensive than alternative methods, i.e. projection

3. LED light strip + Can be placed inside elements of pod i.e. inside pin wall

CIRCADIAN LIGHTING

+ Easier to conceal behind wall panels Not as intense in one area

CONCEPT: Circadian rhythms concern your body’s 24-hour internal cycle, helping to regulate cycles of sleep, wake, hunger, alertness, hormone release, and body temperature. A good circadian rhythm helps keep your body healthy, whereas a poor circadian rhythm may cause health complications. Although it is largely part of your hypothalamus (in your brain) that controls circadian rhythms, lightness and darkness also play a significant role in keeping this cycle regular.

Many older people struggle to regulate their body clock, and this is especially common for those suffering from dementia related illnesses - towards the end of a day, a patient may experience heightened feelings of confusion, aggression, and agitation, as they are not as aware of the changing external light because of physical changes to the brain. This is most commonly referred to as ‘sundowning syndrome’; symptoms of this can be eased with controlled light changes, designed to mimic an artificial ‘sunrise to sunset’.

For our sensory pod, we will look to replicate 24 hours of circadian lighting in 1 hour. This will help show people how the lighting in the pod will be experienced during different times of the day, as they are not likely to stay in the pod for a full 24-hour internal cycle. Colours will range from 1,000K to 9,000K to best imitate sunrise to sunset.

Less of a domestic feel; might work - best in combination with the light bulb

THE HOME FROM HOME

PR.

Portfolio Primer

Scents revealed:

Panels rotated:

1. Diffusers

2. Scent bags around the room

+ Powerful range of scents, reflecting different times of day

+ Bags can be picked up and felt, bringing patients closer to the overall scent

+ Easy to find; can be bought in various shops

Scents concealed within wall:

+ Clearly labelled on the bottle/ diffuser vase

DESIGN DEVELOPMENT

- Too many scents at once could become overstimulating

(Simran Ravindan, 2019)

SCENT WALL

+ Location around the room helps reduce risk of olfactory overstimulation - Patients have to walk around the room to discover new smell, which could be tiring

- Sticks pose potential risk for patients; might be used in an incorrect way

- Might cause confusion between different bags; each looks the same, but is in a different location

3. Scent bags in one area

4. Scent bags in cupboards

+ Bags are now in one place to avoid confusion

+ Over-stimulation is reduced as bags are contained behind cupboard doors

+ Table provides visual platform for bags to rest on

Door and bag are clearly labelled to + avoid confusion and agitation

+ Bags can be labelled to indicate what’s inside

More effort require to open door and - remove scent; potentially more tiring

- Scents become clustered again, which could lead to olfactory overstimulation

Increased need for furniture to reach highest cupboards

- Similar looking bags in close proximity may cause confusion

PR.

Cupboard doors become hazardous, as they project from the wall

CONCEPT: The sense of smell is closely linked with memory, probably more than any of our other senses. Those with full olfactory function may be able to think of smells that evoke particular memories; for example, the smell of coffee brewing may evoke recollections of everyday routine. This can often happen spontaneously, when a specific smell acts as a trigger in recalling a long-forgotten event or experience. Research shows that losing one’s sense of smell can result in the loss of an important pathway to memories. The ‘smell-

memory wall’ of the sensory pod serves as a stimulating interface helping to trigger the user (patients’) memories through scent. Users can interact with a collection of different scents, recognisable by labelled name tags and smell. Each individual bag could carry a smell specific to the patients’ bio-psychosocio report which could further help in recollection of memories and relieve stress.

These scents are placed in cloth (jute fiber) bags and hung on individual rotating wall panels that form a part of the wall. When not in use, these wall panels rotate through 180° to fill the gaps in the images of the wallpaper that the fixed parts of the wall create, thus concealing the scent bags to reduce over-stimulation (an idea inspired by our trip to Roker and Mowbray).

THE HOME FROM HOME

PR.

Portfolio Primer

PR.

2800mm Story of You Set the Scene

Story of You

Pin Wall

Set the Scene

Circadian Lighting

Scent Wall

2000mm

Scent Wall

Pin Wall Entrance

2000mm

800mm

POD LAYOUT 32

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PR.

Portfolio Primer

PR.

RETRO POSTERS Following our visit to Roker and Mowbray in Sunderland, our group was inspired to adopt a specific interior design approach used in the ward to remind residents of home. Retro style posters, illustrating various locations around Sunderland - Roker, Fulwell, and Mowbray - were hung up to bring locations from the outside into the facility. These helped give the ward a more homely feel, as they enabled residents to be reminded of places they might have visited when they were younger, or held a strong connection to. Repeating this idea in our pod, we picked three key locations around Newcastle and adopted the same retro style, in order to convey this idea of home from home.

POD SPECIFIC RETRO POSTERS THE HOME FROM HOME

FROM SCRATCH TO SENSORY POD

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SENSORY POD EXHIBITION

SUPERHERO SCENT WALL

Our final sensory pod encompassed all the key ideas we had researched at the start of the project. Research and concepts outlined previously proved successful in creating a sensory pod that was engaging and stimulating for its visitors, whilst personalised interior furnishing also referenced subtle notions to the idea of home away from home.

FAMILIAR

STIMULATION

INTERACTIVE

SENSITIVE

PERSONAL

THE HOME FROM HOME

‘STORY OF YOU’ WALL + SET THE SCENE FAMILIAR

INFORMATIVE

PIN WALL INTERACTIVE

TACTILE

CONTEMPORARY

ENGAGING

INTER-GENERATIONAL

INTERACTIVE

FUN

TACTILE

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Portfolio Field Trip

SONY CENTRE

UNILEVER BUILDING

FREI UNIVERSITY LIBRARY

REICHSTAG DOME

HAMBURG ELBPHILHARMONIE

NORDIC EMBASSIES

BERLIN PHILHARMONIE

HEINRICH BÖLL FOUNDATION

Architect: Helmut Jahn Peter Walker, PWP Landscape Architecture, Ove Arup & Partners Year: 2000

Architect: Behnisch Architekten Year: 2009

Architect: Foster + Partners Year: 2005

Architect: Foster + Partners Year: 1999

Architect: Herzog & de Meuron Year: 2016

Architect: Alfred Berger and Tiina Parkkinen Year: 1999

Architect: Hans Scharoun Year: 1963

Architect: E2A Architects Year: 2008

Key Learning Point:

- LED lighting is a more subtle way of illuminating spaces than heavy lampshades

- Staggered balcony desks provide passive monitoring of space from floor-to-floor

- Glazed facades provide constant engagement with the city of Berlin, from the perambulation on the ascending ramp

- Glass panels can be used to give higher floors a lightweight appearance, as if they are floating atop the base of the building

- Different facades/spaces with unifying elements enables a personalisation within the project, but still ensures the proposal can be read as one

- 1% of the proposal’s budget must go into honouring German art; the importance of art can never be understated

- Adopting passive environmental measures from the offset can benefit the building in the long run; up to 10,000 euros is returned to the economy as a result

Key Learning Point: - Sheltered semi indoor/outdoor space can work as a unifying element, to encourage social interaction

THE HOME FROM HOME

Portfolio Field Trip

JEWISH MUSEUM, BERLIN Architect: Daniel Libeskind Year: 2001

Key Learning Point: - Materials, light, shadow, and more can all play important roles in creating atmosphere within a space

THE HOME FROM HOME

“home?” Emma Healey, Elizabeth Is Missing

The focus of our Staging project was to design a ‘residential pod’, to serve as a bedroom in our final facility. Channelling the ideas and knowledge explored in Primer, the residential pod was also required to provide an engaging and stimulating environment for those affected by dementia, with my pods continuing to reiterate the idea of home from home. More important in this phase, however, was the relevance of light, shadow, and materiality. Site analysis proved important in order to understand the context of the area, and how the residential pod could reference the patterns and materiality of the surrounding urban fabric. The need for environmental simulation became more apparent from this point forward, and early use of IESVE proved to be a strong guiding influence over design iterations. My knowledge of how to use this software also began to develop during this phase of the design. Towards the latter part of this phase also came initial explorations into the buildings programme, finalising the project declaration as an assisted living facility with an additional civic yoga studio.

ST.

Portfolio Staging

ST.

PROJECT DECLARATION My project is intended to replace the out-of-date Castleside Ward (located in the Centre for Ageing and Vitality), giving it a new lease of life. Eight residents will stay within Cloister Court - an assisted living facility - for around 10 weeks.

mind, and soul. As much of my design will centre around the idea of reducing stress in residents, it seems only right that the main opportunity for inter-generational interaction also reflects this philosophy.

