The Second Space by Saleem Barczynski

THE SECOND SPACE SALEEM BARCZYNSKI ARCH 4699 | 4791, Architectural Thesis, 2014 Temple University, Tyler School of Art, Architecture Department

Thank you to everyone who has helped to make this thesis possible.

TABLE OF CONTENTS: FOREWORD: The Question Of Space

PART ONE: Thesis Position

PART TWO: Thesis Proposal

PART THREE: Thesis Design

PART FOUR: Credits

154

THE QUESTION OF SPACE Lebbeus Woods

Space is essentially a mental construct. We imagine space to be there, even if we experience it as a void, an absence we cannot perceive. Space is always the implication of objects. For an object to exist, we think, it needs some kind of space. So, the first space we can imagine is the space occupied by objects. In order to see an object we must be separate from it. A space must exist between us and the object. Therefore, we imagine a space around the object, and also around ourselves, because, at some stage in our mental development, we realize that we, too, are objects. Space is the medium of our relationships with the world and everything in it, but, for all of that, we do not experience it in a palpable, physical sense. We must think space into existence. It is worth pausing to consider this assertion. If space is mental and non-material, what does this say about our relationships to the world? And to the idea and reality of architecture?

IMAGE 1: THE QUESTION OF SPACE | LEBBEUSS WOODS

First, we should consider the probability of the assertion. Isn’t space palpable? Isn’t it filled with substance, the air we breathe, and move through and feel as a tangible presence? Isn’t this the way we know space? No, it is not. When we feel the wind blowing, we do not say “I feel the space moving.” The air and the wind are only inhabitants of the space, like us. Space itself is something else. What is it? Thinking of movies, we must admit that the spaces in which movies we see are acted out have only minimal physical reality, as projections on a screen. Nevertheless, they have a full spatial presence that we experience directly and also remember. If this were not the case, we would come away from a movie speaking of our experience of a two-dimensional surface we have seen in a dark room illuminated by moving patterns of light, shadow and color. But we do not. We speak as though we had ‘been there.’ This ‘being there,’ in the scenography of the movie, is a reality we experience only in our minds— still, we were there, because space itself is always only mental. On the other hand, we do not believe that we were part of the narrative, or were the characters acting it out. We identify ourselves with them, and the events of their lives, but we do not consider them real. The very fact that our experience of space is essentially mental and not physical makes the ‘movie space’ real. For this reason, we can say that it is the reality of the space that gives the movie’s action and the actors’ credibility, not the other way around. Even movies with the most unbelievable screenplays and the most inept actors can still leave a strong and entirely credible spatial impression, as countless ‘noir’ B-movies attest.

Movies were the first ‘virtual’ realities. Before them, paintings and other forms of graphic art worked in a similar way. Piranesi’s etchings of ‘prisons’ stay in our minds much more vividly than any similarly grand space—say, the atrium of an enormous contemporary hotel— that we have actually walked through. Surely part of this vividness is due to the superiority of Piranesi’s spatial design, but this would matter little if the etching and the atrium were not in some important way the same in our experience. After the movies comes the computer, in all its manifestations. As we stand on the threshold of a world defined in terms of digitallygenerated realities, we need to consider more carefully than ever before the question of space and the nature of its reality. Consider the example given by Albert Einstein in his popular book Relativity. Here, he defines particular space as arising from the simple act of establishing coordinates within general space. So, simply drawing a box with conceptually thin—that is, non-physical—lines is enough to bring a distinct and separate space into being. Let us test his thought. Well, if we think of Austria or Thailand, we take the point. The existence of such spaces is conceptual, because the lines of the box, the ‘borders’ of the nations, drawn between the coordinate points only mentally are physical only on maps. Nevertheless, we regard them as real, even when we traverse the actual landscape they circumscribe. When it comes to space, the mental is as potent as the physical. What is the physical, after all, but sensations impacting the neural nets of our brains? Where do the sensations come from? How do we know that what we see is not an artifice of projections onto the brain?

IMAGE 2: BERLIN, FREE ZONE | LEBBEUSS WOODS

Ultimately, we do not. Space, in the end, is what we think it is. It is easy to fool the senses, and therefore the mind. Epics of human history are largely written in terms of places that exist only as idea: motherland, fatherland, homeland, nation, country. The gullibility of human beings to be seduced by the reality of that we only think exists is the source of our dreams and fantasies, and also of our inventions— seeing what is not there, as though it were. But that is only half the story. The other half of intelligence is its skepticism. How true are our sensations? Our thoughts? Can we trust them? Is space real, just because we think it is? Are, then, dreams real? And movies? And projects drawn by architects that describe objects that might exist physically but do not? The question of what is real touches on profound philosophical questions. The most critical of these concerns the limitations of our capabilities to know through our sense-organs, and our abilities to imagine through our cognitive faculties. For now, we must settle for provisional answers, and the most salient of these seems to be that the limits of the real are isomorphic with the limits of what we can conceive.01 IMAGE 3: THE QUESTION OF SPACE | LEBBEUSS WOODS

Citation: 01 Woods, Lebbeus. “THE QUESTION OF SPACE.” LEBBEUS WOODS. http://lebbeuswoods.wordpress.com/2009/11/19/the-question-ofspace/ (accessed May 6, 2014).

PART I: THESIS POSITION

1. ABSTRACT In the 1960’s, French philosopher Henri Lefebvre addressed the concept of lived space through his writings, and attempted to develop an understanding of an individual’s existence within the physical environment. Lefebvre “aimed at formulating a dialectical concept of the appropriation of space as a creative and expressive negotiation between spatial affordances and the cultural significations”01 He states that the processes of the production of space are a type of ‘spatial practice’ which Lefebvre describes as ‘empirically observable’ and ‘readable and visible.’ Essentially, spatial practice is the production of space by the living body, and its concepts developed throughout the individual’s lived experiences. These spatial practices or lived experiences are also validated by time, and vary in scale from the individual to architecture and urbanism, and to regional and global spatial planning.02 Image 01. Christopher Payne, Typical Ward, Fergus Falls State Hospital, Fergus Falls, Minnesota.

