I'm Fine, a study in mental health for the modern city by OTO Group

by Nicholas James Dunning Mastersâ&#x20AC;&#x2122; graduation project Aarhus Arkitektskolen 2015 Tutor: Thomas Lee

Acknowledgments

For Fin, forever and always. To Mum and Dad who inspired me in the first instance to become an architect and for all your support. To Rikke, who has tirelessly offered her keen input. To Amy for all your help with research. To Grant for saving me from hordes of zombies. To Anders and Thomas for your guidance. To the Mogensenâ&#x20AC;&#x2122;s for your love. To all those who helped me with research on such a private topic as this.

Contents

acknowledgments

introduction essays user involved research case studies concept designing for positive mental health design final drawings conclusion

12. 24. 27. 29. 31. 37. 54. 76.

Motivation

Stress, depression and anxiety can be debilitating illnesses that go largely unseen and untreated. They can change lives for the worse and effect more than just the person afflicted. We all know people who fall within the barriers of these mental illnesses. From experience alone we know that friends or family members go through troubling times without reaching out to other people. We also know that we ourselves fall into periods of darkness without knowing how to get out. It is with this that I want to use my project to address the importance of keeping a healthy mind and knowing that it is ok to seek help and talk about our inner problems and that it is not ok to cover things up with the answer of â&#x20AC;&#x2DC;Iâ&#x20AC;&#x2122;m Fineâ&#x20AC;&#x2122;.

Abstract

We are aware of depression and stress but we avoid this heavy topic and it is this that hides the numbers of mental health and makes people think that it is ok to not talk to others about what is going on in their own minds until it is too late. Seeking to bring mental health out of the dark, this thesis aims to investigate how architecture can provide a more holistic and social design model for those afflicted with stress, depression and anxiety. In response to the lack of facilities and the impersonality of mental hospitals, this thesis explores the possibilities of establishing such a place within the fabric of a modern city, to re-establish mental health as a part of our lives that needs to be addressed publicly and with the support of people, not medicine.

Purpose

Depression stems from many different causes, both physical and mental, and can lead to other problems. As our workplaces demand more of us in less time, as we spend more time inside sitting down and as we withdraw more from physical connections we are putting ourselves within the grasp of depression stemming from stress, angst and unattainable goals (SI-Folkesundhed). Depression is a word used to cover a variety of mental health issues and it carries heavy connotations. Depression is a serious illness and costs â&#x201A;Ź617 billion in Europe and 14.7 billion kroner in Denmark a year. This is from lost work days, decreased productivity and suicide (EU-OSHA). Men are twice as likely to commit suicide as women and the risk of suicide increases with age, meaning that early prevention and education for younger people is especially important (SI-Folkesundhed). The age group with the highest stress and depression is the 25-44 year olds or the working age group. 61% of females and 55% of males are stressed or depressed in this group (SI-Folkesundhed). Stress leads to depression, heart problems, bodily injuries and heart attack which is the most common death in the developed world (WHO). The other dangerous aspect of mental health is the stigma associated with it

which can deter people from speaking up about their own problems for fear of discrimination. People may feel ashamed of their own problems which can stop them from properly discussing it with others, feeding the cycle of suppressing our illnesses (EC). Proper education and acceptance of mental health will allow people having trouble to seek help and others to offer proper care or avoid the illness. The stresses in our lives are a major contributing factor to depression and this comes from our busy urban lives that our bodies and minds are not used to. It is projected that in 2050, 66% of the worldâ&#x20AC;&#x2122;s population will live in urban areas (UN). This will put a huge strain on an already stressed urban environment and with more people in cities living more stressed lives, the need for proper mental health care is crucial. Studies into citiesâ&#x20AC;&#x2122; effects on our brains have also been carried out, finding that urban living raises the risk of mental issues by 39% (Benedictus). The aims of this thesis is to provide an example of how a delicate and complex topic such as depression can be approached using an already densely populated site as a driver for social change. Hopefully questions will be raised around the importance of positive mental health in modern society.

55%

61%

1/3

20%

Research Question

Modern society has to cope with many different diseases and illnesses and we have constructed a vast healthcare institution to care for people. Each year, different diseases are labeled public enemy number one: cancer, heart disease, arthritis. 11% of the Danish GDP or 24 billion kroner is devoted to curing disease and looking after patients (OECD). Worldwide, depression accounts for 1 million suicide deaths every year, or 3000 deaths a day (Marina). In Denmark, 4% of people over 18 suffer from depression. This equates to roughly 200,000 people. It is calculated that 20% of all Danes will have some sort of mental condition during their lifetime whether that be chronic stress, angst, depression or break downs which works out to 800,000 people seeking help (SI-Folkesundhed). 1/3 of early retirements are due to mental health issues. Stress, nervousness and depression are also the most common disorders in people who are admitted into hospital for mental health issues. To add to these numbers, women are twice as likely to have depression than men while 55% of men between 25 and 44 will suffer from one of these illnesses (SI-Folkesundhed). Depression will be the greatest cause of disability by 2030 (WHO) and it is the leading cause of disability in industrialised nations (EC).

Program

Mid crit I

relfection

iterative

concept case studies site analysis

developed resear literary research

september

october

november

Methodology

relfection

synthesis

e design

rch

december

Submit Material

Mid crit II

january

This thesis starts off with a literary research component. Using the information learned there, a user survey and interview component gathers qualitative research. A site is then chosen and analysed using the information gained in the previous two components. Using all of this knowledge, the design component is begun and revolves around an iterative process of models, drawings and text to build up a narrative of the design process in the aim to create a final building.

literature review 12

A History of Healing We can trace mental health issues back to the ancient Egyptians, who as far back as 1550BC were concerned with depression but thought the mind and body were linked as seen in the Ebers Medical Papyrus: “When the Heart is sad, behold it is the moroseness of the Heart, or the vessels of the Heart are closed up in so far as they are not recognizable under thy hand. They grow full of Air and Water. When the Heart feels an aversion, behold it is the Bitterness of the Heart because of Inflammation in the Anus.” In ancient Greece, careful thought too was placed on afflictions on the mind and moods but a physical manifestation within the body was blamed. Arsitotle has written about melancholia which was described as an excess of black bile in the body, causing people to become very sad. It was Aerates in 150AD who first alludes to melancholia being something more subtle in the mind rather than a byproduct of a physical affliction. He also goes on to describe the different patterns of melancholia and that each patient can be affected in a different form: “And yet in certain of these cases there is mere anger and grief and sad dejection of mind………those affected with melancholy are not every one of them affected according to one particular form but they are suspicious

of poisoning or flee to the desert from misanthropy or turn superstitious or contract a hatred of life. Or if at any time a relaxation takes place, in most cases hilarity supervenes. The patients are dull or stern, dejected or unreasonably torpid……they also become peevish, dispirited and start up from a disturbed sleep.” Mental health issues went through troubling times during the middle ages with the causes of melancholia being linked to demonic possession or spite from gods. Chronically depressed people were often locked up in dungeons with insane people. Healthcare in the past has focused purely on the physical body and has regarded problems of the mind as something that only religious intervention can cure which has built up a strong stigma of mental health that still carries on today. Hospitals haven’t always excluded patients with mental illnesses. In ancient Greece, the Epidauros was a famed healing centre, an entire health complex. Dating from the 4th century BC, a collection of buildings constructed with the fortune that the fame of the health centre had provided are set against a dramatic landscape. A 15,000 seat amphitheatre sits at the heart of the facility. Here, patients could come and be entertained to take their minds off their