The proposal also features a civic yoga studio to promote greater social interaction and well-being with the wider community, currently lacking a major sporting facility. Yoga is not only a great interactive activity, but also has many benefits for those who are affected by dementia; it is a relaxing and stress-free form of exercise, exercising the body,

The key ideas of home not institution, inter-generational interaction, and engagement with the outdoors will underpin the design process, resulting in a proposal that encapsulates the idea of home away from home.

THE HOME FROM HOME

ST.

A NEW HOME

Portfolio Staging

ST.

Following visits to both Roker and Mowbray Dementia Care Centre and the Castleside Day Hospital, it became apparent there was a conventional layout when designing a residential ‘dementia pod’. For my dementia pod, I want to challenge these ideas and introduce more unconventional aspects to the design, alongside the conventional ones. This moves the pod away from being a space regarded as just a ‘bedroom’ into a space that more resembles a mini studio flat, aligning with the idea of creating a home away from home.

Below: potential users of dementia pod

Dementia patients (both patients and family of patients)

Inter-generational aspect (neighbouring school children, grandchildren of patients)

Hospital staff (nurses, doctors, therapists, administrative staff)

STAGING DECLARATION - THE DEMENTIA POD For our Staging project, we were required to design an individual ‘residential dementia pod’, that would eventually become a part of our final facility. This meant considering the proposal from an inside out perspective, designing a key feature within the building before considering the building itself. As patients will reside in the pods on a short-term basis (the average stay according to the NHS is ten weeks), a minimal base design approach will be taken to ensure the pods themselves are not specifically catered for one person, allowing for personalisation of

interior spaces later on to create the home not institution feel. Male and female patients will not be segregated into different wards; although precedents for facilities tend to segregate genders, I do not want to follow this approach as I want to encourage greater social interaction between patients. Another more passive way of dividing patients may be adopted - for example, noting the stage of dementia, and placing these patients closer to key facilities, but overall keeping all patients in close proximity to one another.

My ‘dementia pod’ will resemble that of a studio flat, meaning that as well as having the standard functions of a bedroom space, there will be additional elements that make it feel more like a home than a hospital ward room. Whilst visiting the Roker and Mowbray Dementia Care Centre and the Castleside Day Hospital, I found the patient’s rooms to be rather lonely spaces - in basing my pod on a studio flat, I aim to encourage more friends and family to stay over night in the hospital facility to reduce these feelings of loneliness. For me, this is one of the best ways of creating a home not institution.

THE HOME FROM HOME

5 ST. CITY CONTEXT - NEWCASTLE UPON TYNE Portfolio Staging

Portfolio Staging

Street Patterns

ST.

Our site is located in Newcastle Upon Tyne. An analysis of the wider area is necessary to understand its urban context. The map to the left shows the site in context, at a scale of 1:10,000. This allows maximum understanding of the urban context, with fading opacity showing the relevance to the site. From this map, I have been able to focus more specifically on the elements of the urban context most appropriate to my proposal. The reasoning behind each area of focus is as follows:

Spital Tongues

Fenham

Street Patterns: A strong way of reiterating a home away from home feel would be to replicate a street for my final proposal. This would give the facility a more ‘village’ like aspect to it, and would be more familiar to patients than using other random forms. This idea will be expanded upon when I establish the programmatic layout of the facility.

Education Establishments: To link back to the Primer project, and introduce inter-generational aspects to the Staging project, it is necessary to locate educational establishments in the area. As primary schools are likely to be the most effective way of including the younger generation in my proposal, it is important to see where they are at a wider relation to the site.

Hospitals: In establishing other hospital typologies in the area, I can use these as inspiration for my own programme. I can also look to find ways to link these facilities together, especially the Centre for Ageing and Vitality, which sits north of our site.

Green Spaces: Following visits to dementia facilities, and discussions with the nurses on the wards, the need to include a Sensory Garden in the proposal became apparent. In locating green space in the wider context, we see that there is no apparent green space around the site. This gives justification to include a Sensory Garden in the proposal, as it will provide a green space close to the patients the other alternative would be allowing them to visit the spaces indicated, which isn’t as safe.

Arthur’s Hill

Selected street patterns at a closer view

Hospitals

Education Establishments (Primary Schools)

Green Spaces

SITE

Newcastle City Centre

Benwell Elswick

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5 ST. SITE CONTEXT - ARTHUR’S HILL Portfolio Staging

Portfolio Staging

Adjacent Building Footprints

ST.

Following an analysis of the wider area of Newcastle, I then decided to focus more on the intermediate area of Arthur’s Hill, to show the proximity of the site in relation to key contextual aspects. The map to the left shows the site in context, at a smaller scale of 1:2500. Here, we can see the area containing our site is a largely residential area. Slightly different to the previous analysis, this map highlights additional features such as contour lines, transportation links, and buildings related to sports and leisure. I have also focused on the same elements from the wider urban context most appropriate to my proposal. The reasoning behind each area of focus is as follows:

Adjacent Building Footprints: Much like with the street patterns, analysing the adjacent building footprints allows me to strengthen the home away from home feel, but this time with the ‘dementia pod’. This would give the pod a familiar, literal home feel, as it is a copy of one of the adjacent houses to the site. Analysing these in clusters also provides inspiration regarding grouping the pods, which will be expanded upon later.

Education Establishments: Again, in order to introduce inter-generational aspects to the Staging project, it is necessary to locate educational establishments in the area. This analysis shows the closest schools to the site, and so effort should be made to ensure links to these are included in the proposal.

Hospitals: As stated, the Centre for Ageing and Vitality to the north of our site is the closest hospital, and so establishing a link between this and my own proposal will be key. This also houses a current dementia ward (Castleside), that will be replaced with the new proposal.

Green Spaces: At a closer glance, we see that there are in fact some green spaces both adjacent to the site and on site. Regarding those on site, it will be important to keep these where they are, indicating an organic position for the Sensory Garden.

Selected building footprints at a closer view

Hospitals

Education Establishments (Primary Schools)

Green Spaces

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Centre For Ageing and Vitality (+Castleside Ward)

residential area

Westgate Hill Primary Academy

retaining wall road to Centre for Ageing and Vitality traditional buildings

usable car parks

Opportunity to repeat notions of Primer through inter-generational interaction with local primary school - civic aspect to the proposal

Brighton Grove

gloomy intermediate spaces

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Important to the driving concept of home from home is understanding the material palette around the site. Repeating colours and textures from the surrounding domestic buildings can help residents feel more at ease within a space, as there is an element of familiarity to the design. Textures in particular can help with tactile stimulation, acting as triggers for short-term and long-term memories. This study will be revisited later in the Synthesis phase.

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DESERTED

EXCLUDED

DANGEROUS

INACTIVE

BROKEN

BOARDED UP

FORGOTTEN

VANDALISED

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Understanding the negative attributes of the current site is also important, to ensure these sentiments are not repeated in the new design. The current site in its broken and vandalised nature, represents the opposite of everything the new dementia facility will stand for. A conscious effort will be made to ensure that residents do not feel excluded, inactive, or forgotten, and instead a part of the wider community.

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INITIAL IDEAS Taking standardised dimensions of both a dorm room and en-suite room – 12 sq/m and 2.52 sq/m – I completed some quick sketches outlining possible options for the pod footprint. From the start of this process, I have always kept the bathroom in eyesight of the bed in order to meet regulations for designing for dementia.

be staying in a pod that resembled a home in Newcastle. Taking inspiration from five rows of houses around the intermediate context of the site, I re-sketched these and considered possible ways they could become a ‘dementia pod’ and the potential ways they could be clustered together.

Following this initial exploration, I returned to the idea of using one of the adjacent building footprints as the precedent for my pod. I was keen on using this concept as to me it was the most appropriate way of recreating ‘home away from home’ – patients would literally

I then turned to precedent inspiration. Here, I found two examples of studio living from Perkins Eastman Architects; although these are not designed specifically for those suffering from dementia, I was still able to take the basic concepts of each example and

apply these to my design. This meant zoning the pod as follows: a living area, a bedroom area, an area for storage, and an area for the WC. Having brainstormed initial pod arrangements, I then began to work into these further. This involved establishing an entrance point to the pod, and the interior circulation of the space: it was important to me that patients weren’t confused upon entering the pod, and so a clear, simple, and methodical approach was taken.