This thesis will attempt to investigate Lefebvreâ&#x20AC;&#x2122;s concepts of lived space and the appropriation of space through the experiences of patients residing within a psychiatric hospital. An architectural response will be developed by studying the symptoms of certain patient illness. The resulting architecture is intended to appropriate an existing space that transforms or adjust to the conditions and thoughts, and experiences of the patients. This thesis will use the Kirkbride Center for Mental Health, located in Philadelphia, as the site and driver for the development of this project. The hospital has a long history of caring for the state; its operations were overseen by the Chief Physician, Thomas Story Kirkbride, and his philosophy regarding patient treatment, involved a more humane approach to the patients care. In The past, psychiatric centers treated the chronically insane as prisoners: isolated and restricted to the confines of their rooms. Dr. Kirkbride offered a new approach for the mentally illâ&#x20AC;&#x2122;s treatment. His philosophy of how to treat patients was employed throughout all American hospitals during the late eighteenth-century.03

Image 02. Photo of Katy Bentallâ&#x20AC;&#x2122;s Studio at 36 Smolna Warsaw, Poland.

By freeing the patients of their physical restraints; and providing a productive architectural setting, which he believed aided in the treatment individuals, Dr. Kirkbride was able to notice a distinct change within the patientâ&#x20AC;&#x2122;s behavior. More importantly, he fostered an environment which facilitated new spatial paradigm with in the asylum between the patients and the architecture. While Kirkbride emphasized a new architectural structure as a facilitator of treatment for mentally ill patients, this investigation will focus not on the assumption of architecture as a container for occupation, but rather as a set of negotiated mental projections that continually shape and reshape the conditions of space.

Image 02a. Photo of Katy Bentallâ&#x20AC;&#x2122;s Studio at 36 Smolna Warsaw, Poland.

2. THEORETICAL FOUNDATION The rise of the asylum can partly be attributed to the inability of families of the insane to provide the proper care for for their loved ones. Care for the mentally ill was time consuming and expensive for families. As a result, the asylum developed and housed the people who were eventually abandoned by their families. A large majority, of the patients institutionalized, were primarily single individuals.04 Carla Yanni, author of Architecture of Madness writes that the quick rise of asylums was additionally due to the profit made from their construction and the inmates they held.05 In the early years of the asylum, patients were referred to as inmates: a negative term applied to those with mental disorders. This negativity and mistreatment of the insane was further illustrated in the introduction of French Philosopher Michel Foucault’s book Madness and Civilization, about ‘The Ship of Fools’ which depicted how individuals with mental disorders were treated by society before the establishement of European asylums.06

Renaissance men developed a delightful, yet horrible way of dealing with their mad denizens: they were put on a ship and entrusted to mariners because folly, water, and sea, as everyone then ‘knew,’ had an affinity for each other. Thus, ‘Ships of Fools’ criss crossed the seas and canals of Europe with their comic and pathetic cargo of souls. Some of them found pleasure and even a cure in the changing surroundings, in the isolation of being cast off, while others withdrew further, became worse, or died alone and away from their families. The cities and villages which had thus rid themselves of their crazed and crazy, could now take pleasure in watching the exciting sideshow when a ship full of foreign lunatics would dock at their harbors. The seventeenth and eighteenth centuries saw much social unrest and economic depression, which they tried to solve by imprisoning the indigents with the criminals and forcing them to work. The demented fitted quite naturally between those two extremes of social maladjustment and iniquity.07

Image 03. The Architecture of Madness: Madness, As Illustrated in Charles Bell, Anatamy and Philosophy of Expression as Connected with the Fine Arts.

Hospitals were being built in the US during the 18th century, and the first psychiatrists in America were the superintendents of mental hospitals, they often used their power to shape the architecture of the asylums and with the collaboration of architects.08 One of most well known asylums in Europe was London’s Bethlem; the oldest psychiatric facilities in Europe provided poor conditions for its inmates. The building was cold and damp, inmates slept on the floors, and the interior was rarely cleaned. Later, the asylum was renovated by architect Robert Hooke, and even though the architectural conditions improved with the asylum, inmates were still restrained by handcuffs and leg locks. The rooms were dark, inmates were whipped. Often, there were food shortages, and in general, an overall mistreatment of the asylum’s patients.09 Asylums and prisons have often been compared to each other, since both building types seem to exemplify an architecture which represents the service of social control.10 Jeremy Bentham’s 1791 design, the Panopticon, a six-story doughnut shaped building with a tower at the center, was an example of such a structure. Yanni writes that American prisons were more practical with their designs and were based off the theories of John Howard.11

Image 04. The Architecture of Madness: William Britton, Auburn Prison, State prison for New York

The state prison in Charlestown Massachusetts, by Charles Bulfinch, was an example of a jail that was designed for social control in the nineteenth century. The facade was composed of small windows behind which single loaded corridors allowed the inspector to walk past the cell without having to turn his back on a prisoner. Auburn Prison in New York State, designed by William Brittin, was built on the concept that prisoners could see one another but they could not speak to one another.12 The prison had 550 tiny cells, each one seven feet six inches by three feet eight inches. The Asylum in contrast, was about 9 ft by 12 ft. but, the Auburn plan was not the model used for asylums: the radial plan, a wheel with spokes, had more potential for an insane asylum.13 In nineteenth century, an era of reform came into Europe addressing the horrendous treatment of the mentally insane. French and British hospitals began to implement a more humane approach to care. This new method of treatment was carried over to the US with the establishment of the Kirkbride hospital.14

Image 04a. The Architecture of Madness: Jeremy Bentham, The Penopticon; or, the Inspection House, Benthom Papers

[He] seemed bent upon disarranging their long-accustomed institutional routine. First he moved the restraints from the ‘dangerous’ patients and let them move freely in the wards, which were barren of the ‘tranquilizer chairs,’ the leather cuffs, and straitjackets they had been used to seeing at the old hospital. Then, after receiving baths and clean clothes, the inmates sat down together to take their meals in a regular dining room, equipped with ordinary utensils and crockery, amenities unknown in the old institution 17

