M AST E R O F A RCH I TE CTU RE THE S I S P R E PARATI O N DO CUM E NT
URBAN TRANQUILLITY:
PA N G Y UN JIE
ADVIS OR: T HOMA S S C HROEPF ER
An Architectural Soundscape for High-Density Cities
SUTD Master of Architecture Thesis Preparation Document Urban Tranquillity: An Architectural Soundscape for High-Density Cities Pang Yun Jie Master of Architecture Student Advisor: Thomas Schroepfer Architecture and Sustainable Design E-Mail: yunjie.pang27@gmail.com
ACKNOWLEDGEMENT I would like to express my gratitude towards my mentor, Thomas Schroepfer for his valuable insights and guidance as well as my family and friends who have encouraged me during this journey.
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Figure 01 View of the city from Funan roof. Edited from Photograph taken by Pang Yun Jing, 2020
ABSTRACT The quest for tranquility and spaces to respite in has a long history that is known to bring wonders for the well-being of mankind. With peaceful minds, communities are healthier, more productive and joyful. However, cities today witness city dwellers in a perpetual stressful state due to the constant stimulations of urban living. Additionally, due to rapid urbanization, spaces are not necessarily designed with tranquility in mind. This issue is made more pressing as cities are becoming even denser due to the exponential influx of people moving into the cities.
Through the study of spatial qualities for tranquility and the effects from nature, the thesis seeks to produce a pocketbook of strategies for designing tranquil spaces and a proposal that shows its effective application. With thoughtful architecture and urban spaces designed with tranquility in mind, city dwellers will finally have a space to slow down, be present and free their minds from the mental chatters.
IV
Figure 02 Visual representation of the blurred boundary between the cityscape and the tranquil environment. Photo montage by Author.
CONTENT 01
I N TRO DUCT ION BACKGROUND THESIS STATEMENT RESEARCH QUESTIONS
02 0 2. 1
M E TH O D OLOGY KEY GUIDING PRINC IPLES PRINCIPLES FOR TRANQUIL SPACES THE HEALING EFFECTS OF NATURE
0 2. 2
D ES IGN PREC EDENT S
0 2. 3
D ES IGN TOOLS
03
M AP P I NG T RA NQUILLITY CPRE TRANQUILLITY MAPPING TRANQUILLITY RATING PREDICTION TOOL
04
P OTE N TIA L S IT ES A ND I M P LE M ENTAT IONS SITE SELECTION SITE 01 | SERANGOON CENTRAL SITE 02 | DOWNTOWN CORE
05
CO N CLUS ION
06
BI BLI O GRA PHY VI
01
INTRODUCTION BAC KGROUND URBA NIS AT ION According to The World Bank, about 4.2 billion people, more than half of the world’s population, are living in urban areas today. It is estimated that by 2050, the urban population will more than double its current size, nearly 7 of 10 people in the world will live in cities1.
URBA N ST RES S While living in the cities offers many benefits, such as convenience, accessibility and many opportunities, it also involves plenty of trade-offs. The speed and scale of urbanisation brings large influx of people into the cities, resulting in cities rapidly growing even denser. This exponential increase in population and built densities can cause significant mental strain and propel urban
YEAR 2020
YEAR 2050
Figure 03 Percentage of rural and urban populations. From Do more people live in urban or rural areas?, by OurWorldInData, 2019, OurWorldInData.org/urbanization
dwellers into an agitated and stressful mental state.
impaired mental health for women and men respectively4.
A meta-analysis of urban-rural differences conducted showed that city dwellers have a 21 percent greater likelihood of developing anxiety disorders and a 39 percent increased risk of mood disorders, as compared to rural dwellers2. The Centre for Urban Design and Mental Health explains that this phenomenon may be due to the increased stimulus level in urban environment which triggers action and thought on a latent level of awareness, resulting in sensory overload3.
Additionally, urban light exposure may further influence the circadian rhythm and change sleeping patterns also with known consequences for mental well-being5.
In short, urban stress increases our vulnerability to numerous mental health concerns and chronic ailments.
This is further supported by a study in Germany that found that those who were highly annoyed by road traffic, had a 1.8-fold and 2.5-fold increased risk for 02
Figure 04 Central Park in New York, USA, Source Unkown
As cities grow denser, the detrimental effects of urban stress on our mental health has to be addressed. It has become increasingly pressing to prioritise spaces designed for tranquillity within our cities.
THE S EA RC H FOR T RA NQUILLITY
THE N E E D F O R T R A N QU I LLI TY The provision of restorative and tranquil areas for an increasingly urbanised population has been widely recognised. There are policies and researches6,7 done to identify and preserve the quiet areas unaffected by noise pollutions. To have the preservation of restorative environments within government policies clearly shows the urgency and pressing need for tranquillity. Psychological research8 has highlighted that being in tranquil places allows people to rest and rechage while being away from the stresses of everyday life. This reduction in stress is imperative for the recovery from mental fatigue and thereafter gain mental and emmotional composedness.
The desire to immerse ourselves in tranquil spaces is not a new concept and throughout the centuries, there are many architects, landscape architects and artists who have designed specifically for this purpose. The Central Park in New York is a prime example of how the spaces people visit to slow down has become a necessity for the mental and psychological health of urban dwellers. The need for tranquil spaces grows as the cities continue to grow denser. With limited land area, the design of tranquil spaces have to evolve. More than ever, city dwellers are expressing a stronger need and deep desire for opportunities that give them respite from the stress and anxiety. In search of this emotional and mental calmness, city dwellers attempt to slow down their pace of living through activities such as hiking in nature, forest bathing, yoga, meditating, listening to forest-rain music, unplugging from technology and decluttering their homes. There seem to be a never-ending quest for inner peace and mental composedness for those living in the cities. 01 INTRODUCTION
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DEFINITION There are many definitions for the term tranquillity but for the purpose of this thesis, it is defined based on the Oxford English Dictionary; “the quality or state of being tranquil, calm” and the term tranquil is defined as “free from disturbance, calm”. In the field of environmental psychology, tranquillity has also been defined in the circumplex model of affect in environmental psychology (Russell, 1980) which maps out emotions based on the degree of Activation-Deactivation and the degree of Pleasure-Displeasure. The model was further developed into a more refined model known as
Figure 05 Loadings of 116 attribute scales in Component 1 and 2. From The principal components model of soundscape perception, Axelsson, Ö., Nilsson, M.E., Berglund, B., 2010.
the principal components model of soundscape perception9. The emotions of calm, tranquil, peaceful and soothing are the in region of being uneventful and pleasant. There are also equations that allow us to determine where our studied site lies within this model.