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Basic footprint taken from building adjacent to site reiterates home from home

Footprint extruded to give 3D form

Extruded walls to fit standard dimensions for rooms

Rooms segmented

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Exterior corridor wall curved to create softer finish

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March 21st, 12.00

June 21st, 12.00

December 21st, 12.00

LUX LEVELS - SOUTH ORIENTATION Analysing light levels is key to this project, as exposure to natural light can help improve the mood of patients through exposure to Vitamin D. Balancing the impact of light and shadow also helps to manage symptoms of dementia, and providing an appropriately day-lit environment will help the patient’s ‘circadian cycle’ as analysed in the Primer project. For an adult bedroom, the average LUX reading should be between 100-300 - however, taking into consideration that those affected by dementia need almost double the

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amount of light, particularly in functioning areas (areas where a task will be carried out), higher readings will be expected from these simulation results. Simulations were completed for all possible orientations - north and west can be seen in the appendix - to assess which option would provide residents with the most amount of natural light. From v1 to v4, we can see that necessary design changes have been made to increase the amount of natural light within the pod, but also ensuring that this is well distributed around the room and not too intense in one zone.

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Plan, with furniture outlined

Plan, adapted to accommodate furniture

Plan, with introduction of integrated seating/storage area, and larger window

Plan, window position changed and furniture rearranged

Plan, with introduction of integrated seating/storage area, larger bay window, and glass door

Plan, room extended to give more spacious atmosphere, and sofa curved to match curve of wall

Section

Section, window height adjusted and recess for storage added

Section, extended, and with introduction of integrated seating/storage area

Section, window position changed

Section, extended, and with introduction of integrated seating/storage area

Section, room extended

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Personal mementoes kept in box outside of resident room

Bed and sofa bed are kept out of intense light level, and protected with raised sides

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Wardrobe/seated nook is kept near intense light level, as this is where most light is needed to complete daily functions (i.e. getting dressed, preparing for the day)

Personal furnishings (cushions, pictures, books) give resident pod a more homely feel

Clear line of sight from door to bed (for staff) and bed to toilet (for resident)

Access to small outdoor garden promotes engagement with the outdoors

Section A-A

SOUTH FACING RESIDENTIAL POD Analysing one of the facilities south facing pods, we can see how the underpinning idea of home from home is executed in the design. The footprint of the pod mirrors the urban fabric of the site, with personal mementoes and furnishings completing this idea of home not institution. Additional seating within the pod provides opportunities for interaction between residents, nurses, and family members, making the space feel more familiar and homely. An outdoor space not only promotes engagement with the outdoors, but is also reminiscent of terraced backyard garden, completing the tri-design approach to home from home.

Simulation Date and Time: June 21st, 12.00, South Orientation

Environmental simulation proves that the space receives adequate daylight, and has subsequently informed the position of furniture to ensure that functioning areas - areas where most tasks are completed - receive the most daylight. Material choices also reflect a desire for engaging environments - exposed CLT provides a tactile experience, whilst a FLOTEX carpet gives different floor surfaces that wonâ&#x20AC;&#x2122;t be confusing or trip hazards for residents.

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POD 1

POD 3

POD 4

POD 8

JAMES DAVIDSON

STACY RICHARDS

JACOB BUCHANAN

FRANCES TILBURY

Interests:

Football, gardening, crafts

Films, cooking, the colour green

Gardening, music, art

Music, boules, seaside

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POD PERSONALISATION Building on the idea of the bio-psycho-social model explored in Primer, I have created hypothetical patient profiles to highlight the ways in which the residential pods can be uniquely tailored to create a more personal environment. In considering residentsâ&#x20AC;&#x2122; personal interests, details like furnishings, plants, and personal mementoes can be changed in each pod to make the space feel like home to the one residing there. This means that whilst the standard layout and design of the room is the same, whatâ&#x20AC;&#x2122;s inside is able to change in order to reiterate the idea of home from home.

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PATIENTCENTRED MODEL

STAFF-CENTRED MODEL

(Perkins et al, 2013)

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(Perkins et al, 2013)

BUILDING SPATIAL ORGANISATION Regarding spatial organisation, I was inspired by the following three models from Building Type Basics for Senior Living (Perkins et. Al, 2013). These are: the patient-centred model, the staff-centred model, and the hybrid/cluster model. These models look to establish connections between spaces within hospitals, ensuring that spaces with similar functions are easily connected.

I have chosen to adopt the hybrid/cluster model when organising the programme of my building, as this combines aspects of the patient-centred and staff-centred models. Considering the organisation of the building in this way ensures that the layout of the building is less confusing for both the staff and residents of my proposal.

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BEDROOMS + EN-SUITES

SHOWER ROOM

STORAGE

GARDEN

COMMUNAL AREAS

As already outlined through the â&#x20AC;&#x2DC;dementia podâ&#x20AC;&#x2122; explorations, my dementia facility will have eight bedroom spaces with en-suite bathrooms.

I have chosen to make the wetroom/shower room space within the facility a separate room to that of the en-suite bathrooms. This is because a high level of technology is needed within the wet-rooms, and so it would be too expensive to provide adequate care for everyone in the facility, and would require larger en-suite facilities.

Although not considered in Health Building Note 00-01, storage is an important consideration for my facility. This comes in the form of storage units in all rooms, but also large storage rooms along the corridor of the ward.

Including a sensory garden is an important aspect to the dementia facility. As stated in Health Building Note 00-01 it provides an exterior sanctuary for patients, and also become something patients look after and care for during their time on the ward.

This encompasses two main communal areas: a living room space, and a dining room space.

During our visit to Castleside, the nurse guiding us around mentioned that storage should account for almost 50% of the total ward area, and should all be together in one place.

Maintaining physical activity, cognitive function, and social interaction, helps those suffering from dementia remain stimulated, feel valued, and helpful.

Although I have already investigated this aspect in much depth, there are additional elements to add following the guidance from Health Building Note 00-01; these are more to do with the interior furnishings of the space, such as introducing art and a variety of colours and texture.

Following our visit to Roker and Mowbray and Castleside, I have decided that my facility needs two wet-rooms, as two bathrooms per fourteen patients was the average at these facilities. Flat surfaces are key, to ensure the space is accessible for all.

This builds upon precedents I have looked at, including Roker and Mowbray, Castleside, and De Hogeweyk. In introducing communal areas to the facility, feelings of loneliness are reduced as patients can converse with one another. In the communal living room for example, patients will be able to play games with one another; this encourages conversation and will also help brain stimulation.

STAFF/ADMINISTRATIVE AREAS

INTER-GENERATIONAL ACTIVITY SPACE

Some of these areas will be away from the patients, in a more private section of the facility. These include: the staff break room, staff changing room, consultation rooms, and admin offices.

This aspect of the facility links to the Primer project, where we created an inter-generational sensory pod space. Interaction with the younger generation often evokes a higher level of positive engagement and happiness for those affected by dementia.

Other areas still encompassed by this section but that need to be closer to the patients include: the nurses office, a medical room (drug store), and physiotherapy rooms.

My inter-generational space will come in the form of a yoga studio, to maintain the aura of calm throughout the proposal. Physical activity is known to improve mood and well-being, and recent studies have shown in some cases it can delay memory loss. Yoga is particularly beneficial, as it engages various parts of the brain and encourages people to move independently of their body.

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ADDITIONAL FACILITIES

These are a variety of facilities, including: exterior parking spaces, a kitchen, an entrance area, a chapel, visitor toilets, a laundry room, and quiet areas for patients. For me, one of the most important facilities in this list is a defined entrance area. Nurses on the Roker and Mowbray ward had wished there was a clear reception area to welcome guests, to reduce the noise in the ward from the buzzing of the door. Incorporating a distinctive reception space in my facility would help to reduce this issue.

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Thinking Through Making

institutional, scary, menacing looking handrail

THINKING... To carry forward my design philosophy of home not institution, my Thinking Through Making project intended to de-institutionalise the standard hospital bed handrail. Having completed an initial rendered perspective in Staging, I found the hospital bed handrail in this image very harsh, and not in keeping with the idea of creating a home environment. To me, this element reinforced the idea that my residents were trapped in an institutional environment, which in the long-term could raise stress levels and increase agitation (something my design is intended to avoid).

Focusing on this specific detail, I set about to create a softer, more friendly piece of furniture that could be implemented within my design. Looking at childrenâ&#x20AC;&#x2122;s bunkbeds for inspiration, I discovered one of the most common ways to make a bed handrail feel more homely was to select a timber material palette, rather than a metal one. In combining this idea with other items of furniture from around the home â&#x20AC;&#x201C; particularly arm-chairs â&#x20AC;&#x201C; I devised the idea to create a waved plywood handrail. The wooden rails were made by gluing several thin layers of plywood together, before clamping them into a set shape to achieve the natural curved effect.

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MAKING...

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THINKING THROUGH MAKING EXHIBITION Above we can see the final photos of my timber bed handrail. Compared to its predecessor, this item is more friendly than the metal handrail, fulfilling the aim to de-institutionalise the hospital bed and provide a softer, more homely alternative.