When individuals became violent, they were not placed in restraint but given a stern warning to stop, and if the misconduct continued, were confined to their own rooms until calmer.15 By freeing the patients of their physical restraints and treating them as civilized individuals, Dr. Kirkbride was able to notice a distinct change within the patient’s behavior. More importantly, he created an environment which facilitated a new spatial paradigm for the asylum: New experiences within the environment, which were generated by the residents living within the asylum. Thomas Kirkbride was formulating his theories on the causes and treatments for mental illnesses well before he earned the reputation as the most notable asylum doctor in the nation. In medical school, Kirkbride learned a therapeutic style directed towards letting the body heal itself without the use of strong drugs16 As a young doctor in training, Kirkbride worked with psychiatric patients at the Pennsylvania Hospital—a medical hospital in Philadelphia. The psychiatric ward was housed in the West Wing of the hospital, and many visitors flocked to the West Wing to see the mentally—ill patients to satisfy their curiosity.17 As the West Wing became overcrowded with more patients and unwanted visitors, a new hospital was soon planned to specifically treat mental illness. Kirkbride accepted a prominent job in planning and managing the new Pennsylvania Hospital for the Insane. The new hospital would be located outside the city for the purpose of ‘adequate isolation, [and] ample room for new buildings and recreation areas.’18 18

mage 05. The Architecture of Madness: Thomas Kirkbride plan

On the Construction, Organization, and General Arrangements of Hospitals for the Insane served as a comprehensive guide to architects and state governments for the proper construction of mental hospitals. In the book, Kirkbride explicitly discusses every detail of the asylum, from the ideal dimensions of windows to the best types of flooring materials, while providing access to fresh air and adequate light, which were other issues he felt were important for the design. 19 Kirkbride regarded the linear plan of wards originating from a central building to be the most cost-effective way of ensuring good ventilation and light exposure. The floor plan extended out from the central building in two opposite directions in a series of wards; each ward was set farther back than the previous. This plan resulted in a large building with â&#x20AC;&#x2DC;connected pavilions arranged in a shallow Vâ&#x20AC;&#x2122; when viewed from above.20

mage 05a. The Architecture of Madness: Patient portraits

In addition to supplying air and light, the linear plan could also separate patients by wards based on varying severities of mental illness. Violent and loud patients could be placed in the wards farthest from the central administration building to prevent disturbing other patients and their visitors.21 As a result, most of the state asylums built in the latter half of the nineteenth century borrowed from Kirkbrideâ&#x20AC;&#x2122;s design in their construction. Kirkbride believed that 80 percent of mental illness patients could be cured, provided that they were treated in the proper setting and early in the course of the disease.22 The popularity and success of Kirkbrides architectural and social model for patient care lead to a significatant increase in the building and housing for the mentally ill. However, the impact of the asylum within the medical practice was short-lived. The complicated decline of the large-scale insane asylum was caused partly by overcrowding and neglect, but also by massive changes in the practice of psychiatry. With the ascent of neurology, which focused attention on mental illness as a result of physical causes, the environment ceased to seem like an important cause or likely cure, and a new generation of doctors regarded architecture as irrelevant to the practice of psychiatric medicine23

3. DESIGN SPECULATION The appropriation of space is the how space is produced by the human conscious within existing spaces. In essence, itâ&#x20AC;&#x2122;s the space within space or the second space. Lefebvre, sought to create a language from the appropriation of space that was creative and expressive arrangement structure between spatial realities and the cultures that have influenced the shaping those spaces.24

Image 06. Sequences Saw Only the Moon: Patient patient isolation room.

Image 07. Sequences Saw Only the Moon: Patient patient isolation room.

His research of space resulted in the idea of space as a triad, and the production of space which was composed of three terms: perceived space, lived space, conceived space, defined as follows. Perceived space: “The spatial practice of a society secretes that society’s space; it propounds and presupposes it, in a dialectical interaction; it produces it slowly and surely as it masters and appropriates it.”24 Lived space: Space as directly lived through its associated objects, images and symbols.25 Conceived space: conceptualized space, the space of scientists, planners, urbanists, technocratic subdividers and social engineers, as of a certain type of artist with a scientific bent all of whom identify what is lived and what is perceived with what is conceived.26 Lefebvre’s theory presents a view where the human experience is the focus of how space is produced within the environment. The individual develops spatial concepts as a reaction to experienced phenomena being perceived. This is the result of a series of actions and interactions by the individual occurring within everyday life.

Lars Kordetzky, architect and author of Sequences: Saw Only the Moon, explores Lefebvre’s concept of lived space by studying the spatial concepts of mental patients at the Oberwil Psychiatric Clinic near Zug, Switzerland. His design research seeks to illustrate the spatial concepts of residents living within a psychiatric hospital. Cooperation between the architect and residents of the clinic was unknown, an unpredictable requisite to exploring the world of the psyche.27 The architects’ site was a small isolation room 2.20 meters wide; 3.75 meters high; and 3.60 meters deep, with plastered walls with washable paint. Next to the door a built in toilet, flushable from the outside; rounded corners; a thick window sill made of black stone with a two meters tall window above it.28 Kordetzky writes of this space, “...specifications as if for other beings, for bigger people, deranged dimensions, a different scale for a different mental state”29

Image 08. Sequences Saw Only the Moon: Patients building models in the patient isolation room.

The intent of the project was to construct a space within space by using the drawings of mental patients fantasies. These fantasies were of escaping by constructing tunnels; of seeing and being closer to the moon, and of breaking out of reality. Also, there were thoughts of-what Kordetzky depicts as â&#x20AC;&#x153;empty and yet charged space,â&#x20AC;? where an individual is confronted with their psyche, and the architecture in which they dwell.30

Image 09. Sequences Saw Only the Moon: Patient sketchings depicting their personal concepts of space

For those patients who could bear to enter the isolation room --many could not due to the very specific and often unbearable nature of the room-- the architecture begins to address the issue of memory --not in a historical sense, but the fantasized fragment of time and place-- for the individual. The isolation room, which was defined by its boundaries, and it association with containment changes and serves a new role --it becomes a place and a facilitator. A relationship or language between reality and the perceived reality is appropriated, where those who inhabit it, are able to produce their own notions of a spatial reality. The project continued for fifty-one days with no conclusive outcome targeted. However, the results have produced a more tangible representation of the patientâ&#x20AC;&#x2122;s conceptions. Patients draw and build their spatial ideas of home, and of being in the world within the present, or in their dreams of the future.31