“We need to rediscover the search for calm as a fundamental ambition of all architecture, not least for the buildings of our own harried times.� -The School of Life
THES IS STAT EMENT It is high time to re-examine the fundamental root cause and envision a city with spaces revitalized and designed to create tranquil experiences for its dwellers. By introducing tranquility into urban living, the envisioned architecture and urban spaces hope to encourage its dwellers to slow down, be present and free their minds from the mental chatters. Urbanites with peaceful minds are a powerful driving force behind a healthier, more productive and joyful community.
RE S EA RC H QUEST IONS How can intervention in the existing city, in its residual spaces, introduce tranquil experiences for its dwellers amid the constant stimuli from the urban environment? What are the parameters that define emotions of serenity through interaction with the designed space?
01 INTRODUCTION
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Figure 06 Convent of La Tourette, Le Corbuiser, L'arbresle, France, 1960. Photograph by Fernando Schapochnik
02
METHODOLOGY With the aim of introducing tranquil experiences within the city, the thesis begins with research into two areas; (i) key guiding principles and (ii) design precedents to extract the design tools used to enhance tranquil experiences. The theoretical research gives an overview of key guiding principles to help develop tranquil spaces. The design precedents that follow aim to analyse how these principles are translated architecturally. From the selected series of precedents, the study interprets and extracts a set of design strategies that architects have adopted through history. 08
02.1
KEY GUIDING PRINCIPLES
This part of research gives a theoretical overview in the following areas; (i) principles for tranquil and restorative spaces and (ii) the healing effects of nature. Deepening our understanding on the existing principles for calming spaces is essential as it serves as a foundation to begin with. Seeing that there is an undeniably strong connection between tranquillity, well-being and natural elements, the research subsequently delves into the benefits of nature.
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PRIN C I P LE S F O R TRAN Q U I L SPACES
A KAPLAN (1989, 1995)
Attention Restorative Theory (ART)
Environmental Psychologist
The theory defines directed attention as the ability to focus in an environment saturated with information. In such an environment, significant effort is required to understand information clearly and this can lead to mental exhaustion. Restorative environment is thus needed to alleviate the stress from protracted directed attention.
This theory propose four characteristics for a restorative environment: 1
Being Away
This involves separating ourselves from everyday stresses to do something distinctively different. It does not have to be somewhere faraway, the sense of being away can also be achieved in nearby natural environments.
2
Fascination
Soft Fascination are natural elements such as clouds and sunsets that have the ability to effortlessly hold our attention. The beauty of these elements also eases how we perceive our troubles and thus, free our minds to allow for other thoughts.
3
Extent
A space that feels extensive inspire individuals to explore and be immersed. This is achieved when what can be perceived in the immediate surrounding is only a part of the larger whole. A small natural environment can also feel extensive through design strategies such as having circulation paths complex enough for individuals to feel immersed.
4
Compatibility
The characteristics found in the setting should resonate with the individuals in a manner that creates a desire to be exposed to the environment.
02.1 KEY GUIDING PRINCIPLES
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B HERZOG AND BOSLEY (1992)
In the process of differentiating between tranquillity and preference, this study identified four factors of tranquillity10 which had differing impacts depending on the setting (type of natural environment) being assessed.
Environmental Psychologist Mystery
How much an environment concealed interesting features from a viewer.
Coherence
How unified the features of an environment seemed.
Spaciousness
How expansive the environment seemed.
Focus
To what extent the environment has a dominating feature of interest.
C PARTICIPATORY EVALUATION AND APPRAISAL (2004)
Carried out in 2004, this project11 was conducted in England to evaluate public understanding of tranquillity. The results were used to inform the methodology of Tranquillity Mapping (see Chapter 3-01). The study drew several contributing and detracting factors of tranquillity. Contributors to Tranquillity
Perceived links to Nature
Visual, aural and other experiences related to nature or natural features.
Landscape
Landscape posessing elements of landscape such as flora, fauna, natural colours and sound of water.
Wildlife
Being able to see and hear wildlife in its natural environment.
Isolation from Urban Life
Being at a secluded place away from the usual hustle and bustle. Detractors to Tranquillity
Too many humans
Noise and disturbances created by activities of other human beings.
Urbanisation
Presence of traffic and construction noise. 02.1 KEY GUIDING PRINCIPLES
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TH E H E A LI N G E FFE CTS O F N ATURE
A EDMUND BURKE (1757)
The Sublime
Philosopher
The sublime is described as the comforting feeling when an individual is awed by something much larger and powerful than oneself. This is calming because the troubles one is facing appear portionally much smaller in comparison to the universe. Said troubles start to seem manageable.
B FREDERICK LAW OLMSTED (1822-1903) Landscape Architect
Principles for Park Design Olmsted proposed several design principles, one of which is that the design of parks should be harmonious, without any features standing out and attracting the attention of the people. Other design tools he used were to design with non-linear lines, contrasting textures, blurred boundaries and having large number of trees.
C EDWARD O. WILSON (1984, 1993) Biologist
The Biophilia Hypothesis The term biophilia was first coined by Erich Fromm, a psychoanalyst, and he described it as “the passionate love of life and of all that is alive.� The Biophilia Hypothesis was further developed from the concept of biophilia. It describes our innate tendency to seek connections with other life forms. According to the hypothesis, this need to connect with nature dates back to the evolution of the human species in the natural environment. In order to survive, our brains are attuned to processing information from the natural environment. When humans move to live in urban areas, this need to connect to nature still remains in our modern psychology. There are many empirical evidence that show an increased in psychological well-being when exposed to natural features and environments. Exposure to nature contributes to our physical well-being such as reducing blood pressure, lowersing blood pressure, heart rate, muscle tension, and the production of stress hormones.