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“My yesterdays are disappearing, and my tomorrows are uncertain, so what do I live for? I live for each day. I live in the moment.” Lisa Genova, Still Alice

The outcome of the Realisation and Synthesis phases show a complete assisted living dementia facility – Cloister Court – based on research completed throughout the duration of the project, and a greater understanding of the nature of the disease. Aspects of inter-generational living have been weaved in throughout the project, building on the ideas explored in Primer, whilst ideas regarding home not institution explored in Staging have also been carried forward into this phase of the design. Building simulation has proved important for design iteration, influencing the form, layout, and use of spaces within the proposal. A ‘Day in the Life’ illustrated journey proves that Cloister Court is a home not institution, engages with the outdoors, and provides inter-generational interaction, meeting the aims of the design approach outlined at the start of this document. The concept of home from home is abundantly clear in the proposal, from its exterior envelope to the finer details of its interior spaces, creating a familiar environment for all those who will come to inhabit Cloister Court over time.

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PROGRAMME ARRANGEMENTS Building on information from Health Building Note 00-01 and precedent visits (all of which can be seen in the cultural bibliography and appendix), I was able to focus on programmatic organisation of the most important spaces of the facility. These included: the main entrance, the staff areas, the bedrooms, the wet-rooms/shower rooms, the communal areas, the garden, and the inter-generational space. In the style of Perkins Eastman, I was able to see that necessary connections between key spaces were apparent; for example, the staff areas needed to be near the bedrooms

in order to ensure the patients were safe, but the entrance could be further away from these areas as the patients would not need to use this area of the building once living on the ward. Ensuring these connections were considered from the start would mean that any final outcome would have a clear organisational structure to it, helping reduce agitation from ill-designed spaces.

Progressing from these initial explorations, I translated these sketches onto the site to show how these initial sketches would sit in context. This ruled out several options, as issues concerning daylight, shadowing, and views became apparent. An important factor that arose from this contextual study was ensuring the intergenerational space had civic frontage along Brighton Grove. This also ruled out several options where this had not been considered, leaving two possible options.

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Average Wind Speed: 0.99-1.98m/s

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Average Wind Speed: 5.93-6.2m/s

SITE 1 3 2 Lawson Wind Comfort Criteria: Sitting Long (0.0-2.5m/s)

Lawson Wind Comfort Criteria: Walking Fast (6.0-8.0m/s)

- Optimum place for entrance, as this is the most ‘comfortable’ space in terms of wind

- Avoid putting functional spaces along west facade; no spaces that will be in use for large periods of the day

- Need to maintain some sort of building mass to the west to keep this space protected

- Any outdoor elements on this facade will need protection from intense winds - not ‘comfortable’ space to sit

prevailing wind

building form acts as a natural wind barrier, preventing wind speeds from becoming uncomfortable

prevailing wind

additional curved timber screen prevent smaller north-westerly winds from affecting entrance, but allow ventilation of space to occur

Average Wind Speed: 0-0.99m/s

gentler wind flow

Lawson Wind Comfort Criteria: Sitting Long (0.0-2.5m/s) - Natural place for sheltered courtyard; protection from building masses, and comfortable for seating

curved form also helps guide wind from other directions around and away from entrance

ENVIMET WIND SIMULATION Using ENVIMET software to assess the impact of the prevailing south west wind was also an important step in the design process. Using the existing site base case results, I was able to determine the final location of the entrance to the facility. Assessing wind speeds in relation to the Lawson Comfort Criteria, it was apparent the entrance should be located to the north-east of the site, as this was the most comfortable space for people to remain over a long period of time.

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EARLY ORGANISATIONAL DEVELOPMENT Using the early programme arrangements as guides, I was then able to more accurately arrange rooms in such a way to devise some basic building forms. Building upon factors already discussed, key points for consideration included: maintaining a horizontal line of reference to Belsay Place, to extend the urban fabric and reiterate a home away from home layout; a north-easterly entrance point; a central courtyard space; and a public fronted inter-generational yoga studio.

PRIVATE

PUBLIC

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GROUND FLOOR

PROGRAMME: ROOM DIMENSIONS Breaking the programme into zones such as these enabled me to establish a hierarchy of spaces at an early stage. The largest zones included the aspects of the proposal that related most to the home - bedrooms, communal areas - in order to give these most importance. In doing this, a clear effort has been made to ensure the â&#x20AC;&#x2DC;homelyâ&#x20AC;&#x2122; spaces are more important than spaces that would make the facility feel more like a hospital again.

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2 3 1. COMMUNAL RESIDENT LOUNGE 2. INTER-GENERATIONAL YOGA STUDIO 3. RESIDENT ROOMS

SHADING ANALYSIS As previously mentioned, reducing the incidences of excessive shade and shadow was an integral part of this project, to minimise patient agitation. Environmental simulation completed through IESVE provided the opportunity to analyse the amount of shadow alongside each iteration of the design.

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DAYLIGHT ANALYSIS - GROUND FLOOR Key aims that needed to be achieved through each stage of shading analysis included: - Reduce overshadowing on neighbouring buildings (those to north of proposal in particular) - Reduce overshadowing on proposal from building to south of site - Reduce overshadowing on proposal courtyard spaces - Establish where on roof PV panels should be placed to maximise solar gain (in later stages of analysis)

Although some results proved to be anomalous (v7, December 21st), the general conclusion to draw from these results is that from v2 to v9, the incidences of excessive shadowing have been reduced as the design has developed. Overshadowing on the surrounding buildings has been minimised by limiting the height of the proposal to no more than 9m, and overshadowing on the proposal itself has been reduced by placing enough distance between it and the large building to the south of the site. Courtyard overshadowing has also been reduced through the rearrangement and development of the building programme.

Much like shading analysis, daylight analysis completed through Velux has occurred throughout the design process. Vitamin D is important for the body and is most commonly acquired through exposure to the sun, acting as a mood regulator to keep us healthy both physically and mentally. For those affected by dementia, this is especially important as mood is affected by the chemical changes to the brain associated with the disease. Therefore, maximising the amount of natural daylight across the whole proposal remains a key principle – if residents are unable to access the outdoors, then their interior spaces need to be adequately lit to ensure enough Vitamin D is being absorbed.

From v5 to v9, we can see that the amount of natural light reaching the key spaces of the building – communal lounge, inter-generational yoga studio, and resident rooms – has increased through development of the proposal. The final iteration receives upward of 400 LUX in its key spaces, with ancillary spaces (storage, toilets) being the zones that receive the least amount of light.

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no order to arches, but continuous repetitive form

arches moved to align with windows behind them, and more fluid/organic shapes considered

RESIDENT COURTYARD The inclusion of a resident courtyard has been an important priority from the start of the project. In order to give residents a sense of normality, a courtyard space must be included to enable residents the option of going outside, without leaving the facility. Promoting interaction with the outdoors in this way therefore repeats daily routines and a home lifestyle, as most people engage in the activity of going outside on a day to day basis. Making this aspect of the facility a key feature was therefore important, to encourage residents to go outside.

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The design decision to incorporate a cloister arch walkway has been made here, for two reasons. The first, is that it provides a sheltered space for residents to move under, allowing engagement with the outdoors throughout the year and on days when they would need protection from the elements.

timber screens added to low head-height arches, for safety purposes

The second, relates to the connotations of a cloister walkway. Cloisters were traditionally used in monasteries to separate monks from the outside world, allowing them to live a life free from distraction. As a result, they have come to symbolise calming and peaceful architecture, hence why their monastic quality has been adopted throughout this proposal. The architectural language re-iterates the idea of keeping residents calm, whilst the function of the courtyard helps relate to the ideas of home from home.

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Figure 1 (Sergison Bates architects, n.d.)

cloister arches align with arched windows behind

timber screens create breaks in facades, and provide additional tactile surfaces

timber reveal on inside of arch acts as a soft architectural motif, linking to the use of timber elsewhere in the proposal

removal of unconventional shape and repetition of traditional round arch ensures consistent architectural language around courtyard

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Uniting the materials of brick and timber in this way on the arches is reminiscent of the Sergison Bates project illustrated. The brick remains the dominant material choice, but is softened with timber that can be found elsewhere in the project (the yoga studio, interior walls, planters), giving the project a cohesive architectural language.

brick material choice echoes main cladding choice around rest of facility

entrance

courtyard - resident spaces

courtyard - offices

REPEATING THE VERTICALITY Picking up on the use of vertical screens in the cloister arches, this language has been repeated around the building at various points, to unite the language. Vertical timber mullions have been implemented at various points, with vertical timber beams added to planters also to express the verticality of the project. This also helps give an element of height to the project, which is deliberately kept low to stay in keeping with its surroundings.