When an individual enters the patient room, architecture and the psyche are confronted with each other situated in human perception. This generates further thoughts and questions of perception and lived space. Is there a spatial composition that can help to facilitate various states of the psyche? How is architecture actually perceived by mental patients? Within the objects that help to construct space, an embedded history can be found in them. Stasus, the design firm of James A Craig and Matt Ozga-Lawn: lead an academic studio on the premiss of how the alteration of objects through time generates the developement additional meanings, which are embedded within those objects. They define this as resilience. Stasus’s project emerges from an academic studio project based in Warsaw, Poland. “Our process is initially one of identification –revealing the resilient traces and resulting resistances within the scope of our intended investigation. We test and explore the properties found in these existing conditions.”32

Image 10. Pamphlet Architecture 32: Resilience: Photo of Katy Bentall’s art work at 36 Smolna Warsaw, Poland

As a result, those objects become the site, and assist to shape the conditions of lived space, which can be perceived by the individual. The architecture and objects of a psychiatric hospital have the potential to produce similar results. The mind develops spatial concepts based on the architecture and objects which produce space. Residents derive meaning from these objects and architectures, resulting in the production of spatial concepts. A combination of their memories, objects, and the architecture which houses them create the environment â&#x20AC;&#x201C;a facilitator for lived space.

4. TERMS OF CRITICISM + METHODS OF INQUIRY + Q1: What can architecture do to articulate the concepts of the mental patient? Can it adjust to or represent the psyche, as opposed to the currently built generic forms. + Q2: There is resilience [new embedded information] found within the objects and architectures of specific environments, can those entities be used to create a more productive and engaging space for the individual? + Q3: This thesis questions juxtaposition between physical space, and mental space; tangible and intangible; the real and fictional? + Q4: Transformation, or transition, of the physical space to the mental space: I define the hospital as the temporal space for the mind. For “us” the hospital is a static place: very real; full of history; and grounded in context, but for the mental patient the hospital is completely temporary. How is the site Temporary? + Q5: What are the boundries of human perception?

Image 11. Pamphlet Architecture 32: Resilience: Photo of Katy Bentall’s art work at 36 Smolna Warsaw, Poland

+ MoI1: Catalouging mental disorders + MoI2: representing disorders through drawing. + MoI3: bridging spatial triats of diorders to create program. + MoI4: Tranformation of the site â&#x20AC;&#x153;patient roomâ&#x20AC;? + MoI5: investigation into the boundaries of perception + MoI6: Reappropriating the mental hospital + MoI7: Juxapotion of physical to mental space + MoI8: Understanding the materials of the hospital + MoI9: representing disorders through model making. + MoI10: Defining the new psychiatric ward The Second Space

PART II: THESIS PROPOSAL

5. THEORY TO PROJECT LINK The Production of Space The project intends to apply French Philosopher Henri Lefebvre’s theory of spatial production to construct a descriptive analysis on how people might mentally construct and perceive spaces. Lefebvre defines the production of space by an individual as ‘spatial practice’, which he argues is the production of space by an individual’s concept’s developed throughout a person’s lived experiences.32 Lefebvre’s theory is situated in the notion of human experience as the focus of spatial productionBy understanding Lefebvre’s theory, one could conclude that space is the experienced environment in which people dwell, and where individuals create and live in their environments defined and constructed by their concepts.

Image 12. Christopher Payne, sewing room, Fergus Falls State Hospital, Fergus Falls, Minnesota.

Here, Lefebvreâ&#x20AC;&#x2122;s concepts on space production, is applied to how the mentally ill may perceive their own personal space within a psychiatric facility. The specific conditions associated with mental illness influence an individualâ&#x20AC;&#x2122;s perception of the environment, and of experiences coping with their disorder are spatially descriptive.

Changing Spatial Parameters A link between the Kirkbride hospital and project is made by revealing and understanding the change in spatial parameters: How the space changes for on the individual. The proposed project is an investigation into understanding the change in spatial parameters, and it depicts how an individual might appropriate and change the conditions space. Dr.Thomas Kirkbride understood that a change in the spatial parameters of psychiatric wards was necessary for the proper treatment and possible cure of mental disorders. His new design changed the spatial conditions associated with psychiatric care, making the hospital an architecture which facilitates the treatment of patients.

Image 13. Christopher Payne, Photographs of loved ones belonging to the mental patients.

The project looks to provide an explorative analogy for how a person might perceive and construct mental space, within the physical environment, by using a psychiatric hospital and its patients as a setting for this exploration. Inside the hospital, patients develop and create their own mental spaces influenced by their mental conditions and personal experiences, which produce the Second Space; the juxtaposition between the mental space of the patients and the ordered physical structure of the psychiatric hospital. The second space does not affect the entire hospital, only specified parts dictated by the location of certain patients, and is also only accessible and to the patients perceiving their environments. Moreover; the project is an investigation into the differences between what is perceived by the psyche and what is physically built.

5. CONCEPT MODEL The Filing Cabinet Four disorders have been selected based on their similarities and differences to be catalogued in a filing cabinet. The filing cabinet represents the organizational philosophy of how the psychiatric hospital categorizes orders its residents. Essentially, the hospital adheres to a medically based approach to patient placement, primarily for the health and safety of both residents and medcal staff. For example; residents were organized and placed with the Kirkbride Hospital based on how mentally ill they were and if patient could function and interact peacefully with other residents.33 Each drawer symbolizes a patient room, which holds the projection of an individualâ&#x20AC;&#x2122;s perception of their particular environment. When the viewer looks at the model from different directions, it reveals new projections of the space.

Image 14. Saleem Barczynski, Photograph of the file cabinet model. Filing Cabinet used as a devise to represent the cataloging of mental disorders.

Image 15. Saleem Barczynski, Detail photograph of the filing cabinet model.

Image 16. Saleem Barczynski, Photograph of the file cabinet model. Filing Cabinet used as a devise to represent the cataloging of mental disorders.