02.1 KEY GUIDING PRINCIPLES
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D ROGER ULRICH (1979, 1984) Professor of Architecture (Healthcare Building Research)
Supportive Design Theory One of his earlier and most well known studies, proved that patients recovered from surgery faster when they had a view of greenery outside their hospital window as opposed to a view of a building12. The Supportive Design Theory was later developed from the studies13, about the positive psychological effects nature has on physical recovery,. The design philosophy of this theory is centred on creating restorative environments that reduces stress, and in turn, general mental and physical recovery time. According to the theory, designers should promote a sense of control, give access to social support and provide positive distractions such as trees and water, while reducing negative distraction such as television.
E TIM BEATLEY (2012) Sustainable City Researcher
Nature pyramid The nature pyramid provides a recommendation on how often one should visit different types of natural environments. As we move up the pyramid, the scale of the natural enviroment and time spent on each visits increase while the frequency of visit decreases.
Figure 07 Nature Pyramid, Tim Beatley, 2012, Illustrated by unknown
02.1 KEY GUIDING PRINCIPLES
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02.2
DESIGN PRECEDENTS
Notably, the quest for tranquility and space to seek respite in has a long history as old as mankind. The zen gardens first emerged in the fourteenth century and are widely recognised to reduce stress and evoke feelings of tranquility, calmness and peace. Moving into the medieval period, beautiful gardens were designed for the royals to relax in, such as the Generalife in the Alhambra and the Imperial Garden in the Forbidden City. During the Industrial Revolution, more parks were provided in public spaces to encourage people's mental and physical well-being.
began with having urban green on the ground level of the city. In more recent years, green began to develop vertically within the building and pockets of green spaces are now incorporated into sky gardens and courtyards. The desire to immerse ourselves in tranquil spaces is not a new concept and there are many architeccts, landscape architects and artists who designed specifically for this purpose through the centuries. The purpose of this precedent study is to build an understanding on how existing tranquil spaces have been designed across time and cultures.
The advent of the twentieth century saw the rise in the concept of biophilia. It 20
TI M E LI N E
A Dominic of Silos, Abbot
Fortunius, Ventura RodrĂguez, Cloister of Santo Domingo de Silos Abbey, Burgos, Spain, 1088
B Nasrid sultan Muhammed V,
Court of the lions, Alhambra in Granada, Spain,1362
C Hosokawa Katsumoto,
Ryoan-ji temple, Kyoto, Japan, 1450
D Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini, St. Peter’s Basilica, Vatican City,1626
E
Frederick Law Olmsted and Calvert Vaux, Central Park, New York City, United States, 1876
H James Turrell, Meeting, MoMA
K Peter Zumthor and Piet Oudolf,
F
Le Corbuiser, Convent of La Tourette, L’arbresle, France, 1960
I
Richard Haag, Reflection Garden in Bloedel Reserve, Washington, United States, 1988
L
G Tadao Ando Architect &
J
Tadao Ando, Benesse House Museum, Naoshima, Japan, 1992
M Formwerkz Architects and S H
Associates, Koshino House, Ashiya-shi, Japan,1984
PS1, New York City, United States, 1986
Serpentine Gallery Pavilion, London, England, 2011
K2S Architects, Kamppi Chapel, Helsinki, Finland, 2012
MOK, Cloister House, Johor Bahru, Malaysia, 2018
02.2 DESIGN PRECEDENTS
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01
CLOISTER OF SANTO DOMINGO DE SILOS ABBEY | 1088 Dominic of Silos, Abbot Fortunius, Ventura RodrĂguez Burgos, Spain Cloister in a Monastery
The desire to design calming spaces was a powerful force within medieval Christian architecture. The monks believed in the need for calming environment so that they can carry out their labours with a peaceful mind. Cloisters are key features in monasteries that create a serene environment. They are defined as covered walkways where individuals can walk around a quiet central garden. The cloister of Silos is a classic example with all the features commonly found in the design of cloisters. Located at the heart of the monastery, the cloister of Silos plays a central role in the life of the monastic community. It is beautifully designed as a space specifically for contemplation, resting and strolling.
Figure 08 Cloister of Santo Domingo De Silos Abbey, Burgos, Spain, 1088. Photograph from https://www.solosophie.com/ santo-domingo-de-silos/
| Pre-Modernism | Modernism | Contemporary | Landscape
Figure 09 Exploded Axonometric Diagram. Illustrated by Author
K EY F E AT U R E S
The cloister comprises of four squared piers at each corner and paired columns along each of the arcade. The arcades are mounted on a podium that extends along each side of the cloister. This podium also serves as a sheltered resting area where one can sit and view the enclosed garden. The regular repetitions of the arcades and the elegant simplicity of the square garden provide points of references that the eye can easily find, allowing for easy visual processing. The closed circulation of the sheltered walkway provide a space to walk and achieve a meditative state. The garden is open to the sky and this maximises the amount of natural light within this space. According to Ecopsychologist Sarah Conn14, sky gazing and being aware of the sky can help a person under stress experience their situations in a larger context.
02.2 DESIGN PRECEDENTS
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02
RYOAN-JI TEMPLE ZEN GARDEN | 1450 Hosokawa Katsumoto Kyoto, Japan Garden | 29.9m (L) x 9.75m (W), 248 sqm
In the eastern culture, tranquil spaces are designed in the form of zen gardens within a temple. The RyĹ?an-ji Garden is the most famous zen garden in Kyoto, featuring a carefully tended garden of large rocks, small pebbles and mosses. Through the specific selection and composition of stones, the zen garden presents a sensory experience for the viewers and this has the ability to soothe their emotions and thoughts.