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courtyard alive with activity during day

courtyard peaceful and serene at night

RESIDENT COURTYARD - 12.00

RESIDENT COURTYARD - 22.00

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Average Wind Speed: 1.39-2.00m/s

Average Wind Speed: 4.17-4.87m/s

Average Wind Speed: 2.05-3.07m/s

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Average Wind Speed: 2.05-3.07m/s

2 Lawson Wind Comfort Criteria: Sitting Long (0.0-2.5m/s)

Lawson Wind Comfort Criteria: Walking Leisurely (4.0-6.0m/s)

Lawson Wind Comfort Criteria: Sitting Long (0.0-2.5m/s)

- Wind tunnel created; further development needed to reduce impact prevailing wind

prevailing wind resident rooms protected with perforated brick fence

creates link between inside and outside of facility

resident rooms protected with perforated brick fence

connects car park with entrance routes in a landscaped way

wind tunnel created between proposal and existing building

arched brick walkway provides wind breaks, reducing intensity of wind flow

LANDSCAPING RESPONSE TO ENVIMET Following the initial ENVIMET analysis, further simulation was completed to assess the impact of wind on the new proposal. The above results highlighted the following issue: A wind tunnel had been created to the south of the proposal; the wind speed is not uncomfortable at the average high, but may become more so if the prevailing wind increases in speed.

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Resolutions to this problem can be seen above. Perforated brick fences have been included along the resident gardens, to provide a wind break that also links to the design idea of interaction - the wall is not completely solid, allowing the opportunity for residents to see outside the walls of the facility and visitors to see inside. The design of these is also reminiscent of a garden wall, furthering the idea of home from home.

Additional landscaping has also been included along the south and south-westerly parts of the proposal. Arched brick motifs stand alone to provide wind breaks, ensuring the wind does not pick up speed in one continuous line. These also help create a link between the inside and outside of the facility, mimicking the arched elements from the courtyard. Results from this new simulation indicate both the entrance and connection from the car park are now within a suitable comfort criteria, protected from the wind.

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COMMUNAL LOUNGE

YOGA STUDIO

MOMENTS OF INTERACTION Building upon the importance of inter-generational interaction established in Primer, I have made sure to include several moments of interaction within my final proposal; these include the communal lounge, a perforated brick wall separating the public and private courtyards, and the civic yoga studio. As outlined already, inter-generational interaction cannot be underestimated; loneliness is common amongst those affected with dementia, and so making sure there are various points of interaction across the building is important to make residents feel loved.

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INTERACTIVE BRICK WALL The home is a very sociable space, that will often have people of all ages engaging with one another, so ensuring these moments of interaction are included within the final proposal will make residents feel more comfortable within certain spaces; for example, a family visit will turn an area like the communal lounge from a simple hospital seating area into one that is more reminiscent of a living room, through familiar environments and people.

This interactive wall references our pin wall explorations in Primer. A slightly different finish, the principle of the wall remains the same, connecting visitors in the public courtyard to the residents in the private cloister courtyard to promote inter-generational interaction.

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Initial layout of rooms for yoga studio - PT rooms also located here to group health related facilities together.

Arrangement of rooms modified to accommodate for new outdoor yoga garden.

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Yoga studio rotated to receive east daylight - more optimal for practicing yoga.

Further rearrangement of rooms.

Two separate yoga studios combined into one larger studio, with the option to divide the space with a partition wall. Outdoor yoga garden is large enough to be functional, with yoga studio still receiving east daylight and curve all wall helping provide a natural entrance path to both buildings.

YOGA STUDIO Exposed timber in this space creates a low-stress environment, and yoga itself is a low-stress, low-impact activity, that engages various parts of the brain to prevent rapid cognitive decline. The inter-generational interaction that will occur here will help reduce incidences of loneliness, and will also help to get the community healthier and more involved in the project.

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GROUND FLOOR DEVELOPMENT Here we see how the ground floor of the proposal has developed over time, in terms of spatial organisation and representation. In each iteration of the plan, four key elements have been highlighted to show how these spaces have been affected over time; the entrance, drop-off zone, inter-generational yoga studio, and generic resident zones. Important to the development of the ground floor was establishing a continuous circular walking route around the facility, to meet the needs of patients who may

experience wandering syndrome tendencies. Wandering occurs when patients become disorientated within their surroundings, and canâ&#x20AC;&#x2122;t always be prevented; ensuring that residents have the option to move safely and freely around the facility is therefore an important consideration.

to v7 many changes occurred in junction with the ARC3013 Integrated Technology module to meet the fire safety requirements in Approved Document B and access requirements in Approved Documents M and K.

Some of the most notable changes to the ground floor came following the Realisation Review (v4). From v4 to v5, the entrance to the main facility was rotated, providing a more direct access point from the street. Additionally, from v6

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1: Main Entrance 2: Drop-off 3: Yoga Studio Entrance (Public)

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Portfolio Realisation

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v3 Realisation Review (v4)

REF.

DESIGN DEVELOPMENT

Scale 1:250 8

20 m

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RAMP UP

Scale 1:250 8

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Scale 1:250 8

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Synthesis Review (v9)

1. RESIDENT ZONES 2. STAFF ZONES

FIRST FLOOR DEVELOPMENT Much like the previous page, here we can see how the first floor of the proposal has developed over time, both in terms of spatial organisation and representation. Again, the most notable changes to the first floor came following the Realisation Review (v4), with most changes mirroring those described previously (v4 to v5, and v6 to v7).

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â&#x20AC;&#x2DC;WANDERING SYNDROMEâ&#x20AC;&#x2122; PATH

continuous circular wandering path established around facility, allowing residents to move freely unassisted when need be; mimics idea of being able to move freely outside the walls of the facility, as if residents were going about day to day life

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HIERARCHY OF SPACES

ENVIRONMENTAL

VIEWS

NOISE

definitive horizontal hierarchy of spaces, moving from public front along main east road to private areas in the west

exposure to natural daylight in key spaces is optimised through south facing rooms, windows, and skylights

residents have constant view of courtyard to maintain engagement with outdoor spaces

moments of noisy interaction are broken up with moments of respite to prevent sensory overload

clear hierarchy of spaces, moving from private staff spaces in the east to semi-private resident spaces in the west

key outdoor spaces are protected from strong prevailing SW wind

staff have constant view of courtyard to ensure passive surveillance of residents

residents are provided with quiet spaces to prevent sensory overload

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SY.

Portfolio Synthesis

hipped roof

gable end

hipped roof

gable end

SY.

pale grey colour taken from surrounding facades

slate grey colour taken from surrounding roofs

west elevation of proposal matches surrounding domestic skyline

MATERIALITY

SKYLINE STUDY

In order to choose a justified material palette, I returned to the site context to analyse the colours, tones, and material choices of the domestic urban fabric. Choosing to reference the context in this way carried forward the idea of home from home to the buildings envelope, ensuring the whole proposal was influenced by this idea from exterior to interior.

Carrying forward the idea of repeating the surrounding domestic context on my proposal, I also completed a roof typology study to assess what style of roof to adopt.

Adopting a simple CLT structure to be clad with grey brick is justified this way, as it pays homage to the surrounding houses in Arthurâ&#x20AC;&#x2122;s Hill.

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Many of the roofs in the area were either hipped or gable end, and the predominant material choice was slate tiling. These principles have been mirrored on my proposal, with slate tiling also adopted over resident areas to ensure that these spaces feel more domestic and homely. Copper roof panels have been adopted elsewhere to create an aerial distinction of spaces, referencing the green tones already on site.

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SY.

(Structural Timber Association, 2015)

INTEGRATED CLT FURNITURE The main structural choice of CLT also lends itself to the inclusion of integrated CLT furniture. This helps soften the interior spaces through the use of timber, and also helps make the spaces feel more lived in and intentionally designed. Exposing timber can also help reduce stress levels, helping keep both residents and staff as calm as possible.

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(Work taken from ARC3013 Integrated Technology report; building proposal reflects an earlier iteration, but structure is the same)

Portfolio Synthesis

Metal bracket

Self-tapping screw

Metal bracket Metal bracket connection only possible when plasterboard is applied to CLT, as increased fire resistance is needed, and bracket would need to be concealed

(Work taken from ARC3013 Integrated Technology report; building proposal reflects an earlier iteration, but structure is the same)

Self-tapping screws (toe-screw) avoids direct installation of screws into narrow side of panel, optimising the performance of connection Screws

Portfolio Synthesis

Primary Structure

Tertiary Structure

The primary structure is CLT wall panels, joined together with self-tapping screws. A glulam timber post and beam structure has also been adopted in the yoga studio.

The tertiary structure is the non-structural elements: brick and timber cladding, and glazing. Plasterboard will also be used on the interior. English cross bond brick is used on the residential and staff areas of the facility, whilst timber is used only around the yoga studio.