7 SITE Kirkbride Psychiatric Hospital

Image 17. The Architecture of Maddness: Samual Sloan with Thomas Kirkbride, Pennsylvania Hospital for the Insane, 1856, department for males.

The project site is the Kirkbride Psychiatric Hospital, located in West Philadelphia, Pennsylvania. In the book On the Construction, Organization, and General Arrangements of Hospitals for the Insane Kirkbride gives detail information on how site and building for the insane should be constructed. Kirkbride believed that the location of the hospital was an important part in helping to heal the patients. He stated that the hospital should always be located in the country, not less then two miles from a neighboring town, yet be accessible for the transportation of supplies.34 He addresses the need for furtile land, with desirable views of the natural landscape.35 Kirkbride belived the linear planâ&#x20AC;&#x201D;originating from a central buildingâ&#x20AC;&#x201D;to be the most cost-effective way of ensuring good ventilation to and light exposure. The floor plan extended out from the central building in two opposite directions in a series of wards; each ward was set farther back than the previous.

This plan resulted in a large building with â&#x20AC;&#x2DC;connected pavilions arranged in a shallow Vâ&#x20AC;&#x2122; when viewed from above.36 In addition to supplying air and light, the linear plan could also separate patients by wards based on varying severities of mental illness. Violent and loud patients could be placed in the wards farthest from the central administration building to prevent disturbing other patients and their visitors37

mage 18. The Architecture of Madness: Thomas Kirkbride plan

Patient Room As a starting point, the project will focus on the standard patient room: 9 feet wide, by 11 feet deep with a 12 feet high ceiling.38 This singular room will be primary focus of the initial investigation in order to provide a descriptive analogy of the various mental conditions with in context of the room. â&#x20AC;&#x153;The patient room empty, yet charged becomes the site for ideas thoughts and visionsâ&#x20AC;?.39 Free from the constraint of surrounding surfaces the interior walls start to transform, depending on the patients state. The room becomes an un-restricted space anarchitecture that consists of different dimentions and moments.40 These moments are the patientâ&#x20AC;&#x2122;s conceptual projections of their perceived environment, Influenced by their specific disorder and lived experiences, playing out and transforming the space. Additionally, the site could be understood as a temporal space: moving from the physical environment of brick; plaster; wood; glass, and stone to the precarious and unknown psyche of the individual. For the mentally stable, the hospital is a static place: very real; full of history; and grounded in context, but for the mental patient the hospital is completely temporary.

Image 19. Sequences Saw Only the Moon: Patient patient isolation room.

8. PROGRAM Programmatic Relationships Although this project does not start with an established program, it contains programmatic information—representations of the mental patients psyche—which will help to develop the program throughout the investigation of this thesis. The patients, who suffer from ther particular mental disorders, each construct and project their own percevied environments. These projections —produced by the experinces and memoires are spatial, and similar spatial projections— can be found within each of the mental disorders that influence and altered perception of space. The related projections form bridges which connect the various types of disorders to form a larger program, essentially creating a new wing within the psychiatric hospital.

Image 20. Saleem Barczynski, Network mapping (schizophrenia) deicting the symptoms of each condition, and the symptom overlaps.

Image 21. Saleem Barczynski, Network mapping deicting the symptoms of each condition, and the symptom overlaps.

Appropriating the Hospital The appropriation of space is the production space by the human conscious within existing spaces. Essencially it is it the space within space, or for the purposeses of this thesis: The Second Space. Once the new program has been produced, the new space will be inserted back into the the existing hospital. The resulting architecture will be an investigation of the relationship that will occur between existing physical space, and the newly constructed mental space.The Second Space is the space of our concepts: a mental representation of our memories and experiences. Itâ&#x20AC;&#x2122;s also how one situates themselve, and how they make sense of their environment.

Image 23. Sequences Saw Only the Moon: patient isolation room, with interted structure designed by the mental patients.

9. USERS Program Users The users are the unnamed patients of the hospital. Their concepts of space will form the architecture of the ‘Second Space’. Bipolar disorder: a severe mood disorder of which Individuals experience low moods, which might be characterized by depression, feelings of hopelessness, a lack of energy and social withdrawal. At other times, high, manic moods can bring confidence, energy and optimism, as well as a loss of inhibition.The disorder can have a significant impact on someone’s life; however, many people who live with it lead productive, creative lives.41

Borderline Personality disorder: a disorder of mood and interpersonal function â&#x20AC;&#x201D;how a person interacts with others. Symptoms might include strong emotions, rapid changes in feelings and moods, difficulties in controlling certain impulses, poor self image, feelings of not fitting or belonging, and a deep sense of emptiness and isolation. All of these things can make social relationships challenging.Someone with this disorder might go to extreme lengths to prevent feelings of abandonment. They might feel tempted to harm themselves if emotions become hard to cope with or express, and might also experience delusions or hallucinations.42 Dementia: a non-specific syndrome in which affected areas of brain function may be affected, such as memory, language, problem solving and attention. Dementia, unlike Alzheimerâ&#x20AC;&#x2122;s, is not a disease in itself. When dementia appears the higher mental functions of the patient are involved initially. Eventually, in the later stages, the person may not know what day of the week, month or year it is, he may not know where he is, and might not be able to identify the people around him.43

Depression: the most common mental health disorder in Britain, according to the Mental Health Foundation. It is a very real illness, and debilitating symptoms might include feelings of helplessness, crying, anxiety, low self-esteem, a lack of energy, sleeping difficulties, physical aches and pains, and a bleak view of the future. The disease is revealed in many different ways, but it typically interferes with a personâ&#x20AC;&#x2122;s ability to function, feel pleasure or take an interest in things.44

Image 25. Saleem Barczynski, Rendering representing the thoughts of someone who is suffering from Post Traumatic Stress Disorder (PTSD).