Figure 10 Ryoan-ji Temple Zen Garden, Hosokawa Katsumoto, Kyoto, Japan, 1450. Photography from Japan-guide
| Pre-Modernism | Modernism | Contemporary | Landscape
Figure 11 Exploded Axonometric Diagram. Illustrated by Author
K EY F E AT U R E S
The garden consists of 15 large rocks carefully placed on polished white gravels that have been racked into lines. The composition of the rocks allowed easy visual processing. It has been proven that humans have an unconscious visual sensitivity to the axial-symmetry skeletons of stimulus shapes. A shaded wooden terrace is provided for visitors to comfortably sit on and be be engaged with the sensory experience presented by the garden.
02.2 DESIGN PRECEDENTS
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03
CONVENT OF LA TOURETTE | 1960 Le Corbuiser L’arbresle, France Monastry | 5,650,000 sqm
The Convent of La Tourette is an example of how a building of a much larger scale can also be designed to be calming. The convent was built to be a self-contained world for a community of silent monks. It consists of individual cells, a communal library, a refectory, a rooftop cloister, a church, and classrooms.
The intention was “to give the monks what men today need most: silence and peace... This Monastery does not show off; it is on the inside that it lives.” - Le Corbusier Figure 12 Convent of La Tourette, Le Corbuiser, L'arbresle, France, 1960. Photography by Fernando Schapochnik
| Pre-Modernism | Modernism | Contemporary | Architecture
Figure 13 Exploded Axonometric Diagram. Illustrated by Author
K EY F E AT U R E S
The architect designed a 1.8m high wall surrounding the grass rooftops even though the view of the valleys beyond the walls is beautiful. This is done deliberately so that the visitors focus on the motion of walking between earth and sky. With natural light directed into the interior, the space of the church is a concrete box with a calming ambience. Five different types of apertures in the church are carefully designed to let in daylight, some of which are expressed sculpturally on the exterior. To complement the cold concrete, vibrant colours on the apertures are used to give the church a warm glow. 02.2 DESIGN PRECEDENTS
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04
MEETING | 1986 James Turrell New York City, United States Installation, Approx 53.5 sqm
Artists through history have created different forms of art that aim to create a sense of inner peace. The American artist James Turrell uses light and space to create sensorial artworks that subdue our minds. The Meeting is one of the installations in a series of work known as Skyspaces.
“Light is a powerful substance. We have a primal connection to it. But, for something so powerful, situations for its felt presence are fragile . . . I like to work with it so that you feel it physically, so you feel the presence of light inhabiting a space.� - James Turrell
Figure 14 Meeting, James Turrell, New York City, United States, 1986. Photography from James Turrel Studio files
| Pre-Modernism | Modernism | Contemporary | Artist
Light Trough
Bevelled roof edge
Seat Backing
Light Trough
Seats with light trough
Figure 15 Exploded Axonometric Diagram.Illustrated by Author
K EY F E AT U R E S
Seat Seat Backing Figure 16 Section and Plan Drawings of the Meeting. Illustrated by Author
The proportion of the architectural space was calibrated to heighten the visitor’s senses. Different shapes of apertures in the ceiling, such as round, ovular or square, were used for different skyspaces. In observing this framed view of the sky, visitors feel a closer relationship with the sky. It appears that the sky is being brought closer towards the viewers. Benches situated along the perimeter of the chamber provide observers a comfortable space for contemplation. The colour of the LED lights installed within the chamber changes colours according to the time of the day. This contrast between the colour of the sky and the colour within the chamber shaped the viewers perception of how blue the sky is. 02.2 DESIGN PRECEDENTS
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05
SERPENTINE GALLERY PAVILION | 2011 Peter Zumthor and Piet Oudolf London, England Pavilion
The Serpentine Gallery Pavilion designed by Peter Zumthor was a modern interpretation of the cloister. The black rectangular pavilion with an enclosed planted garden in the center was designed precisely to engage the senses of the visitors and evoke a calming experience.
The design aimed “to help its audience take the time to relax, to observe and then, perhaps, start to talk again – maybe not”. - Peter Zumthor Figure 17 Serpentine Gallery Pavillion, Peter Zumthor, London, England, 2011. Photography by Julien Lanoo
| Pre-Modernism | Modernism | Contemporary | Architecture
Figure 18 Section Drawing
Figure 19 View of the corridor within Serpentine Gallery Pavilion. Photograph by Julien Lanoo
Figure 20 Exploded Axonometric Diagram. Illustrated by Author
K EY F E AT U R E S
Visitors had to transition through a dark narrow corridor along the perimeter of the building to arrive at the central enclosed garden. This corridor served as a threshold where visitors physically and mentally removed themselves from the noisy and bustling city. After exiting the corridor, they were greeted by the vibrant garden in the center of the pavilion. To encourage this transition, the exterior and interior walls have staggered doorways and visitors can choose which doorway to enter into the garden. A covered walkway and seating that surrounded this central space provided a resting spot for visiors to look into the central garden and the framed view of the sky.
02.2 DESIGN PRECEDENTS
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06
CLOISTER HOUSE | 2018 Formwerkz Architects and S H MOK Johor Bahru, Malaysia Residential, 4180 sqm
Similar design principles for calm have been applied to contemporary residential project. The design of the Cloister House was inspired by a brief that prioritise privacy and security as well as the fengshui requirements. The design strategy was to build a single storey house with living spaces surrounding the courtyards in the form of cloisters.
“It alludes to the world of a higher realm, a retreat from commercial cares to the seclusion and serenity of enclosed gardens framed over vaulted ceilings. In harking back to an older, protected world, the word (cloister) could not have been more aptly chosen.� - Chu Lik Ren Figure 21 Persective view of the Serpentine Gallery Pavillion, James Turrell, New York City, United States, 1986. Photography by Fabian Ong
| Pre-Modernism | Modernism | Contemporary | Architecture
Figure 22 Exploded Axonometric Diagram. Illustrated by Author
K EY F E AT U R E S
The internal space of the house is separated from the external street through the use of a 5.0m high concrete wall surrounding the plot. The massing itself is a square block that is divided into 12 sub-grids, each with a courtyard. The living spaces cluster around the courtyards in the form of cloisters. Through the use of couryards, natural light and ventilation can be introduced into all areas within the deep building. Different courtyard houses different programmes such as water ponds, gravelled gardens and entertainment room. Some are full enclosed while others are screened with sliding glass panels. The roof slopes towards the courtyards and this is internally expressed as a vaulted ceiling. 02.2 DESIGN PRECEDENTS
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01
02
03
04
05
06
02.2 DESIGN PRECEDENTS
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02.3
DESIGN TOOLS
The study on the design precedents shows that over the centuries, architects and artists have developed and adopted similar design strategies in the creation of restorative spaces. This common design language has been applied to a wide range of spaces, regardless of their scales and functions. This sub-chapter summarises the key design tools that have been discussed. This set of design strategies can be referenced to in the development of my design proposal.