(Mohammad M., Douglas B., Rammer D., and Pryor S.E., 2013)

SY.

3 Self-tapping screw

2 1

Self-tapping screws

Self-tapping screw

Half-lapped floor joint connected with self-tapping screw - allows quick assembly of CLT elements

Self-tapping screws: vertical and toe screw driven from floor into narrow side of wall edge - self-tapping screw also driven in at angle to maximise fastening capacity in panel edge

(Mohammad M., Douglas B., Rammer D., and Pryor S.E., 2013)

Floor joints

openings cut for windows

granite ash brick is the main cladding material in patient areas

1. External Wall:

2. Intermediate Floor:

3. Party Wall

102.5mm brick cladding 80mm cavity (including gutter downpipe) 100mm insulation 120mm exposed CLT panel

12mm stone finish 50mm screed, with underfloor heating 35mm insulation 120mm CLT panel 150mm service void 50mm insulation 12mm plasterboard

12mm plasterboard 25mm counterbattens 20mm sound insulation 120mm CLT panel 20mm sound insulation 25mm counterbattens 12mm plasterboard

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CLT panels used as bracing for curved walls

CLT left exposed in certain areas to trigger association by texture

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brick

copper

timber

glass

EAST ELEVATION: MATERIALITY timber

ARCHES 132

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timber

YOGA STUDIO

timber

COURTYARD

brick

FACILITY THE HOME FROM HOME

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134

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Portfolio Synthesis

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Portfolio Synthesis

1. CROSS-LAMINATED TIMBER

2. PRE-PATINATED COPPER

- Main structural material: low-carbon footprint material, pre-fabricated nature lends itself to rapid construction on site, low-level of noise and disruption on site (particularly useful given the residential area of our site)

- Primary roofing material; will be used over non-resident zones to provide an aerial distinction between these and more public elements

- Exposed in certain resident locations (communal lounge, yoga studio, resident pods) to provide tactile stimulation and potential memory triggers through textured appearance

- A study led by Holzcluster Steiermark called â&#x20AC;&#x2DC;School without Stressâ&#x20AC;&#x2122; revealed students who studied in a classroom with exposed timber were more relaxed than those studying in a traditional classroom, whose stress levels rose during the study; this is an important factor when designing for dementia, as stress and agitation are higher than usual, so simple mitigating factors like exposed timber can help reduce stress in residents, making them more comfortable

3. GRANITE ASH BRICK - Main cladding material; will be used on all exterior facades except for the yoga studio, and will also be main structural material for cloister arches

- References surrounding domestic context; most buildings in the area are red or pale grey brick houses, so this helps re-iterate the home from home feel in resident spaces whilst providing some distinction through its darker tone

MATERIALS PALETTE 136

- Subtle references to this material will then be used around the project, to reference the aesthetic choice of cladding on the yoga studio - for example, larch lining in the brick arches, vertical larch mullions, and larch planter pots

- Reference to the colours drawn from existing metal fence on site

- Secondary roofing material; will be used over resident zones to re-iterate the idea the idea of home from home

- Mirrors the surrounding domestic context, which is predominantly slate roof tiles; allows building to harmoniously relate to its context

6. GLASS - Introduces aspect of colour and variety of textures for surfaces inside facility; helps provide a range of sensory and tactile experiences

7. LARCH - Larch cladding will be used on the exterior of the yoga studio, to translate the calming atmosphere of the interior CLT spaces to the exterior facades of the building

- Pre-patinated nature will give building a more weathered look, giving the idea that the building has existed for some time already and has always belonged on site

4. SLATE

5. PAINT - Two colours selected: light grey for main interior walls and royal blue for feature walls/bathroom walls to help residents easily distinguish different spaces

SY.

- Two types of glass; translucent and opaque spandrels. Spandrel panels will be used to continue the language of glass in areas that need more privacy, or where structure behind glass panel needs to be concealed

- Maximum use of glass will ensure spaces are adequately lit, and that residents will be able to absorb as much Vitamin D from sunlight as possible

8. PLANTS - Will weather and turn grey over time, providing new sensory and tactile experiences for residents

- Inclusion of plants helps to soften the landscape, and will provide a sensory experience for residents

- Certain plants will be specified for either their sensory value (lavender, for its strong smell and calming nature) or for their link to the projects ethos of creating a calming environment (Japanese maple trees, which are synonymous with calm and zen atmospheres)

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Section A-A S ca le 1 : 1 00 0

20 m

A A

PRIVATE

PUBLIC

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RESIDENT ROOMS

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COMMUNAL RESIDENT SPACES

INTER-GENERATIONAL YOGA STUDIO

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MARGARET WITHERS A DAY IN THE LIFE OF...

Age: 83 Dementia Diagnosis: Alzheimerâ&#x20AC;&#x2122;s disease, mid-to-severe symptoms Career: Secondary school teacher Home: Whitley Bay Family: Husband, also aged 83; three children (two boys, one girl); five grandchildren Hobbies: Gardening, reading, crosswords, bee-keeping Sports: Football, horse-riding - Newcastle United Fan Food: Prefers healthy meals, with lots of fruit Festivities/seasons: Favourite season is summer, as it reminds her of summer holidays with family

1. WAKING UP

4. FAMILY VISIT IN COMMUNAL LOUNGE 2. Morning routine, assisted by care nurse in residential pod 3. Breakfast in resident dining area

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5. Lunch in resident dining area

6. ENGAGING IN INTER-GENERATIONAL YOGA SESSION 7. Physiotherapy session in PT room one

8. WALK ROUND FACILITY

9. TENDING TO RESIDENT GARDEN 10. Dinner in resident dining area 11. Evening routine to prepare for bed, in resident pod

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SAMANTHA BAKER A DAY IN THE LIFE OF...

Age: 32

Career: Resident care nurse - cares for Margaret particularly Home: Jesmond Family: Boyfriend Hobbies: Knitting, musicals, going to the gym Sports: Swimming, triathlon Food: Favourite cuisine is Indian Festivities/seasons: Favourite season is spring, as she likes watching nature be re-born

3. ASSISTING MARGARET IN THE MORNING 1. Arrive at Cloister Court 2. Use changing facilities to change and store personal belongings

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4. Follow Margaret to resident dining area for breakfast

5. SUPERVISING RESIDENTS WHO HAVE FAMILY VISITS 6. Assist other residents with shower time

7. LUNCH BREAK IN STAFF ROOM

9. SUPERVISING RESIDENTS IN QUIET ROOM 8. Sit in nurses station and supervise residents

10. Attend end of day de-briefing, before heading home

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CULTURAL BIBLIOGRAPHY

CULTURAL BIBLIOGRAPHY THE HOME FROM HOME

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ROKER AND MOWBRAY DEMENTIA CARE CENTRE - A SHINING EXAMPLE The Roker and Mowbray Dementia Care Centre in Sunderland is an award winning example of designing for dementia. As a studio, we were lucky enough to be able to visit, and were shown around by one of the nurses working on the ward. First hand experience of dementia wards such as this one proved to be valuable learning tools for us all. As already stated, I had a very limited understanding of what dementia was and how people were affected by the disease at the beginning of this project. Visiting the ward and seeing a design in action like this was incredibly useful, as we were able to

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see which parts of the design worked successfully and which parts needed improving; I have since adopted the more successful aspects in my own project. The additional factor of having a personal guide who was knowledgeable on the topic and familiar with the patients on the ward was also beneficial, as it meant we were able to ask our own questions to improve our understanding of dementia. Inspired from this visit, I decided to overlay pictures of people interacting with the objects in photos I had taken to illustrate day-to-day life on the ward.

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CASTLESIDE DEMENTIA WARD - A CONFLICTED EXAMPLE The Castleside Dementia Ward is the current dementia facility located our project is intended to replace, located in the Centre for Ageing and Vitality. This ward is a conflicting precedent, as aspects of it prove to be successful in design, whilst others are quite clearly not. Much like Roker and Mowbray, we were fortunate to be able to visit the ward, and were shown around by one of the nurses working on the ward. The Castleside Ward used to be a maternity ward, before it was transformed into a dementia ward. This is arguably why it is not as successful as Roker and Mowbray, as

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with this example the design is only able to make do with what already exists. Nevertheless, once again the first hand experience of the ward proved incredibly valuable. Our guiding nurse was able to answer more questions we had about dementia, furthering our knowledge of the subject. Ultimately, seeing how something had not been designed well for the residents of the building proved just as useful as seeing how it should be designed, as it is often easier to remember the shortcomings of an example rather than its successes.