A History of Healing ailments and to bring joy back into their lives. It was a purging of emotions. The theatre was backed by wards of beds facing out over the dramatic landscape, each room naturally ventilated and well lit. Sleep was seen as an important part in the healing process and the Abaton, a temple which patients went to for a few nights of ‘temple sleep’ went and slept outside under the stars in the loggia. Rest, fresh air, scenery and cultural and social interaction made up the core of the healing process at Epidauros. Healing was a sacred task that included mental ailments as well as physical (Heathcote). In the defining book on depression in 1621, Robert Burton analyses the causes, effects and treatments for melancholia. His book touches on spiritual, medical and social issues and treatments and it is from this that we can first see melancholia and depression becoming something that is starting to be understood. ‘But to leave all declamatory speeches in praise of divine music, I will confine myself to my proper subject: besides that excellent power it hath to expel many other diseases, it is a sovereign remedy against despair and melancholy, and will drive away the devil himself.’

last resort. This stigma still remains. Hospitals and healing centres grew from their humble origins as the domain of temple priests and monks to being a core part of cities in the middle ages. Hospitals became institutionalised and grew in size and sophistication. It was an honour to have a beautiful hospital in the middle of a city and this can be seen in the Santo Spirito in Rome, the Ospedale degli Innocenti in Florence and the Hotel-Dieu in Paris. These buildings all display a grandeur befitting palaces that show a nation’s earnestness to express its modern medical practices and as an archetype for the revolutionary city. It was a counter reaction to the squalid conditions that people lived in during the middle ages that the cities of Europe began to show humanitarian concern in caring for their people. These buildings were built by vastly wealthy institutions and were to show that no measure was too big in ensuring a patients’ wellbeing.

This grand vision slowly evolved into what we see today in hospital architecture: expressionless and verging on cruel, our hospitals lost their ornamentation and took on a puritanical blankness. This arose from a concern in the 19th century that hospitals shouldn’t be too nice or else patients might actually want to stay in the A stigma emerged from the hospitals in building. The patient slowly moved out of the 18th century that the hospital was being the primary concern of the hospithe lowest place a person could go- a tals and efficiency and technology took

A History of Healing pole position (Heathcote). This outlook on how a hospital should be designed can be seen all around the world, from New Zealand to Denmark. Rows of mean concrete blocks hulk over cities, filled with fluorescent lighting and dark wards. At the price of accepting that technological improvement is our saviour in the medical world, we have shrugged off the notion that a patient’s happiness is one of our best tools in guaranteeing well being. It is from these medical machines manifested in concrete that the stigma has remained for mental illnesses. If physical treatments have stayed impersonal, psychiatric wards have created their own cruel persona.

Film has played on our fears of the insane and the asylum as can be seen in: -One flew over the cuckoo’s nest -Shutter Island -Insanitorium These films play on our fears of being ‘sectioned’ and put in a world we can’t get out of. This stigma of mental illness has passed down into the worlds of depression, stress and anxiety. The institutionalisation of mental hospitals means that people with depression are often put with people who have severe schizophrenia or psychopathic tendencies, forcing negative connotations into the minds of the depressed.

At the turn of the 20th century, hospitals emerged as symbols of a nation’s modernity and ideals. That is to say, hospitals for the body. Psychiatric hospitals have retreated further behind their high walls and closed gates. These institutions are characterised by their clinical sterility and anti-suicide furniture, windows, clothing, utensils and constant supervision. The traditional psychiatric ward relies on heavy medication and individual therapy. It also takes patients out from society and isolates them, usually in the country side or behind high walls.

Healing today One of the problems with the treatment of depression today is accessibility. If one has chronic depression which has been signaled by suicidal tendencies or a worried friend or family member, one can be admitted into a psychiatry hospital like in Risskov or at the Aarhus Hospital. This is a highly institutionalised process which involves medication, isolation and therapy. Patients are mixed with other patients who have serious mental illness such as schizophrenia which can make the patient feel that they are worse than they really are. To be considered depressed, one must take a test with a psychiatrist. If one is not deemed sad enough to be called clinically depressed, one must pay up to 1,500kr to talk to a psychiatrist. Therapy sessions can be attended and medication can be subscribed but the success rate of this method is lower than the alternative. The current standard for treating depressive patients in Europe and the USA is to prescribe anti-depressant and to talk with a therapist at least weekly. Anti-depressants, while being anti-depressant, can be detrimental to the health of a patient. The side effects of anti-depressant medication are numerous and can include: joint pain, headaches, nausea, skin rashes, nightmares, sleepwalking, insomnia, drowsiness, weight gain, decreased sexual desire, but most importantly of

all, an increased risk of suicide. These are real and worrisome side effects and because of the prevalence of medicating patients in the modern world, many people have to go through these side effects that are added on top of their existing problems. However, around the world, medical professionals are finding more holistic and humane ways of treating mental health issues. Many ways of treating depression have been found that donâ&#x20AC;&#x2122;t include harmful medicines or intense therapy sessions but rather revolve around a change of life style and social interaction. The six elements of treatment as listed below are what make up a successful and lasting treatment. They are a combination of treatments, recommended by Iliardi, Harris and WilbĂŚk. 1. Exercise is medicine It has been found that 30 minutes of exercise, as simple as brisk walking, 3 times a week is more powerful than anti-depressant drugs in combating depressive moods. Even light exercise is capable of releasing powerful endorphins into the brain, more so than any drug. Exercise also opens up the veins and air passage ways which results in a healthier heart and mind (Iliardi). 2. Sunlight/daylight Bright light and sun over 2,500 to 10,000