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COM M O N DE S I GN LANGUAGE ; TO O LS TO D E SI GN TRANQ UI L SPAC ES
A
B
Open to sky
C
D
S PAC ES
Framed views
Threshold
Figure 23 Design tools. Illustrated by Author
Scale
A. Framed Views Positioning of apertures directly influence the amount of information within the captured views thatindividuals are exposed to. In the design of contemplative spaces, the views framed are often minimal and decluttered such as the sky or greenery.
B. Open to sky Without a barrier between the individuals and the sky, individuals are exposed to external elements and this can deepen the intimacy of their connection with the sky. Viewing the sky is also a calming experience as it evokes awe and shifts our focus from our problems to contemplate on the vastness of the universe. The realisation of how small we are in comparison to the universe frees our minds from our seemingly minute problems and cluttered thoughts.
C. Threshold The experience of transitioning through a threshold emphasises the removal of ourselves from where we came from. This feeling of being removed can be heightened by increasing the contrast of the light and noise levels between the start and end of the threshold.
D. Scale Scale of a space directly creates the experience of either an open or an intimate space. It also effectively controls the number of individuals that can be within the space.
02.3 DESIGN TOOLS
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ACTIVIT IES
S OF T S CA PE
COM M O N DE S I GN LANGUAGE ; TO O LS TO D E SI GN TRANQ UI L SPAC ES
E
F
Natural features
Soundscape
G
H
Strolling along the periphery
Sitting around the periphery
E. Natural Features Knowing the healing effects of natural elements, it is unsurprising that incorporating natural features, such as greenery, rocks and water elements is a common theme across all the precedent studies.
F. Soundscape Sounds can influence our state of mind and it is a powerful tool that can be used to subdue an agitated state of mind. Within the tranquil spaces in the precedent studies, sounds are predominantly natural sounds, human chatterings and footsteps. When the space is located next to a busy road, design strategies such as building a high wall as noise barrier or having water features to mask the noises are adopted.
G. Strolling along the periphery The repetitive rhythm of walking helps one enter a light meditative state which then modulates breathing and lowers stress hormones15. It also gives individuals time to be separated from stressful environment, breath and focus on the rhythm of walking.
H. Sitting around the periphery Most of the analysed precedents provide comfortable and well-shaded resting areas. It seems that individuals are free to rest for as long as they want within these spaces. This frees them from the usual chaotic rush and allows them to fully relax their minds at their own pace.
02.3 DESIGN TOOLS
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03
MAPPING TRANQUILLITY; QUA N T I TAT I V E URBAN SCALE ANA LYS IS
How has tranquillity been measured and mapped? The following pages discuss two main methods; the CPRE and TRAPT mappings that have been used to generate heat maps showing the degree of tranquillity in the studied regions.
Figure 24 Cloister of Santo Domingo De Silos Abbey, Burgos, Spain, 1088. Photograph from https://www. solosophie.com/santo-domingo-de-silos/
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TRANQUILLITY MAPPING | 2004 Campaign to Protect Rural England (CPRE)
01
This study was conducted to map the relative levels of tranquillity in two locations in England using public opinion of what constituted tranquillity and what undermined it. This framework allowed the comparison of relative scores of tranquillity in different areas for use in policy planning of landscapes, countryside and environment protection.
IN PU T
Participatory Appraisals and GIS data
M E T H O D O LO GY
The study first conducted Participatory Appraisals (PA) - sessions that used a variety of open-ended, nondirective and visual methods to understand how locals in the study areas interpret tranquillity. Such methods included spider diagrams, brainstorming and interviews. These sessions also included explorations of what did not constitute tranquillity. The findings were verified at a further PA session for each study area to check that they lined up with their opinions. The opinions of positive contributors ranged from perceived naturalness, openness, natural features and quietness of an area while negative factors ranged from the presence of people to visibility of roads, to light pollution and urban area noise. It then weighted each component of positive and negative factors of tranquillity, and divided the study areas into 250m by 250m grids and used nationally available geographical (GIS) datasets of vegetation, terrain urban areas and other human infrastructure to compute a score based on these factors for each square.
Figure 25 Composite map of relative Tranquillity. From Mapping Tranquillity - Defining and assessing a caluable resource, by Countryside Agency, 2004
L IM ITAT I O N S
Several limitations can be drawn from this study, including the fact that available datasets may not accurately reflect what the participants of the PA considered important for tranquillity (mismatch between criteria and measurements), as well as the difficulty of obtaining data to score an area for certain criteria. These limitations with datasets is further exacerbated when trying to apply the same methodology to other geographical areas as such data may not be available in the same format. 03 MAPPING TRANQUILLITY
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TRANQUILLITY RATING PREDICTION TOOL | 2010 University of Bradford
02
This tool was created based on the relationship between subjective signs of tranquillity and objective measures. It uses the proportion of natural and contextual features in the visual context of an environment, as well as the sound pressure level which indicates loudness of the environment.