Obsessive-compulsive disorder: (OCD), a type of anxiety disorder, is a potentially disabling illness that traps people in endless cycles of repetitive thoughts and behaviors. People with OCD are plagued by recurring and distressing thoughts, fears, or images (obsessions) they cannot control. The anxiety (nervousness) produced by these thoughts leads to an urgent need to perform certain rituals or routines (compulsions). The compulsive rituals are performed in an attempt to prevent the obsessive thoughts or make them go away. Although the ritual may temporarily alleviate anxiety, the person must perform the ritual again when the obsessive thoughts return. This OCD cycle can progress to the point of taking up hours of the personâ&#x20AC;&#x2122;s day and significantly interfering with normal activities. People with OCD may be aware that their obsessions and compulsions are senseless or unrealistic, but they cannot stop them.45

Post-traumatic Stress Disorder: a psychiatric disorder that can occur following the experience or witnessing of a life-threatening events such as military combat, natural disasters, terrorist incidents, serious accidents, or physical or sexual assault in adult or childhood. Most survivors of trauma return to normal given a little time. However, some people will have stress reactions that do not go away on their own, or may even get worse over time. These individuals may develop PTSD. People who suffer from PTSD often relive the experience through nightmares and flashbacks, have difficulty sleeping, and feel detached or estranged, and these symptoms can be severe enough and last long enough to significantly impair the person’s daily life.46 Schizophrenia: a mental illness that occurs when the parts of the brain that are responsible for emotion and sensation stop working properly. As a result, an individual might stop living their normal life; they might withdraw from people, feel confused, lose interest in certain activites and pleasures, and be prone to angry outbursts. Schizophrenia symptoms can include slower thinking, talking and movement, jumbled thoughts, emotional flatness or a lack of thought processes, reduced motivation, changes in sleeping patterns and body language, and an indifference to social contact. Often, the symptoms might include hallucinations –seeing, hearing and smelling things others do not—and delusions – strong beliefs or experiences that are not in line with generally accepted reality.47

Image 26. Saleem Barczynski, Rendering representing the thoughts of someone who is suffering from Schizophrenia.

10 DESIGN METHODOLOGIES Catalogue An arrangement of information on display. The psychiatric hospital catagorizies and orders its residents based on their mental state.

Environment Understanding the material spatial properties of the Hospital. This will give the project a starting point and context.

Models The physical model or models will help to illustrate the transformation of the patient room to an architecture constructed by patientâ&#x20AC;&#x2122;s concepts.

11. KEY TERMS Appropriate The process of redefining or adjustisting the perameters of a particular existing space. Boundry A marking which indicates where one space ends and another begins. Conceived Space The conceptualized space, the space of scientists, planners, urbanists, technocratic subdividers and social engineers, as of a certain type of artist with a scientific bent all of whom identify what is lived and what is perceived with what is conceived. Concept An abstract or generic idea generalized from particular instances that exist in the brain: a mental representation. Environment Physical and psychological constructions formulated through conscious and unconscious thought, memory, time, experience, and perception.

Lived Space The space of the environment directly lived through by its associated objects, images and symbols in the everyday life. Experience The knowledge of some thing or some event gained through involvement in or exposure to that thing or event. Experience involves the aspect of intellect and consciousness experienced as combinations of thought, perception, memory, emotion, and imagination, including all unconscious cognitive processes. Mental Disorder A mental or behavioral pattern or anomaly that causes distress or disability, and which is not developmentally or socially normative. Mental disorders are generally defined by a combination of how a person feels; acts; thinks; or perceives. This may be associated with particular regions or functions of the brain or rest of the nervous system, often in a social context. Perception The organization, identification, and interpretation of sensory information in order to represent and understand the environment: it is the way a person might think about or understand someone or something. Perception can also be shaped by learning, memory.

PART III: DESIGN

1. THESIS STATEMENT This Thesis creates an explorative analogy for how a person might perceive and construct mental space, within the physical environment, by using a psychiatric hospital and its patients as a setting for this exploration. Inside the hospital, patients create and develop their own personal spaces influenced by their mental conditions and personal experiences, which produces the Second Space; the juxtaposition between the mental space of the patients, and the ordered physical structure of the psychiatric hospital. The Second Spaceâ&#x20AC;&#x201C;where the mental concepts of the patients become actualized â&#x20AC;&#x201C; does not affect the entire hospital; rather, it selectively inhabits the preexisting spaces, altering its order and experiences. Through this project, the interstitial spaces that exist between the differences of what is perceived by the psyche, and are what is physically built are made manifest.

2. CONCEPT MODEL FILING CABINET Four disorders are presented to be catalogued in a filing cabinet. The filing cabinet represents the organizational philosophy of how the psychiatric hospital categorizes orders its residents. Essentially, the hospital adheres to a medically based approach to patient placement, primarily for the health and safety of both residents and medical staff. For example; residents were organized and placed with the Kirkbride Hospital based on how mentally ill they were and if patient could function and interact peacefully with other residents. Each drawer symbolizes a patient room, which holds the projection of an individualâ&#x20AC;&#x2122;s perception of their particular mental environment.

3.CONCEPTUAL DRAWINGS The transition models were built as a serial exploration of a transition for how a person might perceive and construct mental space within a single patient room. The models are placed on the shelves â&#x20AC;&#x201C; stacked in levelsâ&#x20AC;&#x201D;to further represent the ordered structure of the hospital floors. The articulated forms, are dictated and are representation of the mental conditions emotion, and personal experiences of the patients.

4. SKETCHBOOK DRAWINGS A series 5x8 of sketches and notations made throughout the exploration of the project. Basically, they illustrate how I thought and worked through the project from understanding the structure of the hospital and the standard patient room to the final model of the second space.

5. TRANSITION MODELS The transition models were built as a serial exploration of a transition for how a person might perceive and construct mental space within a single patient room. The models are placed on the shelves â&#x20AC;&#x201C; stacked in levelsâ&#x20AC;&#x201D;to further represent the ordered structure of the hospital floors. The articulated forms, are dictated and are representation of the mental conditions emotion, and personal experiences of the patients.

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6. PROGRAMMATIC DRAWINGS The transition models were built as a serial exploration of a transition for how a person might perceive and construct mental space within a single patient room. The models are placed on the shelves â&#x20AC;&#x201C; stacked in levelsâ&#x20AC;&#x201D;to further represent the ordered structure of the hospital floors. The articulated forms, are dictated and are representation of the mental conditions emotion, and personal experiences of the patients.