Healing today lux for 30 minutes a day was also found to be more effective than medication. 10,000 lux is 10 times as powerful as a bright indoor light but only equates to a cloudy day outside. Traditionally, we would spend our days outside hunting for food or working on a farm. This meant that we were outside, exposed to bright light for at least 8 hours a day, now we are lucky if we get 30 minutes of outside time during our lunch break (Iliardi). Our eyes are built for this bright light and without it the lack of stimulation slows the brain down and makes us feel down. This is the leading cause of winter depression or Seasonal Affective Disorder. 3. Healthy sleep Lack of sleep has been described as the next epidemic and sorting out a healthy sleeping pattern is key in keeping our minds on track. 8 hours a day is recommended by some studies while others suggest 6 hours but all agree that establishing a sleeping pattern is important. This means going to bed and getting up at the same time every day. To help this, screens and bright lights should be turned off within 1 hour of sleep and caffeine should be avoided 10 hours before sleep. The final factor is that our beds should only be used for sleep. If we start doing other activities in bed like watching movies all day or eating, our bodies become confused

and lose the association of sleep that the bed has (Mann). 4. Social connections Social connections are why our ancestors survived, without other people we would have frozen to death or be eaten by sabre tooth tigers. We traditionally spent all day and night in the company of other people and our heritage reflects this with all ancient cultures sharing their stories down the generations through verbal means. As we retreat more inwardly into our apartments and behind our computer screens, we are denying ourselves of social connection. Sociality for the sick is especially important as to see other people get well is hugely positive on everyoneâ&#x20AC;&#x2122;s health. Sociality also helps patients mentally overcome their own problems by discussing it with other effected people (Nauert). Group therapy exemplifies social behaviour in a scientific setting. Group therapy excels over individual therapy in that it benefits patients where they donâ&#x20AC;&#x2122;t have to be actively contributing to a group discussion and can get knowledge from it by listening. Group therapy also shows patients that they are not alone which is one of the strongest messages for people struggling with depression (Corazinni).

Healing today 5. Mindfulness means of recovery for long lasting and Mindfulness is a way of thinking that is medicated free results. similar to meditation. It involves patients being trained to control their thoughts to think on other things other than their pain. It aims to stop rumination and to encourage thinking â&#x20AC;&#x2DC;in the momentâ&#x20AC;&#x2122; to avoid more pain (Harris). It can be used to treat mental and physical pain and both processes are the same. The treatment is based around self-help rather than a doctor giving all the answers which aims to provide lasting solutions rather than a quick fix that can be un-done. 6. Nature in recovery The effects of nature are incalculable as it is such a powerful tool in combating mental health issues. Numerous studies have been done which have concluded that even being able to see natural scenes out of a window while confined to a bed has positive effects on the healing process. When we walk in the forest, micro-bacteria is picked up by our feet and thrown in the air. These react within our bodies when inhaled and activate our dopamine receptors to increase out mood (Jacobsen). These 6 treatment methods make up the basis of the thesis project as to how a modern mental health centre should be created upon to ensure a holistic

Architecture and healing Architecture cannot change our emotions. It may well possess its own moral messages but it does not have the power to enforce them. ‘It offers suggestions instead of making laws. It invites rather than orders to emulate its spirit and cannot prevent its own abuse.’ (De Botton) Architecture is an amplifier of moral messages, not a creator of emotions. With well applied use of space, light and program, the activities taking place within its wall can take on an enhanced meaning. ‘Architecture only plays a supporting role in the plot. It amplifies the message of the carers, the way that activities are performed, the feelings of the main actors, that is the staff and the patients (not the architects). (De Botton) Architects have a tendency to want to express too strongly their own hand on their buildings. This is the essence of creativity but it is not always appropriate. As seen in Zaha Hadid’s Maggie’s, her cruel, computer driven form forces patients to conform to her design will. Earlier Maggie’s centres such as the ones designed by Richard Murphy and Frank Gehry show a more humanist approach to the buildings. They use softer lines, warmer materials and familiar spatial arrangements.

Architecture has a responsibility towards healthcare as it can strongly influence the emotions of patients or the effectiveness of medical professionals. As a building for people to become healthy again, our buildings should be emblematic of healthy living. The brutalist hospital structures of the 1970’s and the palace/ prison architecture of psychiatric wards does little to alleviate our fears that healing is an inherently painful procedure. But what is it about these buildings that we recoil from? Maggie and Charles Jencks talk about the lack of windows, the flickering fluorescent lighting, the plastic flooring, the impersonal waiting rooms and the in-navigable warren of hallways which bring forth alien experiences. We associate other setting with the feelings of safety and comfort that the classic hospital doesn’t readily employ. It is my belief that architecture has the ability to shape how we feel in environments and to mould what we do in our lives. Architecture is an instigator or accommodator for other things but that makes it no less important. We have seen that good architecture effects us but not as strongly as bad architecture does. Architecture frames and complements, it does not instruct.

Nature in recovery Nature has been used in the recovery process since the dawn of modern man. The Greeks understood the power of nature in healing as seen in Epidayuros where natural views, mineral springs and fresh air are mixed with a holistic healing process. ‘People feel more relaxed in a beautiful place, they feel safer and they are away from what makes them stressed.’ (Steen). Because people are more alert when they are outdoors, therapy and mindfulness sessions are more effective. The example of a spring was given in an interview with Bibsen: the mix of the sound of the water coming up and the natural setting and the freshness and purity of the area create a feeling of calm and peace. The spring has the power to relieve stress and lighten people’s mood. With Nacadia, a nature healing centre near Copenhagen, natural elements were used to reference important parts of life so that patients can reflect on their own problems: ‘Provide a diverse nature environment that can be explored for its meaning in relation to important topics such as life, care, nurturing, development and change by use of metaphors,

symbols and stories.’ This use of symbolism through nature can be traced back to early man, where pagan tales were told that turned trees and animals into gods and sprites to convey tales or morality or conscience. In Maori tradition, Rangi is the sky father, god of all things and his wife, Papatuanuku is the earth mother. Their love and their stories are what form the understanding of the natural world and it is through these stories of plants and animals that people in New Zealand grow up understanding how to care for others and look after family. The simplest form of symbology found in nature is life, that life always finds a way and that when a great tree dies in the forest, it will provide the opportunity for new life and that life will always go on. Using positive messages for people dealing with stress and depression is of critical importance. The way we perceive nature is similar to how we perceive temperature: it is seen in contrast so when we walk from one area of the city into a completely new area, we are drawn in more because of this contrast. It is surprise that can trigger our moods and push us in an emotional direction. If a lush tropical rain forest was found in an alleyway or a dry desert in a car park building, our senses