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Appendix

JB: Yes, yes, yes. Um. Yes, no, it was that way round. And yes, the other thing, well maybe it will come up later, but, of course what we didn’t realise when we first thought that the site would be really good was that the main sewer of Brighton, goes right underneath where the tower is. So, um, yeah. So that obviously added a bit in cost. TT: In cost, yeah. JB: Yeah, you know, so these things are, well, what’s a more intellectual way of saying (inaudible). It seems to be that there’s always things that are barriers, but you have to find a way around. TT: Yeah, there’s always obstacles. JB: There’s always obstacles, but you find a way around them. So what’s the feature that I’m most proud of? TT: So that’s kind of like, cause on your website, under the, you talk about the sustainable aspects of it all, and like, how the money that’s generated from, that’s been generated from this so far has led to the regeneration of, oh god I can’t remember what the name of the house is, but there’s sort of a house a bit further along and they’re now doing that up because of all the money from this. JB: Yes, the Marina, it’s the Marina Terraces. TT: Yes. JB: Yes, yes. I mean, that’s got to be, well I mean, you know, if you were to ask me what I was most proud of with the London Eye it’s actually that 1% of the revenues from the London Eye go into the local community and pay gratuity, and really we were trying to do the same thing here. The economics are not quite the same, but we’ve actually, you know, we’ve given back the council about two and a half million, which they’ve, and that’s in addition to doing, to regenerating the seafront either side, which is paid for by us. So you know, it’s had a huge regenerative impact on that site, because when we first went, when David first went it was in a really sorry state. So I suppose that’s the thing we’re most proud of. TT: What other design ideas were considered? JB: Well actually, the idea of doing a tower like this came quite quickly. TT: Quickly. JB: And there weren’t a lot, and unusually for us this was, it seemed to be the right thing. TT: I suppose that’s because. JB: Particularly for that particular site, so there wasn’t really any point in doing different options. TT: And if you’re trying to replicate the London Eye, it’s sort of, kind of the most obvious way of doing it. JB: Yeah, yeah, yeah. It is. It’s sort of. Yeah. So I’ve answered, so we’re up to five. How is the tower maintained on a daily basis? Well, it’s a bit like the London Eye, in that every January there’s a shutdown where it has its sort of MOT, where all of the systems are tested, but then it’s also tested on a daily basis, and with the London Eye as with the i360, the technical side is a challenge. I mean, it actually broke down on the Friday before August bank holiday which is a complete disaster. So, it’s not, it’s very complicated, lots of moving parts, very innovative, no one’s done it before, so it’s actually, the whole technical side is a challenge. 75

DISSERTATION EXTRA-CURRICULARS - THE WORLD OF MARKS BARFIELD ARCHITECTS

THINKING THROUGH MAKING WORKSHOPS

My dissertation for this course concerned seaside architecture, in particular a discussion surrounding the use of heritage in the re-design of seaside piers. A major aspect of this concerned the British Airways i360 in Brighton, designed by Marks Barfield Architects. I was fortunate enough to be able to interview Julia Barfield as part of my research into this landmark, and an extract of this has been included above. Although not related to design specifically, this interview provided me with valuable insight into the world of a real architectural firm, and I was able to understand more the design process outside of the fantasy world of the undergraduate degree.

This year I have also tried to engage in as many Thinking Through Making Workshops as possible, to learn new skills, methods of representation, and crafts. These included a plaster casting workshop, a CAD workshop, a 3D printing workshop, a cardboard workshop, and a collage workshop.

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my Staging residential pod; the cardboard workshop on the other hand had no direct link to my project, but showed me a new skill in creating a large seahorse. Other workshops such as the collage workshop were useful also, as following this I was inspired to create more conceptual pieces of art that showed key ideas behind my project; these have since been included in my portfolio.

These workshops proved great fun, and I was able to explore ideas both related to my project and outside of it. For example, during the plaster cast workshop I was more focused on my own project, exploring the idea of creating personalised front doors for

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Alzheimer’s Society. (2020). Facts For The Media. [online] Available at: <https://www.alzheimers.org.uk/about-us/news-and-media/facts-media#:~:text=There%20are%20an%20estimated%2054,around%20the%20world%20every%20year.> [Accessed 11 October 2019]. Alvernia Online. (2019). Dementia Stages: Recognizing The Signs And Symptoms. [online] Available at: <https://online.alvernia.edu/articles/dementia-stages-signs-symptoms/> [Accessed 12 June 2020]. Andrews, J., Molyneux, P. (2013). Dementia: Finding Housing Solutions. National Housing Federation. Bright Forest. (2019). The Environmental and Efficiency Benefits of the NUR-HOLZ Method of solid Timber Construction. Broadland District Council. Cambridgecognition.com. (2015). What Is Cognition & Cognitive Behaviour - Cambridge Cognition. [online] Available at: <https://www.cambridgecognition.com/blog/entry/what-is-cognition> [Accessed 15 October 2019]. D’Angelo Friedman, J. (2017). The Benefits Of Yoga And Meditation For Alzheimer’s And Dementia. [online] Available at: <https://www.yogajournal.com/lifestyle/benefits-yoga-meditation-alzheimers-dementia> [Accessed 08 November 2019]. Dementia Services Development Centre. (2013). Improving the design of housing to assist people with dementia. Stirling: DSDC. Dementia Services Development Centre. (2020). Virtual Care Home | Dementia Services Development Centre l DSDC, Stirling. [online] Available at: <https://dementia.stir.ac.uk/design/virtual-environments/virtual-care-home> [Accessed 05 January 2020]. Dementia UK. (2019). Gardening With Dementia - Dementia UK. [online] Available at: <https://www.dementiauk.org/gardening-with-dementia/> [Accessed 08 November 2019]. Department of Health. (2014). Health Building Note 00-01: General design guidance for healthcare buildings. Crown. Department of Health. (2015). Health Building Note 08-02: Dementia-friendly Health and Social Care Environments. Crown. Feddersen, E., Lüdtke, I., Braun, H. (2018). Living for the Elderly : A Ddesign Manual Second and Revised Edition. Walter de Gruyter GmbH. Genova, L. (2015). Still Alice. Simon & Schuster. Healey, E. (2014). Elizabeth is Missing. Viking. Heart-Mind Online. (2020). 10 Exercises For Your Prefrontal Cortex. [online] Available at: <https://heartmindonline.org/resources/10-exercises-for-your-prefrontal-cortex> [Accessed 16 October 2019]. Hse.gov.uk. (2020). Health Services - Safe Use Of Bed Rails. [online] Available at: <https://www.hse.gov.uk/healthservices/bed-rails.htm> [Accessed 26 January 2020]. Institute on Aging. (2018). Yoga For Alzheimer’s Patients: Mindfulness And Movement. [online] Available at: <https://blog.ioaging.org/medical-concerns/yoga-alzheimers-patients-mindfulness-movement/> [Accessed 08 November 2019]. Larkin, E., Kaplan, M. S., Rushton, S. (2010). ‘Designing Brain Healthy Environments for Intergenerational Programs’ in Journal of Intergenerational Relationships, 8. Routledge Taylor and Francis Group. p.161-176. Learning Theories. (2020). Affordance Theory (Gibson) - Learning Theories. [online] Available at: <https://www.learning-theories.com/affordance-theory-gibson.html#:~:text=Summary%3A%20Affordance%20theory%20states%20that,affordances)%20%E2%80%94%20 perception%20drives%20action.> [Accessed 16 October 2019]. Medical Architecture. (2020). Dementia Care Unit – Roker and Mowbray. [online] Available at: <https://medicalarchitecture.com/projects/roker-and-mowbray/> [Accessed 12 June 2020]. The Minded Institute. (2020). The Benefits Of Yoga & Meditation For Alzheimers & Dementia. [online] Available at: <https://themindedinstitute.com/clarity-within-haze-benefits-yoga-meditation-alzheimers-dementias/> [Accessed 08 November 2019]. Oldroyd, E. (2016). How Does Sport Help People Who Have Dementia?. [online] Available at: <https://www.bbc.co.uk/sport/get-inspired/36327418> [Accessed 08 November 2020]. Perkins, B., Kilment, S. A., Holgund, J. D., Staff, P. E. A., King, D., Cohen, E. (2004). Building Type Basics for Senior Living. New Jersey: John Wiley & Sons. Rush, J. (2019). The Ultimate Guide To Circadian Lighting. [online] Available at: <https://hoarelea.com/2019/01/15/the-ultimate-guide-to-circadian-lighting/> [Accessed 18 October 2019].