EQUAT I O N S
TR = 9.68-0.146LAeq + 0.041NCF
(1)
TR = 9.68 + 0.041 NCF – 0.146 LAeq + MF
(2)
Inputs: LAeq - Equivalent continuous sound pressure level, NCF - percentage of natural and contextual features (excluding sky) contained within the visual scene MF - Minor adjustments or moderating factors Output: TR - Tranquillity rating on a scale of 0 (low) to 10 (high)
Figure 26 Mapping Tranquillity—A Case Study of the Central Park Soundscape, New York City, by Researches at University of Hartford, Connecticut, 2018
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METHODOLOGY
The study uses still frames taken from 32 second video clips of an environment to capture the visual and aural aspects of an environment. The proportion of natural features was obtained by counting the number of squares occupied by natural features and anthropocentric features. When a square was occupied by more than one, the square would be split into a smaller 4 by 4 grid, allowing a precision of less than 0.1%. Natural features included flora, fauna, geological features (including dry stone walls) and water, but excluded the sky as the proportion of sky is very sensitive to the pitch of the camera, while anthropocentric features included people, spaces they occupied and manmade objects. Audio from the video was also used, with the maximum sound pressure level and continuous sound pressure level used in the two equations. The simple equation (1) provides an easy way to estimate tranquillity of an environment based on data that is easily collected. Further adjustments to the equation (2) included the addition of moderating factors to account for minor factors such as the presence of litter or graffiti, and substituting absolute loudness terms for loudness of transportation noise, measured by the average loudness during the hours of 7am to 7pm.
L IM ITAT I O N S
Although this method has been validated in several studies16, it has been scrutinised for being too general and not taking into account other confounding variables that could contribute to both loudness as well as natural features, for example, loud bird calls. Furthermore, the adjustments to the equation made to adjust for noise levels during the day requires additional measurements beyond the 32 second video and shows that the formula is not universal, and thus may not be a fair way to compare tranquillity values between areas that use different formulae.
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Figure 27 Block 201-203, Serangoon Central, Singapore. Photography by Author
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POTENTIAL SITES AND IMPLEMENTATIONS Singapore has a small land mass and does not have rural areas to expand into. Thus it is slowly becoming overpopulated. With the world’s third highest population density17 at 8,358 per sq km, Singapore is a good intervention site to study.
spatial environmental qualities between these two types of spaces will inspire different types of tranquil spaces.
To cater to the shift in population density throughout the day, the thesis studies two different areas to implement tranquil spaces, one located within the residential neighbourhood and the other within the central business district. During the night time, the former is densely populated as people return home while during the day time, the population shifts towards the central business district. The different 52
Through analysing different mappings of Singapore, two potential sites that are in need of tranquil spaces were selected. One of which is located in the neighbourhood and the other in the central business district.
SE L E CTI O N O F SU BZO NES At a macro scale, the planning areas were chosen based on analysing the noise map18 of Singapore. To further narrow down the scope the population density map19 and the building plot ratio from URA Space were used to determine the exact subzones within these planning areas.
SE L E CTI O N O F SI TE S At the subzone level, proximity to greenery was used to further narrow down the search region for potential sites and ultimately, the exact buildings were chosen based on the interesting forms of their roofscapes.
Noise map Figure 28 Noise map adapted from Sound Exposure Levels in Nonoccupational Outdoor Settings in Singapore, by William Hal Martin and Diong Huey Ting, 2017
Planning areas Serangoon, Outram, Bukit Timah, Clementi, Kallang, Yishun and Rochor
Population density map Figure 29 Population Density Map redrawn from the data by City Population, 2019, https://www. citypopulation.de/en/singapore/admin/
Subzones Serangoon (Central and North), Clementi (North and West), Kallang (Bendemeer and Boon Kheng), Yishun (South, East and West)
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POTENTIAL SITE IN NEIGHBOURHOOD BLOCKS 201 - 203 | Serangoon Central, Singapore Built Density 2.8, Approx 6407 sqm Residential
01
Blocks 201- 203 are a cluster of Housing Development Board (HDB) flats with staggered roof form. They are situated along Serangoon Central Road, in close proximity to a juncture where the shopping center, Nex, as well as the Upper Serangoon Viaduct are located. The convenience of having an underground Serangoon mrt station bring even more traffic to this area.
REA SO N S F O R C H O I CE O F S I TE
The data from the noise map shows that Serangoon is the noisiest neighbourhood experiencing 73.1 decibels. This is detrimental as the World Health Organisation guidelines state that being exposed to 70 decibels for a prolonged period of time can lead to hearing impairment. Moreover, the Serangoon Central subzone is densely populated with a population density of 23,821/km². Thus, this is a subzone where a tranquil space is crucial.
Figure 30 Blocks 201 - 203, Serangoon Central, Singapore, Photography by Author
Site Malls Residential Others
Street Layer Roads and nearby parks
Basement Layer Serangoon MRT station Figure 31 Spatial Layers of the built Architecture, base model from Cadmapper, Illustrated by Author
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N O I S E M A P P I NG
This study was conducted to map the sound pressure levels in blocks 201-203. In order to understand and compare the differences in sound pressure levels on the roof, noise measuring using NoiseCapture application was done at the highest accessible floor of each block.
TOO L
NoiseCapture mobile application
METHODOLOGY
The mobile device used was first calibrated manually using a calibrator before the site visit was conducted. To measure the sound pressure levels at specific spot on site, the microphone of the phone was orientated to face the sound sources and recordings of about 2 to 3 minutes were measured. The selected data were then uploaded onto the community map.
O BSE RVAT I O N S
Block 201 was the noisest of the three with predominant noises from the traffic (especially noises from buses) and the mechanical vent humming from NEX. The segment of block 203 that faces the road experience the same traffic noises while the segment facing block 204 was much quieter with occasional household sounds and birds chirping. The predominant noises in block 202 were household sounds from chattering, televisions and a low humming of the mechanical vent from NEX.
Blk 203 43.7 dB 46.1 dB
39.2 dB Blk 202 39.9 dB
50.3 dB
43.7 dB
Blk 201 51.0 dB 54.4 dB 53.9 dB Figure 33 Noise data captured on site. Illustrated by Author
Blk 203 Blk 203
02
k2
Bl
01
k2
Bl
NEX PPING SHO TER CEN
Figure 32 Noise data collected using NoiseCapture Android App and uploaded onto noiseplanet, https://noise-planet. org/map_
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V I EW S
The representation below shows views surrounding the site. These are the sound sources that contribute to the sound pressure levels and types of noises that can be heard from the 9 specific spots where measurements were taken.