Nature in recovery would be heightened and any experiences produced would be amplified (Merleau-Ponty). It is with this that a new natural area found in a courtyard in Aarhus will elevate the healing process conducted during this project. ‘A change in the direction of one’s gaze, or even an old environment viewed in a new way can provide the necessary conceptual shift.’ (Kaplan) There is a balance between presenting a natural reality as it would be found in the wild and showing it as how man should truly construct this fallacy. If one were to build a hill, it would be false to construct it as if one were to stumble across this hill in a forest, for it is not in a forest any longer. The key aspect that occurs in nature that we cannot recreate in a closed environment no matter how hard we try is the randomness found in the outside world. Trees do not naturally grow in groupings and rows, nor are forests naturally separated into neat sections containing different types of trees. If one is to go to the truly wild outdoors, one will find uneven land, impassable terrain and a wide variety of flora and fauna within a small area. It is this chaos that defines nature.

scape is understanding that one cannot recreate this and if one tried as hard as one could to accomplish this, the end result would be an obvious fake. ‘Although the treatment might be an attempt to create an illusion, it also bears all of its contrivance without pretense.’ (Coates) For a constructed landscape that intends to draw upon the story of a wild landscape found in a faraway land, it needs to strengthen its own narrative and lay out in clear terms that it is not a direct rip-off but has only borrowed spiritual elements of the outside world. If we look back in past, the largest leap from respecting and working with natural landscapes to the destructive outlook we have today was the industrial revolution. The machine age heralded in the annihilation of the pretense of a truly natural world. The other important factor to include is that people need suggestions of activity when they view natural areas. This can be a small path or clearing, suggesting walking or sitting. Dense forests and open fields lack the human sized element needed in aiding people in experiencing the area (Kaplan).

How this relates to a man made land-

Weaving of typologies and program The notion of weaving comes from binding strands of material to form a larger and stronger piece. Taking this to architectural theory, weaving of typologies and building materials is the act of using different types of forms and programs to establish a stronger built environment. It is to take smaller elements such as brick courses and window proportions and to integrate these within a new construction. When we look at a classic site in Denmark, brick is the main material. The bricks all differ in their sizes, layouts and patterns but this is still the main material. Roofs are all tile, plain or painted while windows and doors are range from older timber framing or newer aluminium framing. This is a few of our strands.

back building out of brick and tile. But for a project such as this, aiming to create a place that people are drawn to, to form a community and heal their minds, a different approach must be taken. The new strands of form and material should complement but not clash with the existing. To strengthen the existing, they should not take on current typologies as this would give a false impression of what the project wants to achieve. But the project should not seek to usurp its neighbours nor perform for the public. A project such as this which is based on sensitive matters and delicate emotions should be respectful to its inhabitants and its neighbours. Materials should be used that differ from the brick and tile that exists but complements them, like salt helps the taste of eggs but soy sauce is just too much.

The next strands are the inhabitants on the site: single people, couples, families, small businesses, these make up the cultural strands. When we start to weave in our new strands (mental health patients, doctors, gardeners) we hope to create a stronger atmosphere by overlapping these people. The same can be said for the weaving of materials. The typology of the saddle back roof is typical of the area. If one were to build a dwelling that aimed to blend in with its surroundings, one may build a saddle

Semiotics and the interpretation of metaphor Semiotics involves designing in a way that uses a system of signs that contain an embedded symbolic meaning (Preziosi). Whether that be endemic to a particular culture or region is up to the architect and the viewer. Our minds work through associations so drawing parallels from the language we use can bring meaning to the viewer. Architecture uses a visual language which can be inherited from different aspects of life. It is this architectural language that we place meaning on and informs how we perceive elements. Semiotics is our association with the familiar. For example, a small cottage may mean ‘home’, a row of romanesque columns means ‘strength’,

stress and depression are usually gloomy. We think of dark forests, emptiness or drifting underwater into unseen depths. Stress brings to mind heavy burdens, narrow vision and one thousand voices bombarding us from all directions. ‘It is poisoned air that I have to breathe to survive.’ (Respondent #41) It is with these kinds of metaphors that we can help other people see into the world of stress and depression. These metaphors can be used to convey these feelings to other people through art and architecture, where other people are made to feel similar feelings in the hope that they will be able to empathise with the patients.

Architectural language is used to either imply an idea or to draw a parallel to another idea and therefore associate itself with that idea. This was used on a large scale in the 1800’s in North America as new migrants aimed to ally themselves with the grandiose and powerful image of old Europe. Tall columns, delicate plaster work and rigid building elevations all aimed to push a connotation of buildings found in Rome on the viewer and therefore make them think of the building in front of them as something else. Metaphors found when we think of

Conclusion By looking through history, seeing how we have approached mental health in different ways, how we approach it now and sone of the different elements that influence our perception of mental health, we can start to understand how to design for these spaces. Producing an environment of warmth and welcome in a holistic and caring atmosphere should be the aim of this project. It is also important to use a blend of architectural approaches to ensure that the building blends but does not disappear and that the spaces created are open for everyone but do not become sterile in the process.

user involved research 38

Methodology and Purpose User involved research was done through surveys and interviews. Much quantitative research has been done to find the numbers behind mental health and these are readily available and were used in this thesis so a qualitative approach was taken to get real answers from real people in the field or suffering from mental health problems of their own. It was the hope of this research to provide an insight into how people viewed mental health and what they thought was good for them and what activities and spaces they benefited from. The interviews were taken both in person and via video chat. The surveys were distributed on depression forums online and were taken anonymously.

Spaces for Mental Health

1. Do you have a favourite place to be to that helps you through tough times? 2. Would you go to a centre for people dealing with depression, stress and anxiety? 3. What should such a centre achieve? 4. Where should such a centre be? (near to, far away from, what setting) 5. What should a centre contain? 6. How should a centre feel? 7. Who should be there? 8. How often would you like to go to such a place?

1. What is depression to you?

Mental Health

2. How did you first know that you had depression? 3. Who did you first tell that you had depression? 4. What was the hardest part about telling someone else? 5. How does it affect your daily life? 6. Has it changed any of your relationships? 7. Do you feel that there is a stigma surrounding mental health? 8. What do you wish that you had known or done sooner? 9. Do you know of anyone else with severe stress, anxiety or depression? 10. What do you hope for the future? 41

Survey Two surveys have been written to get input on mental health issues from people with mental health issues. The first survey is titled ‘Mental Health’ and asks questions aimed at finding out how people see their depression and how they deal with it themselves. The second survey is titled ‘Spaces for Mental Health’ and asks where people go when they are dealing with mental health problems and what they would like to do if there was a place for them.