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Drepression Programmatic Drawing Depression: the most common mental health disorder in Britain, according to the Mental Health Foundation. It is a very real illness, and debilitating symptoms might include feelings of helplessness, crying, anxiety, low self-esteem, a lack of energy, sleeping difficulties, physical aches and pains, and a bleak view of the future. The disease is revealed in many different ways, but it typically interferes with a personâ&#x20AC;&#x2122;s ability to function, feel pleasure or take an interest in things.44

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Dementia Programmatic Drawing Dementia: a non-specific syndrome in which affected areas of brain function may be affected, such as memory, language, problem solving and attention. Dementia, unlike Alzheimerâ&#x20AC;&#x2122;s, is not a disease in itself. When dementia appears the higher mental functions of the patient are involved initially. Eventually, in the later stages, the person may not know what day of the week, month or year it is, he may not know where he is, and might not be able to identify the people around him.43

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Obsessive-compulsive disorder Programmatic Drawing Obsessive-compulsive disorder: (OCD), a type of anxiety disorder, is a potentially disabling illness that traps people in endless cycles of repetitive thoughts and behaviors. People with OCD are plagued by recurring and distressing thoughts, fears, or images (obsessions) they cannot control. The anxiety (nervousness) produced by these thoughts leads to an urgent need to perform certain rituals or routines (compulsions). The compulsive rituals are performed in an attempt to prevent the obsessive thoughts or make them go away. Although the ritual may temporarily alleviate anxiety, the person must perform the ritual again when the obsessive thoughts return. This OCD cycle can progress to the point of taking up hours of the personâ&#x20AC;&#x2122;s day and significantly interfering with normal activities. People with OCD may be aware that their obsessions and compulsions are senseless or unrealistic, but they cannot stop them.45

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Schizophrenia Programmatic Drawing Schizophrenia: a mental illness that occurs when the parts of the brain that are responsible for emotion and sensation stop working properly. As a result, an individual might stop living their normal life; they might withdraw from people, feel confused, lose interest in certain activites and pleasures, and be prone to angry outbursts. Schizophrenia symptoms can include slower thinking, talking and movement, jumbled thoughts, emotional flatness or a lack of thought processes, reduced motivation, changes in sleeping patterns and body language, and an indifference to social contact. Often, the symptoms might include hallucinations â&#x20AC;&#x201C;seeing, hearing and smelling things others do notâ&#x20AC;&#x201D;and delusions â&#x20AC;&#x201C; strong beliefs or experiences that are not in line with generally accepted reality.47

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7. VIGNETTE RENDERINGS These photo renderings were created in order to depict the experiential moments within the design. When viewed, a perceptive quality is reintroduced, and scale is lost, which reinforces the transition from single patient room to mental space. The associated quotes help to reinforce and articulate the programmatic qualities of The Second Space.

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“There was such darkness that I couldn’t believe anything would be good agaian...”

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â&#x20AC;&#x153;I felt as though the walls were closing in on me...â&#x20AC;?

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“I had strong fear of leaving my home, my comfort zone...”

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â&#x20AC;&#x153;I remember I had not been out or spoken to anyone for days. I felt isolated...â&#x20AC;?

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â&#x20AC;&#x153;I just wanted to sink into my bed and cocoon myself. The outside world was too threatening...â&#x20AC;?

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â&#x20AC;&#x153;I had a series of panic attacks based on my fear of failure and rejection...â&#x20AC;?

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â&#x20AC;&#x153;I worried about losing control, writing something that would hurt someone...â&#x20AC;?

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â&#x20AC;&#x153;I began to suffer debilitating panic attacks and intrusive cycles of thought...â&#x20AC;?

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â&#x20AC;&#x153;My thoughts are all over the place. Forgetfulness turned to confusion...â&#x20AC;?

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“I don’t remember this place...”

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â&#x20AC;&#x153;I am not recognizing people I had known for years...â&#x20AC;?

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“loss of time...”

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“He thought a group of workers were conspiring to get him...”

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â&#x20AC;&#x153;He would never say that he was hearing voices, but it was very apparent he was...â&#x20AC;?

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“He would sit in his room and listen to Pink Floyd ‘The Wall’ over and over again...”

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â&#x20AC;&#x153;Paced constantly or do just the opposite; not get out of bed for hours during the day...â&#x20AC;?

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8. THE SECOND SPACE MODEL Once the patient enter the room, they free themselves from the constraints of the existing surrounding surfaces, the interior walls and structure start to transform, depending on the patients state. The resulting architecture is an investigation of the relationship that occurs between existing physical space, and the newly constructed mental space. This is a space for the patients, which depicts a more accurate manifestation of a personâ&#x20AC;&#x2122;s perceived environment. Furthermore, The Second Space is a space in which the patients dwell; a space in which grants them a certain level of autonomy that cannot be given, or expressed in the current state of the Hospital.

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PART IV: CREDITS

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1. END NOTES 1: Stanek, Lukasz. Henri Lefebvre on Space :Architecture, Urban Research, and the Production of Theory Lukasz Stanek. Minneapolis: University of Minnesota Press, 2011. 2: Stanek, Lukasz. Henri Lefebvre on Space :Architecture, Urban Research, and the Production of Theory Lukasz Stanek. Minneapolis: University of Minnesota Press, 2011. 3: Tomes, Nancy. The Art of Asylum-Keeping :Thomas Story Kirkbride and the Origins of American Psychiatry. Studies in Health, Illness, and Caregiving. [Generous confidence]. Philadelphia: University of Pennsylvania Press, 1994; 1984 4: Yanni, Carla. The Architecture of Madness :Insane Asylums in the United States. Architecture, Landscape, and American Culture. Minneapolis: University of Minnesota Press, 2007. http://www.loc.gov/catdir/ toc/ ecip079/2007003766.html. 5: Foucault, Michel. Madness and Civilization :A History of Insanity in the Age of Reason [Folie et deraison; histoire de la folie.English]. New York: Vintage Books, 1988; 1965.

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6: Yanni, Carla. The Architecture of Madness :Insane Asylums in the United States. Architecture, Landscape, and American Culture. Minneapolis: University of Minnesota Press, 2007. http://www.loc.gov/catdir/ toc/ ecip079/2007003766.html.