Figure 34 Views Diagram. Illustrated by Author
1 6
2 5 4 3
Figure 35 Photography by Author
1 View of neighbouring flat
2 Expansive view of the terraced houses
6 View of roof carpark and tree canopy
3 View of Cross Intersection and Viaduct
5 View of lower segments of the blocks
4 View of NEX
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PRO P O SE D ZO N I N G
In addition to the initial studies on noises and views, the level of privacy can also inform the zoning of the site. The roof on the three segments of each block with lower height is less private as they are visible from residents living on the upper floors. With this information, the site can be zoned into 6 areas and different design strategies for tranquillity can be applied to each to further enhance the level of tranquillity in the designed spaces.
Blk 203 Zone 4
Zone 3
Blk 201 Zone 2 Zone 1
Zone 5
Zone 6
Blk 202
POTE N T I A L ST RATE GI E S AN D P ROGRA MMES
As it is a residential area, proposed programmes and strategies are catered for relaxation over a longer period of time. The following shows how the design tools developed from the study of the design precedents an be applied to the site.
Zone 1
This zone is the noisiest zone and thus, it is a suitable space to have a threshold to amplify the contrast between the noisy exterior and a quiet interior space. The contrast heightens the sense of being removed from the noisy environment.
Zones 2 &3 These zones are noisy and have low privacy.
Soundscape strategy can be adopted such as implementing water fountains. This not only mask the traffic noises but also introduce a positive sound source, making it a more calming communal space.
Zone 4
The zone has a large area and is relatively quiet as it is away from the traffic. Contemplative strolling may be suitable for this zone.
Zone 5
This zone is relatively quiet but highly visible from the residence living on the upper floors. Natural features such as trees can be incorporated to shield views and at the same time provide a beautiful roofscape for residence on the upper floors to gaze at.
Zone 6
Being the quietest zone with highest privacy, it is a space where intimate and contemplative spaces can be designed in which individuals can gaze at the framed sky and relax. 04 POTENTIAL SITES AND IMPLEMENTATIONS
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POTENTIAL SITE IN COMMERCIAL CENTER ASIA SQUARE TOWER 1 | 2011 Denton Corker Marshall and Architect 61 Pte Ltd Marina Bay, Downtown Core, Singapore Built Density 13.0, Tower GFA 133,120 sqm Office tower within a mixed use development
02
Asia Square is a mixed use building located in Marina Bay, the business and financial precinct of Singapore. It holds 190,000 sqm of office space, entertainment and dining premises, as well as a business hotel. The Asia Square development comprises of Tower 1, Tower 2 and a landscaped plaza, The Cube, that connects the two towers. The selected potential site is the roof of Tower 1.
REA SO N S F O R C H O I CE O F S I TE
The data from the noise mapping study identified the Downtown Core, with a 71.0 decibels noise measurement, as one of the top three planning areas (Orchard, Marina South and Downtown Core), within the main commercial center that was the noisiest. This exceeded the National Environmental Agency’s recommendation of not exceeding 67 decibels averaged over an hour and also exceeded the World Health Organisation threshold of 70 decibels a day. Moreover, the built-up density within the Central subzone is relatively much higher to other subzones beyond the Downtown Core of Singapore. The plot ratios in the Central subzone ranges between 10.0 and 25.0. Hence this is a subzone where a tranquil space is imperative as a space for mental calm during breaks from work.
Site
Mixed Use
Commercial
Street Layer Roads, water body and nearby greenery 3 2
Figure 36 Spatial Layers of the built Architecture, base model from Cadmapper, Illustrated by Author
1
Basement Layer MRT stations 1. Downtown 2.Raffles Place 3. Telok Ayer
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V I EW S The representation below shows how much of natural features are present when viewing from the roof of Asia Square Tower 1. Elements of water can be seen within views 3 to 6, with view 5 being the most unobstructed. Views 1 and 2 are facing in land and thus they predominantly comprise of buildings. View 1 has a more expansive view while view 2 is obstructured by the tall buildings nearby. Figure 37 Views Diagram. Illustrated by Author
2 1
3 4
6 5
Figure 38 Images from Google Maps, 2020, https://www.google. com.sg/maps/place/
1
2
6
3
5
4
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PRO P O SE D ZO N I N G
In addition to the initial studies on the percentage of natural features within the views, the level of privacy can also inform the zoning of the site. As the roof is divided into 9 subgrids with vaarying height, the areas with lower height will have less privacy as they are visible from visitors who are on the higher roofs. With this information, the site can be zoned into 8 areas and different design strategies for tranquillity can be applied to each to further enhance the level of tranquillity in the designed spaces. The noise levels of this site will not be the main focus as it is very high and far from the noise sources on the ground level.
Zone 1 Zone 2 Zone 3
Zone 4 Zone 5
Zone 8
Zone 7 Zone 6
POTE N T I A L ST RATE GI E S AN D P ROGRA MMES
As it is an office tower, the proposed programmes and strategies are catered for short relaxation during office breaks. The following shows how the design tools developed from the study of the design precedents an be applied to the site.
Zones 1,2,4 & 7
These are the low-lying zones with views obstructed by neighbouring buildings. To enhance tranquillity in these zones, pods with framed views of the sky can be introduced. Visitors can opt for an environment to either direct their gaze to the sky or to look at neighbouring buildings.
Zones 5 & 8
Obstructed views of buildings and some elements of water bodies can be seen from these zones. To enhance the tranquillity of these spaces, plants and natural features can be introduced to frame views of the water bodies for easier visual processing.
Zone 3
This zone has an expansive 360 degree view of the surrounding built environment and water bodies. This is a spot where one might feel the enormity of the world. To heighten this power of the sublime, a narrow threshold can be designed to slowly widen the visitors' periphery view to the vastness the can be experienced in this zone.
Zone 6
While this is not the highest zone, an unobstructed view of the sea can be seen. As opposed to zone 3, this zone wil be designed to be more intimate and contemplative. One can sit and gaze at the sky and the sea. 04 POTENTIAL SITES AND IMPLEMENTATIONS
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05
CONCLUSION
This thesis aims to address the increasing stress on the mental health of urban dwellers as cities continue to grow denser. It seeks to design tranquil experiences within high density cities where people can seek respite in. ThisThis document serves to give a deeper understanding on the topic of tranquil and restorative spaces. The literature review in this booklet provides an overview of the benefits of greenery and the existing key principles that that have been refined to guide the creation of restorative spaces. The study of design precedents that follows documents how tranquil spaces have
been designed architecturally. The set of common design tools picked from this study provides a useful set of strategies to reference to.
different senses. Quantitative tools will continue to be used to define and inform the architecture response in a precise manner.