BIBLIOGRAPHY/LIST OF FIGURES

Sleep Foundation. (2020). What Is Circadian Rhythm? - Sleep Foundation. [online] Available at: <https://www.sleepfoundation.org/articles/what-circadian-rhythm#:~:text=Your%20circadian%20rhythm%20is%20basically,as%20your%20sleep%2Fwake%20cycle.> [Accessed 19 October 2019]. Structural Timber Association. (2015). ‘Cross-laminated timber construction – an introduction’ in Engineering Bulletin 11. Alloa: Structural Timber. TRADA Technology. (2019). Cross-laminated timber. Design and performance. Buckinghamshire: Exova Publishing. Figure 1: Sergison Bates precedent image Sergisonbates.com. (2017). Stephen Bates’ public lecture at Antwerp University, Ornamental construction. Between the beautiful and the useful, University of Antwerp, Stadscampus Kleine Kauwenberg, Wednesday 29 March 2017, 7pm. [online] Available at: <https://sergisonbates. com/de/news/stephen-bates-public-lecture-at-antwerp-university> [Accessed 6 June 2020].

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APPENDIX THE HOME FROM HOME

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(Jerrica Liu, 2019)

(Colin Elkington, 2019)

(Simran Ravindan, 2019)

DEMENTIA IN THE NETHERLANDS

PROGRAMMATIC SUMMARY

OUTDOOR SPACES

CASE STUDY REFLECTION

URBAN LIFESTYLE

(Colin Elkington, 2019)

TYPICAL HOUSEHOLD FLOOR PLAN

(Colin Elkington, 2019)

FACADES

(Colin Elkington, 2019)

ST.

Portfolio Staging

Corridor

Courtyard

Strengths: • Clear circulation path; straight line, with various tangents towards pods • Large open exterior facing facade for window; lots of natural light available to utilise • WCs are back-to-back; allows a joint plumbing building service to be adopted, making it easier to service

Strengths: • Easily segregates male and female; two clear zones created • Clear circulation path; one large circle, with various tangents towards pods • Several opportunities for window placement

Weaknesses: • Recessed entrances creates sharp/sudden surfaces within corridors; want to avoid this as much as possible • Leading corridors may evoke narrowing feeling

Weaknesses: • Creates a very large open courtyard (almost 20m) too much space considering the small-scale nature of patients • Recessed entrances creates sharp/sudden surfaces within corridors; want to avoid this as much as possible

Cluster

Strengths: • Smaller courtyards are created within the cluster; overcomes issue from courtyard option of space being too large • Several opportunities for window placement • WCs are back-to-back; allows a joint plumbing building service to be adopted, making it easier to service • Several interior wall surfaces; opportunity to furnish these as well, to create home away from home feeling • Less sharp/sudden surfaces created by repositioning the overlap of the pods

Strengths: • Sharp/sudden recesses are reduced through curve of wall • Creation of both interior and exterior courtyard areas; congregational zones for patients • More opportunity for window placement exploration • Open entrances to the pods • Narrowing feeling is removed as the corridor is not leading

Weaknesses: • Narrowing feeling created as you head towards top pods; want to make the space feel as open as possible

STAGING - POD ARRANGEMENTS 178

ST.

Weaknesses: • May have to design two separate pods to incorporate balcony element; the pods in the middle are not orientated correctly to allow the same positioning of the external door as the remaining pods • Less open facades in the corridor spaces; won’t be able to display as much artwork on the walls

STAGING - FIRST POD CONCEPT THE HOME FROM HOME

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ST.

Portfolio Staging

March 21st, 12.00

June 21st, 12.00

December 21st, 12.00

STAGING - LUX LEVELS: NORTH ORIENTATION 180

ST.

STAGING - LUX LEVELS: WEST ORIENTATION THE HOME FROM HOME

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HEALTH BUILDING NOTE 00-01 5

182

ST.

Portfolio Staging

THE HOME FROM HOME

ST.

183

RE.

Portfolio Realisation

RE.

REALISATION - INITIAL IDEAS 184

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RE.

Portfolio Realisation

RE.

REALISATION - GROUND FLOOR DEVELOPMENT 186

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RE.

Portfolio Realisation

RE.

REALISATION - FIRST FLOOR DEVELOPMENT 188

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RE.

EAST ELEVATION (1:50)

Portfolio Realisation

RE.

YOGA

SECTION A-A (1:100)

SECTION B-B (1:100)

REALISATION - YOGA STUDIO DEVELOPMENT 190

REALISATION REVIEW PRESENTATION THE HOME FROM HOME

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SY.

Portfolio Synthesis

Scale 1:250 8

SY.

20 m

SYNTHESIS - EAST ELEVATION DEVELOPMENT 192

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SY.

Portfolio Synthesis

SY.

March 21st, 12.00

June 21st, 12.00

December 21st, 12.00

SYNTHESIS - DAYLIGHT ANALYSIS FIRST FLOOR

ARC3013 TECHNICAL SECTION

(Work taken from ARC3013 Integrated Technology report; building proposal reflects an earlier iteration, but main structure has same principles)

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Portfolio Synthesis

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optimum locations for PV panels

Description

Date

PROJECT

www.autodesk.com/revit CODE

STATUS

SUITABILITY DESCRIPTION

SHEET

PURPOSE OF ISSUE

No.

CLIENT

Project Name

Owner

Date

Project number

Drawn by

DRWAING NUMBER

Project Number

Issue Date

No. 3D

Description March

December 21st - 12:00

AuthorDate

Checked by

Checker

Scale (@ A3) REV

A127

No. PROJECT

www.autodesk.com/revit CODE

STATUS

SUITABILITY DESCRIPTION

PURPOSE OF ISSUE

SHEET

Project Name

CLIENT

Owner

Date

Project number

Drawn by

DRWAING NUMBER

Project Number

Issue Date

3D June

Description

Author

Date

Scale (@ A3) REV

Checker

Project Name

CLIENT

Date www.autodesk.com/revit

Owner

Date

Project number

Drawn by

DRWAING NUMBER

PROJECT

CODE Scale (@ A3)

Project Number

STATUS

SUITABILITY DESCRIPTION

PURPOSE OF ISSUE

SHEET

www.autodesk.com/revit 1. PV panels placed along roof slope of 30 degrees. PV cells turn light from sun into DC electricity. A129 2. A series of inverters hidden3D inSeptember the roof convert DC electricity into AC electricity. 3. AC electricity flows through wires concealed in walls and floors. 4. Current is fed into the facility’s consumer unit, where it is stored until needed. 5. Electricity generated flows to machines, i.e. washing machines, through the concealed wires. 6. ‘Spare’ electricity is exported to the National Grid.

CODE

A126

Checked by

PROJECT

Description

16/04/2020 15:42:19

No.

September 21st - 12:00

16/04/2020 15:41:52

Location of plant room on ground floor

June 21st - 12:00

16/04/2020 15:41:59

March 21st - 12:00

STATUS

SUITABILITY DESCRIPTION

PURPOSE OF ISSUE

Issue Date

SHEET

Author

REV

Checked by

Checker

13.5m

Project Name 3D December

heat pump December 21st - 09:00

condenser

December 21st - 15:00

No.

2.5m apart*

Description

Date

PROJECT

www.autodesk.com/revit CODE

STATUS

SUITABILITY DESCRIPTION

PURPOSE OF ISSUE

No.

Project Name

CLIENT Description

Project number

Drawn by

DRWAING NUMBER

Issue Date

SHEET

3D December

Location of switch room on ground floor

Date

Owner

Date

Author

Checked by

Checker

Project Number

A128

PROJECT Scale (@ A3) CODE

REV STATUS

16/04/2020 15:56:35

39m

www.autodesk.com/revit SUITABILITY DESCRIPTION

PURPOSE OF ISSUE

SHEET

Project Name

CLIENT

3D December

Owner

Date

Project number

Drawn by

DRWAING NUMBER

Issue Date Author

Checked by

Checker

Project Number

A128

Scale (@ A3) REV

16/04/2020 15:55:26

1. 2m underground coils

compressor

evaporator UP

GSHP section view - coils are laid out horizontally in a 2m deep trench. Pipes are then fed underground into the plant room at the northern end of the building, and then through the walls to the first floor to heat the underfloor heating pipes.

30o

4. 5.

Ground source heat pumps underneath resident courtyard

located

*except in the case where the coil must avoid a tree root/concrete arch, to make access to coil easier in case system fails

30o PV panels located on roof

RAMP UP

Facility wiring 30o

Ground source heat pumps - plan view

ENVIRONMENTAL STRATEGIES

National Grid wiring

RAMP UP

(Work taken from ARC3013 Integrated Technology report; building proposal reflects an earlier iteration, but environmental strategies/concepts have same principles)

THE HOME FROM HOME

196 0

Scale 1:250 8

N 14

20 m

197

SY.

Portfolio Synthesis

SY.

COMMUNAL LOUNGE

COURTYARD

ENTRANCE

PATIENT CORRIDOR

SYNTHESIS - PERSPECTIVE DEVELOPMENT 198

THE HOME FROM HOME

199