The two surveys were released online to three forums for mental health. Participation was anonymous to increase the catchment group. 122 individual results were obtained. The results were fascinating in their honesty and I was able to properly get an insight into how people feel on a daily basis. Intimate answers about the spaces people prefer are particularly valuable for later designing the project. 42

Participants Alexandra McDonald-Bull ‘I wished I could disappear, it was horrible.’

Finlay Dunning ‘I really didn’t know what was going on and I would distance myself.’

Amy Mauer Psychologist ‘My Dad’s age group find it the most difficult to admit that they are not feeling strong or capable.’

Rosemarie Auld Therapist ‘Stigma prevents people from acknowledging their own mental health problems, much less disclosing them to others.’

Bibsen Guldhammer Mogensen Pain specialist ‘This kind of pain uses energy all of the time.’

Steen Hupfeld Pain specialist ‘People feel more relaxed in a beautiful place, if it is away from their stresses.’ 43

Interviews

The interviews were aimed at two different groups of people. This first was at people with stress or depression to have a deeper dialogue with the participants and ask more direct questions with how they feel about their illness and how they deal with and what they would like for the future. The second group is professional doctors and psychiatrists to get their insight on how the treatment process works and what works the best, in their eyes. From the professional point of view, the current system of working with people who have mental health problems is slow and ineffective. The main feedback was that people did not want to travel far to see a doctor and that grouping too many facilities in a main hospital was impresonal. Smaller units of doctors was better in that they could form lasting relationships and be seen as someone of the local community.

case studies 46

A Study in Nature and Light

Utzon built this house for his family in Mallorca, Spain. He brought with him his Danish sense of design to the sunny climate of the Mediterranean where he built his home with nature as an integral part of the experience. By using local stone and carefully evaluating the landscape inhabiting the site, the building blends in with its context and captures the light filled essence of the location. The building sits in harmony with nature and every part of the building uniquely converses with nature whether it be through light, shadow, views or space. Every view is carefully framed and the experience inside the building feels like a well curated exhibition.

A Study in Homeliness and Care

This building is important as it has influenced every other Maggieâ&#x20AC;&#x2122;s centre and also this thesis. The brief was complex and it was more of a task of creating a certain atmosphere rather than answer a functional brief. At the core of the building, small and intimate spaces preside which provide room for visitors to sit or retreat and still be involved in the overall space. Niches, corners and different levels help achieve a personal feel. The building centres around the idea of a kitchen as the centre of domesticity and this is also where the core activity occurs of socialising and discussing common fears. The building is small but it manages to fit a lot in. It doesnâ&#x20AC;&#x2122;t have any theatrical architectural qualities and it achieves a lot in such a small space through clever layering of very tight spaces, overlapping voids and varying heights. 48

A Study in Consolation and Art

The Hejmdal centre for cancer care is a renovation of a 1908 brick building. The aim was to make a building without doors, a space where patients could come and feel comfortable. It is based around similar principles as the Maggieâ&#x20AC;&#x2122;s where a kitchen and fireplace are in the middle of the floor plan. The renovation turned the original roof into glass to let light down in all parts of the building. The project includes painting as a therapeutic tool and it also has strong links to the natural world with trees overhead so that when one is seated upstairs under the glass roof, one only sees timber beams and treetops. However, a room without doors lacks privacy and the building takes on an air of pretense: a forced smile in its attempt to appear homely and relaxed.

A Study in Architectural Healthcare

Tuberculosis relates closely to depression in that there is no medical cure for tuberculosis. Patients were taught how to adapt their lifestyle through diet, exercise and rest. Although tuberculosis was a highly feared disease in the 1930â&#x20AC;&#x2122;s when the project was started, it was highly publicised as it was seen that there was a need for a modern hospital dedicated to tuberculosis. Fresh air was a key part of the treatment process, as was sunlight. Patientsâ&#x20AC;&#x2122; rooms all faced south and the 7 storey building allowed all rooms to open out with views over a forest. Each floor opened out onto balconies, gardens and courtyards. At the social heart of the building, a large and airy dining room could be adapted into a cinema, dance hall or function centre. Alvar Aalto designed everything the sanatorium to follow the modern healthcare ideals of the time, even down to the washbasins which he saw as the central ritual of hygiene and deserved special attention. 50

A Study in Colour and Care

The Soteria is part of the Psychiatric Clinic at St. Hedwig Hospital in Berlin that was designed in collaboration with psychiatrist Dr. Martin Voss. It is aimed at young people with acute psychosis and it aims to create a home like environment that blends therapy sessions with alone time in one of the 12 bedrooms. A daily routine is estabilshed which provides stability in the patientsâ&#x20AC;&#x2122; lives and therapy sessions are taken in a large dining space instead of closed door offices. Space, colour and materials were used to create a pleasant and safe environment. Colour was researched to provide an insight into how colour can change our perception of space. Colour creates atmosphere which the architects have used to also create variety between the rooms. Colour and space work together to operate phenomenologically on the perception of the patient to support the treatment goals of the therapists. 51

A Study in Home and Light

The architecture of Glen Murcutt resonats with the projects as he works with natural light and warm, friendly spaces. The Frederickâ&#x20AC;&#x2122;s house brings elements of nature inside, along with warm light that spills in from above. The typology of a saddle back roof is also a symbol of home, what a child might draw for a house. This image brings forth emotions of comfort for people who visit. Wood is an important element of this project. Even on a cloudy day, the light will still hit the wood and make it glow. The way that the space is used, bringing people up into the roof space so that they can view down onto the ground floor while still being able to retreat is particularly powerful for taking into the next stage of sketching the design.

program 54

Concept The concept for the project is to explore spaces for positive mental health and to investigate how an inner-city urban area can accommodate a place for mental healing and growth. Positive atmosphere and influential programmed space are intended to provide lasting mental health care.

Aims for the Project The aims for the project are to create an example of what can be created in the name of mental health. Because no similar projects exist at the time of writing, I hope for this study to be a step forward in the discussion of what we can produce to help people with mental health problems.

Program relationships

Different approaches to healthcare and recovery utilize different programs and this is reflected in their architecture. This project is based around exercise, daylight, healthy sleep, social connections, mindfulness, nature and goals. These are the principles that Illiardi, Harris and WilbĂŚk have used with success and it is also how the Maggieâ&#x20AC;&#x2122;s centres are run. The programs in this project need to reflect these core principles and enhance them. The essence of the project revolves around social connection. I started with looking at what sort of spaces these would be.