Apart from the qualitative aspects, the document also looked at how tranquillity has been quantified and represented in mappings. Two potential sites were then chosen and studied. The implementation of design strategies on different zones of the sites was also proposed.
Ultimately, the envisioned architecture and urban spaces hope to encourage its dwellers to slow down, be present and free their minds from the mental chatters. Urban dwellers with peaceful minds are a powerful driving force behind a healthier, more productive and joyful community.
Moving forward, the thesis will develop more design tools and investigate in greater depth how tranquil experiences can be evoked through engaging the 05 CONCLUSION
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BIBLIOGRAPHY 01 Introduction 1 Overview - The World Bank. (2020, April 20). Retrieved August 11, 2020, from https://www. worldbank.org/en/topic/urbandevelopment/overview 2 Peen J, Schoevers RA, Beekman AT, Dekker J. “The current status of urban–rural differences in psychiatric disorders.” Acta Psychiatrica Scandinavica, 4 January. 2010. 11 April. 2020 https://www.gwern.net/ docs/nature/2010-peen.pdf 3 The Centre for Urban Design and Mental Health. “How The City Affects Mental Health” 11 April. 2020 <https://www.urbandesignmentalhealth.com/how-the-city-affects-mental-health.html> 4 Meyer OL, Castro-Schilo L, Aguilar-Gaxiola S. Determinants of mental health and self-rated health: a model of socioeconomic status, neighborhood safety, and physical activity. Am J Public Health. 2014;104:1734–1741. [PMC free article] [PubMed] [Google Scholar] 5 Fone D, White J, Farewell D, et al. Effect of neighbourhood deprivation and social cohesion on mental health inequality: a multilevel population-based longitudinal study. Psychol Med. 2014; 44:2449– 2460. [PubMed] [Google Scholar] 6 Quiet areas in Europe – the environment unaffected by noise pollution (2016) EEA Report No 14/2016. Technical Report. European Environmental Agency. Luxembourgh, from https://www.eea.europa. eu/publications/quiet-areas-in-europe\ 7 Ministry of Housing Communities and Local Government (2018) National planning policy framework Technical Repor, from https://www.gov.uk/government/publications/national-planning-policyframework--2 8 Kaplan, S. (2001). Meditation, Restoration, and the Management of Mental Fatigue. Environment and Behavior, 33(4), 480–506. https://doi.org/10.1177/00139160121973106 9 Axelsson, Ö., Nilsson, M.E., Berglund, B., 2010. A principal components model of soundscape perception. The Journal of the Acoustical Society of America.. doi:10.1121/1.3493436
02.1 Key Guiding Principles 10 Herzog, T. R., &amp; Bosley, P. J. (1992). Tranquility and preference as affective qualities of natural environments. Journal of Environmental Psychology, 12(2), 115-127. doi:10.1016/s0272-4944(05)80064-7 11 Countryside Agency (2004). Mapping Tranquillity - Defining and assessing a caluable resource, https://www.cpre.org.uk/wp-content/uploads/2019/11/mapping_tranquillity.pdf
12 Ulrich, Roger. (1984). View Through a Window May Influence Recovery from Surgery. Science (New York, N.Y.). 224. 420-1. 10.1126/science.6143402. 13 Ulrich, Roger. (1979). Visual Landscapes and Psychological Well-Being. Landscape Research LANDSC RES. 4. 17-23. 10.1080/01426397908705892.
02.2 Design Precedents 14 Spilner, Maggie. For a New View of the World: Sky Walk. (2011, November 3), Retrieved August 10, 2020 https://www.prevention.com/fitness/fitness-tips/a20464437/reduce-stress-with-sky-walking 15 HA.LE. Therapeutic Benefits of Walking. (2019, February 19), Retrieved August 20, 2020, https:// halemindandbody.com/therapeutic-benefits-of-walking 16 Pheasant, Rob & Watts, G.R & Horoshenkov, Kirill. (2009). Validation of a Tranquillity Rating Prediction Tool. Acta Acustica united with Acustica. 95. 1024-1031. 10.3813/AAA.918234. Tonder, GJ & Lyons, Michael & Ejima, Yoshimichi. (2002). Visual structure of a Japanese Zen garden. Nature. 419. 359-360 Serpentine Gallery Pavilion 2011 by Peter Zumthor. (2020, July 01). Retrieved August 07, 2020, from https:// www.serpentinegalleries.org/whats-on/serpentine-gallery-pavilion-2011-peter-zumthor/ Ren, C. (2019, April 05). Formwerkz Modern Take On Classical Architecture: Habitus Living. Retrieved August 07, 2020, from https://www.habitusliving.com/architecture/cloister-house-formwerkz
03 Mapping Tranquillity Countryside Agency (2004). Mapping Tranquillity - Defining and assessing a caluable resource, https://www. cpre.org.uk/wp-content/uploads/2019/11/mapping_tranquillity.pdf Pheasant, Rob & Horoshenkov, Kirill & Watts, G.R. (2010). Tranquillity rating prediction tool (TRAPT). Acoustics Bulletin. 35. 18-24.
04 Potential Sites and Implementations 17 List of Countries by population density. (2020, April 20). Retrieved August 09, 2020, from http:// statisticstimes.com/demographics/countries-by-population-density.php 18 William. H.M & Huey Ting.D (2017). Sound Exposure Levels in Nonoccupational Outdoor Settings in Singapore. http://medicine.nus.edu.sg/dgms/audiology/documents/Thesis/Research_Presentation_ Diong_Huey_Ting.pdf 19 Brinkhoff, T. (2019, September 25). Asia. Retrieved August 11, 2020, from https://www. citypopulation.de/en/singapore/admin
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