Program Studies

Lounge spaces, large couches, roaring fires, home cooked meals, natural views and daylight fit the qualities that my research brought up. The reason for having these qualities is simple: for people to open up and discuss their innermost feelings, they should be relaxed and feel safe (Connellan). This central space should consist of a hearth that people can gather around. Branching off this core space will be the ancilliary programs that feed off the central energy. Workshops spaces will provide distractions for people but also offer goals for people to set for themselves. A kitchen and dining space allows people to come together around the table and share food and support. Smaller pocket spaces should offer intimacy while even smaller spaces should allow people to retreat from the world when they need to. 60

Program Benefits

After cataloging the different programs, I arranged them on a matrix to see what sort of spatial conditions could be found when different programs were put in the same space. On the right is the positive outcomes and on the left is the negative. For example, when the workshop space is mixed with the community room, it would be noisy and dirty but it could also inspire creativity and act as a public display. From this matrix, I was able to find the optimum combination of spaces that would offer the best dynamic atmosphere while still mainting what made each program typology unique and specifically important to the overall project. 61

Program Bonds

The final aspect was to investigate how the different programs integrated with the natural elements in the project. Framing views and brining aspects of nature into the building was important and I decided to focus on treating this aspect in the same way that I did for the other parts of the programming. Where social interaction is more broad on a group scale, natural interaction is framed while in more personal space, the relationship to nature is also more personal with intimate spaces that are shared with a single tree, for example. Nature is also used to mark the extents of the project and help guide the public through the site so that they are not always bumping into the more private sanctuaries. 62

As the project deals with how buildings can fit in within the built context of Aarhus and the site has a strong cultural identity, special care will be taken in regards to what the inhabitants of the area want and need and how they can benefit from the project. The project utilizes the central courtyard as a basis for an inner city sanctuary. The neighbours must be able to access the outdoor areas of the project as if their back yards had not changed. Flows through the site must be maintained or enhanced, this includes the shortcut through Fænøgade. Privacy is also a concern for residents so care will need to be taken as to if people will be able to see into others’ bathroom windows or not. To build in the centre of the block is to infringe on peoples’ private domains. Any new buildings will have to be careful to not block too many views, shade too many homes or cross too many site boundaries. Part of the project is to investigate how a structure can be re-purposed, say an old house but this will only be for the bare minimum of buildings, 63

Community Requirements

essential to the completion of the project. In 1972, a plan was laid out by the Aarhus Kommune to renovate the area and create a modern and clean living environment for families now that industrial processes in the area had moved out. This process took 10 years when in 1982 the first back buildings were taken down. Opposition was strong from the residents as they feared they would be driven out of their homes by the increased rents after the works. The Kommune promised the residents that they would be allowed back in to live. Only 3 of the original households could afford to move back in (Thomsen). The buildings marked in dark grey on the previous page show additions after the first demolitions. A 6 storey building was erected in the middle of the courtyard, splitting the courtyard in two.

Defining the Program At the core of the project is the hearth; the sense of comfort found in a relaxing situation with other people. Fire and the literal and symbolic warmth that it provides, along with the opportunity for community has formed the centre of our homes and communities for thousands of years. From the central space, where people come to converse in a safe and inviting place, stems more intimate and private spaces. This room also has a direct relationship with the outdoors and the neighbours.

User Needs The needs of the user are amorphous in their specificity. Many different people will be involved with the project ranging from young men to old women, all with their own backgrounds, beliefs and worries. To design for everyone would be to design for no-one but a set of mean qualities can be assimilated for the purpose of designing. Based on existing psychiatric studies, patients who suffer from stress and depression can feel tired or disinterested in life. They also lose interest in the things that they love and can feel worthless or guilty. People with depression fold into themselves and avoid external contact. A patient of depression seeks comfort, darkness and to be alone. A psychiatrist seeks to draw this person back out, to establish healthy relationships and to embrace the world anew. Therapy works in a group or individual setting, depending on the patient. 7-8 people is the best size for a group to as it is too small for one individual to hide from the discussion but large enough for someone to feel like they are not the centre of attention (Atherton). Patients will need to use this building at any time of the day so it will have to be designed in a way that facilitates this. Different programs will need to be arranged so that core amenities are accessible.

site 70

Introducing the Site

The site chosen for the project is a courtyard block in Aarhus centre. The choice for an urban setting is a response to current hospitals. With an urban hospital, it can be almost social with people visiting more often which greatly speeds up recovery times. Also, smaller medical centres are more efficient than larger hospitals and a small unit can specialise for greater effectiveness. A small unit means more time with patients and better relationships within the staff which means better long term results. The site was chosen as the project will be an example of what can be done with these blocks, not that this particular block is special. It is a good example of a typical urban block with a ring of houses in a range of heights surrounding an inner, green, courtyard. This is a typology that is emblematic to Denmark and Europe. The courtyard that defines the site is marked as private which denies the public the opportunity to experience one of the core reasons that these areas exist. By opening up the courtyard, more people can enjoy open space in Aarhus. 72

Aarhus map

nør o rep rt

ade nørreg

The site has been marked in red. Other key buildings have been marked in blue for reference such as the architecture school, the cathedral and Dokk1. The site sits on the edge of the heart of Aarhus and is across Nørregade from the latinekvartet. It is contained within the historic part of the city, dating back to the 1850’s. The area has seen many changes starting as farm land, then light industry, then a workers’ area, student community and now a family hub with creative enterprises. The site is near many transport hubs such as the bus station at Klostertorv and Nørrealle. It is easily reached by bike and car also. 73

Neighbourhood Map

Sjællandsgade

Fænøgade Nørregade

The ‘Fænøgadekarre’ as shown highlighted is a classic example of a city block in Aarhus. The block is bound by streets on all four sides and is bisected by Fænødage. Historically, two factories were in the middle of the block with workers’ houses around the perimeter. In 1972, plans were put into place to revitalise the area after it had fallen into a run-down state. These weren’t built until 1982 as the local residents were resistant to the renewal as they thought they would be kicked out. The government promised the residents that there would be provisions made for them to stay. The renewal raised the rent in the area and only 3 buildings in the block retained its original residents.

Site Access

lla

Fæ

nø

egad Nørr

As a block, the four streets that bound it are the main sources of traffic with Sjællandsgade being the most busy as it is a direct link to Nørregade. Nørregade is a heavily trafficked road but the noise does not make it up to the site. A pedestrian link exists that runs North-South through the site, connecting the two green areas, but this is barred off from the public with privacy signs and fences. Norsgade to the West is a quiet street but a few pedestrians use this to connect down with the city. At the start and end of school time, the two neighbouring schools add to the street noise with children making their way home. 75

Programs

commercial

5+ storey living

2-4 storey living

single storey living

mixed use

extraneous

Several small businesses are based on the site with Mødtryk and Knold Frisør being the largest. Mødtryk inhabits an entire building while the other businesses operate out of the ground floor with living above or small offices. The rest of the buildings are dwellings ranging from whole house family buildings to smaller apartments. To the south, a building stands at 7 storeys and in the middle of the site, there is a 5 storey building. The rest of the buildings are all less than 5 storeys which results in an intimate and homely atmosphere on the street. The streets around the site have similar characteristics to this block but business density increases towards Nørregade and decreases to the North where it becomes predominantly residential. 76

Natural

One of the factors that drew me to the site was the well looked after natural elements within the courtyards. Two green areas are linked by a small path but are separated from each other, even though the overall block identifies itself as one distinct area. Large, well established trees exist on the site. FĂŚnĂ¸gade acts as a quiet street to play on and has minimal vehicular traffic and a small amount of pedestrians using the street as a shortcut.

Site boundaries

Each site allocation has been marked above. If a building were to be built within the block, building lots would have to be chosen as to which ones to buy. Ideally, adjacent lots would be bought to tie the buildings together. Above is an example of which lots would need to be sourced if the centre of the site were used for the project. Sites would be purchased and tied into one.

Materials

The buildings on the site follow traditional Danish construction rules of brick. There are also many buildings which feature coloured chalk and lime facades which leads to a vibrant neighbourhood. As the project develops, a decision will have to be made as to if the proposed building will blend in with itâ&#x20AC;&#x2122;s surroundings, stand out in contrast or fall somewhere in the middle. The existing palette of colours, textures and materials provides a good standing for deciding where the building will end up and how the exterior will be treated.

Shading

The shadows shown above are set for midday for each equinox and solstice of the year. They approximate the amount of shading that the existing buildings will cast on the surrounding area. For outdoor climate and interior comfort, natural light and direct sunlight are an important factor. This image shows that both existing green areas receive unobstructed sunlight for most of the year. This image doesnâ&#x20AC;&#x2122;t take trees into consideration but for the purposes of this exercise, the results are clear enough for where to take advantage of different levels of light.

Environmental factors

Ă&#x2DC;

V 5%

10% 12

0 24

Dec

15%

2 ec

20%

25%

The wind in Aarhus comes predominantly from the West to South East, following where the sun comes from too. This means that if one were to seek shelter from the wind behind a wall, they would also be out of the sun which is not ideal for outdoor comfort criteria. This also means that south facing decks will also get most of the wind with wind coming from the North for only a few days of the year.

> 11.0m/s 5.0 - 11.0m/s 0.2 - 5.0m/s

Areas of Interest

The overall site is broken into two indistinct areas by a small back alley. Three sites have been identified within the overall block as potential areas for interaction. Each site sits within the overall context of the urban block but each have their own characteristics which are investigated on the following pages.

1st Site

unique connections superfluous structure existing gateways existing barriers open areas/opportunity

The 1st site sits on the uphill portion of the block. It is adjacent to an outdoor bårnehave and one corner is a reasonably busy intersection, but quiet during most hours of the day. Several small outlying buildings and a small dwelling clutter the overall form of the courtyard and could be removed for the proposal. An existing green area adds to the qualities of the site which would be built upon during the project. A natural barrier of a wall and the edge of buildings exists which separates this site from Fænøgade. This means that the site is quite secluded and has the opportunity of breaking out in any direction if needed. 83

2nd site

unique connections superfluous structure

existing gateways secondary space/opportunity open areas/opportunity

The 2nd site is around Fænøgade, a small back street only 4m wide that functions as a service alley for 4 dwellings. At present, it lacks visual connection because of walls between the green spaces which is an area of opportunity for any interventions. Several small outlying buildings and two small dwellings add clutter to the courtyard. The two houses in the middle as marked by numbers above have the best potential for the site of the proposed project. These buildings lack the character of the other buildings in the area and inhibit any sense of cohesion. At the end of Fænøgade, buildings frame the street. This creates a ‘neighbourhood’ vibe and could be used to establish a sense of place for the project, acting as a gateway or delineating barrier. 84

3rd Site

unique connections superfluous structure existing gateways existing barriers open areas/opportunity

The 3rd site is on the largest outdoor area that the block provides and is one of the main qualities that drew me to the area. Any project built here would be sheltered behind the tall building number 1 and the block of buildings in number 2. Number 2 buildings also have a strong aesthetic that the project could benefit from. The site is already well looked after and defined which may make it harder to provide a meaningful intervention. As Koolhaas writes, it is better to build upon the part of the site that is not the best so as to keep the aspect of the area that drew you to it in the first place.

Conclusion

photo of model

The 2nd site offers the most areas for opportunity. It is also on the poorest part of the site and intervening here would benefit the area the most, instead of building upon an area that is already strong. The 2nd site also has the possibility of being connected to both green areas to build upon them. Fænøgade provides the opportunity of connecting both streets together and creating a diverse building between them. An intervention here would be both challenging and exciting. The buildings that are already around Fænøgade add little to the fabric of Aarhus and don’t have their own identifiable character, nor are they protected nor important thus these buildings could be torn down or altered to make room for any new intervention. 86

design process 88

Arranging spaces

There is something about a shaded forest that draws us in. Maybe it is the allure of what lies around the next twist, or in the next shadow. We find out own framed views through the trees, creating order out of mother nature’s chaos. It is this image that I want to bring with me to the design discussion of how I can design a space that draws people in so that they may feel comfortable enough to heal and to discuss their problems. ‘A building cannot be a human building unless it is a complex of still smaller buildings or smaller parts which manifests its own integral facts. A complex of buildings with no center is like a man without a head.’ (Alexander)

Volume Studies I constructed building blocks out of wood at the rough size of each of the programs that I intended to put into my building. By placing these on my site model, I explored different spatial and formal relationships as seen in the following section. I evaluated these different experiments to find the relationships between the building units and what was already existing on site.

Splitting the programs up and keeping the buildings within established building plots. -tucking new structures away within the fabric of the block -separate functions and people .emphasizes the road still .harder to bring people together

iii

iiii

iiiii

Grouping structures along the carrĂŠ edge. -keep the courtyard clear for natural elements -build into existing buildings -follow leading lines -hidden .disrupts a lot of sunlight paths and views to houses .unnecessarily clears buildings

iiiiii

Group all of the functions in one central building -central to all aspects of the courtyard -efficient use of functions and space .dominant structure .uses the same building plot and scale as what was deemed dis-satisfactory

iiiiiii

Grouping the functions around one end of the courtyard with satellite structures outside. -create one core -satelites can be hidden and unique -build up against an existing building and strengthen it -people can stumble across the small structures

Overlays of different iterations of how to position elements on the site. Primarily, the spatial conditions inherited from putting one function next to another was taken into consideration. Secondarily, how these masses formed on the site and how they related to the existing buildings. The darker mass in the middle marks where the core group home would be positioned and how every other functions branches off this space. I found that starting with the group home space and working outwards, through individual space to workshop and library areas to the public front worked well as using the hierarchy in the building as a tool for working made sense. I positioned larger masses as if they were the home space not because it is a large space but because of its importance in the project. This lead to designs which seamlessly feed off the home space and develop a cohesive sense of space. 100

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Spatial Studies

These first models were experiments in evaluating the formal relationship between different masses. I wanted to see what would happen when different masses representing different programs were placed near or far from each other and how smalled elements could be nestled within larger blocks.

103

The darker wood represents the core home space of the project. I found that by having a larger core block and positioning elements either amongst it or nestled beside it, a hierarchy and spatial relationship could be formed. The same goes for contrasting elements, where more public functions could either be placed up against private areas or be separated from them. The purpose of this study was to try and overlap seemingly different programs so I ended up with more stacked models than not.

Spatial Studies

I built a series of timber models to experiment with light, space and structure. These models were aimed for the core group space and needed to provide a warmth and delicacy that wood can provide. This model explored having the home space raised off the ground on stilts like a tree house. This could allow this space to be separated from whatever was below while still having visual connections to other parts of the building. Itâ&#x20AC;&#x2122;s curved roof draws light in from above while illuminating the structure.

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Spatial Studies

The next model explored a similar construction but with a more solid roof that would ground the space. It is also divided into two and a half spaces with a split level, aimed at creating more spatial arrangements within an overall room, without the use of walls. A large screen on the exterior of the model would shield the activities and provide privacy. At night it would be illuminated from within, providing a warm glow to the surrounding area.

105

Spatial Studies

The final model in this series investigates solid elements within an overall frame. Private apartment units are hung from within a timber frame, providing space in the void they leave behind for more social activities. Each unit could be have operable walls to allow interaction between the spaces, or be shut off altogether. Having translucent walls on the apartments may put the people using them on show which is something that needs to be avoided.

106

Spatial Studies

The purpose of this model was to look at what would happen when two voids intersected each other. The spaces overlap and create a different atmosphere. The pointed roof space could be used for more informal group arrangements while the lower level could be a more structured dining space. Both spaces overlap for views and sounds but are still separate. The lower space could be nestled underground with the roof flush with the soil. This would provide a hunkered down and intimate feeling for the dining space which would be conducive to intimate evenings.

107

Spatial Studies

I wanted to experiment further with overlapping spaces and this model was built to show how two floors could experience the same view while not intruding on each other but sharing similar atmospheres. Double height operable glass doors give the two floors a connected feel while the upper balcony level doesnâ&#x20AC;&#x2122;t reach the walls so it hovers over the people below, gently framing more intimate activities directly below while providing the interest that a double height brings in other areas.

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Spatial Studies

Here I started to work with different materials after thinking if different functions would want different approaches. I realised that a space where one meets a psychologist may be heavier and have single direction lighting so that a patient would have his thoughts fixed on his present surroundings.

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An experiment with touch

iii

Models i-iv are an experiment with how we touch objects. They are abstractions of the sense of comfort and homeliness. Each artifact invites the user to touch them and they symbolize the emotions we experience when we are warm and safe. They are how I describe the atmospheres that I want to achieve in my inner spaces, the spaces of the group home, the individual apartment spaces and the functions surrounding them. It is important for these spaces that they draw people in, invite them to stay there and make them feel safe and warm like these models.

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Initial Design

Option i This design fills one clump of buildings that are built over two cleared building sites. To the south, private patient apartments inhabit the void of an old building. Their delicate timber structures contrast the cleared brick space. Adjacent to the North, a twin peak building is where the main group spaces are. A living room, hearth and smaller group lounge areas are in the main space while workshop areas are found in a long pavilion building that is submerged flush to the ground at the rear and open to a small meadow at the front. This design aims to consolidate all of the functions but it lacks a diversity of overlayed space and ensuing interest.

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Initial Design

Option ii Option ii consists of a workshop wing to the North that blocks views down FĂŚnĂ¸gade. It is open on all sides with large timber framed glass doors that can open up in summer. Natural light filters down a light chimney. This is connected to the main space which contains a hearth, lounge spaces and pocket group areas. The main building is a pitched roof with exposed timber framing. This space overlaps an in-situ concrete group dining area which is more secluded. It is dug into the ground with large doors that open out onto a sunken landscape. This design has three overlapping spaces which results in interesting flows and unique programming. It utilizes an existing building to camouflage the structure from the street. 114

115

Initial Design

Option iii The final option is a combination of the previous two and seeks to provide more space and more program opportunities. Two separate building clusters are connected by an underground passage that apartment spaces open off onto a sunken landscape. Workshops and administration is found to the North on the street. This workshop space is open to the public and at night light will spill out onto the surroundings. The South complex holds group lounge, hearth and dining spaces. These spaces overlap and look out onto the surrounding landscape through a large framed window. This design reinforces FĂŚnĂ¸gade but tries to open up the connections between the two green spaces. Having two different building clusters separates the users while the aim of the project is to bring people together. 116

After reviewing the previous designs, I amalgamated my favourite elements into one design with a second interation. The basis for this design is a linking of different volumes, each with their own spatiality and programming. This design also offers a variety of unique external space, areas that frame the gardens and offer different activities to take place. Inside and out, individual to group activities can take place near each other and with varying levels of privacy or interaction.

117

Developed Design

This model was a study of how the volumes intersect with each other and the existing buildings. The connection from the peaked roof to the central volume and to the existing building all feel clumsy but there are pockets of inspiration that this model brings forth.

118

This iteration takes the lessons learned from the previous and moves the workshop pavilion further away from the entrance. This makes the building present a more flus face out to the gardens and creates a more generous space to the street. While this iteration opens up in some ways, ultimately it creates too many restrictions and offers too few unique spaces, for example where the workshop pavilion joins to the fire place, there is a clutter of space that lacks cohesion and feels like an open throughfare.

119

Developed Design

The different spaces that this building has are what have been important from the beginning. In the peaked roof, spaces fill the ground floor with large glass doors opening out onto the gardens in summer. At night and winter, light will spill out creating an inviting facade. The connection between the two large cuboid volumes creats many smaller spaces within larger volumes that will enable different user groups to inhabit the building.

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final design 122

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Site Plan

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Floor Plan

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Section A

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Section B

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Section C

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Section D

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final remarks 134

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Final Remarks

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