11: Yanni, Carla. The Architecture of Madness :Insane Asylums in the United States. Architecture, Landscape, and American Culture. Minneapolis: University of Minnesota Press, 2007. http://www.loc.gov/catdir/ toc/ ecip079/2007003766.html.

7: Yanni, Carla. The Architecture of Madness :Insane Asylums in the United States. Architecture, Landscape, and American Culture. Minneapolis: University of Minnesota Press, 2007. http://www.loc.gov/catdir/ toc/ ecip079/2007003766.html.

12: Yanni, Carla. The Architecture of Madness :Insane Asylums in the United States. Architecture, Landscape, and American Culture. Minneapolis: University of Minnesota Press, 2007. http://www.loc.gov/catdir/ toc/ ecip079/2007003766.html.

8: Yanni, Carla. The Architecture of Madness :Insane Asylums in the United States. Architecture, Landscape, and American Culture. Minneapolis: University of Minnesota Press, 2007. http://www.loc.gov/catdir/ toc/ ecip079/2007003766.html.

13: Yanni, Carla. The Architecture of Madness :Insane Asylums in the United States. Architecture, Landscape, and American Culture. Minneapolis: University of Minnesota Press, 2007. http://www.loc.gov/catdir/ toc/ ecip079/2007003766.html.

9: Tomes, Nancy. The Art of Asylum-Keeping :Thomas Story Kirkbride and the Origins of American Psychiatry. Studies in Health, Illness, and Caregiving. [Generous confidence]. Philadelphia: University of Pennsylvania Press, 1994; 1984.

14: Tomes, Nancy. The Art of Asylum-Keeping :Thomas Story Kirkbride and the Origins of American Psychiatry. Studies in Health, Illness, and Caregiving. [Generous confidence]. Philadelphia: University of Pennsylvania Press, 1994; 1984.

10: Stanek, Lukasz. Henri Lefebvre on Space :Architecture, Urban Research, and the Production of Theory Lukasz Stanek. Minneapolis: University of Minnesota Press, 2011.

15: Tomes, Nancy. The Art of Asylum-Keeping :Thomas Story Kirkbride and the Origins of American Psychiatry. Studies in Health, Illness, and Caregiving. [Generous confidence]. Philadelphia: University of Pennsylvania Press, 1994; 1984. p. 58

16: Tomes, Nancy. The Art of Asylum-Keeping :Thomas Story Kirkbride and the Origins of American Psychiatry. Studies in Health, Illness, and Caregiving. [Generous confidence]. Philadelphia: University of Pennsylvania Press, 1994; 1984. p. 59 17: Tomes, Nancy. The Art of Asylum-Keeping :Thomas Story Kirkbride and the Origins of American Psychiatry. Studies in Health, Illness, and Caregiving. [Generous confidence]. Philadelphia: University of Pennsylvania Press, 1994; 1984. p. 34 18: Tomes, Nancy. The Art of Asylum-Keeping :Thomas Story Kirkbride and the Origins of American Psychiatry. Studies in Health, Illness, and Caregiving. [Generous confidence]. Philadelphia: University of Pennsylvania Press, 1994; 1984. p.35 19: Kirkbride, Thomas Story, 1809-1883. On the Construction, Organization, And General Arrangements of Hospitals for the Insane. Philadelphia: Lindsay & Blakiston, 1854. 20: Yanni, Carla. The Architecture of Madness :Insane Asylums in the United States. Architecture, Landscape, and American Culture. Minneapolis: University of Minnesota Press, 2007. http://www.loc.gov/catdir/ toc/ ecip079/2007003766.html. p. 51

21: Kirkbride, Thomas Story, 1809-1883. On the Construction, Organization, And General Arrangements of Hospitals for the Insane. Philadelphia: Lindsay & Blakiston, 1854. p. 138 22: Kirkbride, Thomas Story, 1809-1883. On the Construction, Organization, And General Arrangements of Hospitals for the Insane. Philadelphia: Lindsay & Blakiston, 1854. p. 23 23: Grob, Gerald N. The Mad among Us :A History of the Care of America’s Mentally Ill. New York: Free Press, 1994. 24: Stanek, Lukasz. Henri Lefebvre on Space :Architecture, Urban Research, and the Production of Theory Lukasz Stanek. Minneapolis: University of Minnesota Press, 2011. 25: Lefebvre, Henri. The Production of Space [Production de l’espace. English]. Oxford, OX, UK; Cambridge, Mass., USA: Blackwell, 1991. 26: Lefebvre, Henri. The Production of Space [Production de l’espace. English]. Oxford, OX, UK; Cambridge, Mass., USA: Blackwell, 1991. 27: Kordetzky, Lars, Aleksandra Wagner, Lebbeus Woods, and Research Institute for Experimental Architecture. Sequences :Saw Only the Moon. RIEAeuropa Book Series. Wien; New York: Springer, 2001.

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28: Kordetzky, Lars, Aleksandra Wagner, Lebbeus Woods, and Research Institute for Experimental Architecture. Sequences :Saw Only the Moon. RIEAeuropa Book Series. Wien; New York: Springer, 2001.

35: Kirkbride, Thomas Story, 1809-1883. On the Construction, Organization, And General Arrangements of Hospitals for the Insane. Philadelphia: Lindsay & Blakiston, 1854. p. 56

30: Kordetzky, Lars, Aleksandra Wagner, Lebbeus Woods, and Research Institute for Experimental Architecture. Sequences :Saw Only the Moon. RIEAeuropa Book Series. Wien; New York: Springer, 2001.

36: Yanni, Carla. The Architecture of Madness :Insane Asylums in the United States. Architecture, Landscape, and American Culture.. Minneapolis: University of Minnesota Press, 2007. http://www.loc.gov/catdir/ toc/ ecip079/2007003766.html. p. 51

31: Kordetzky, Lars, Aleksandra Wagner, Lebbeus Woods, and Research Institute for Experimental Architecture. Sequences :Saw Only the Moon. RIEAeuropa Book Series. Wien; New York: Springer, 2001. 32: Craig, James A. and Ozga-Lawn, Matt. Pamphlet Architecture 32: Resilience. New York: Princeton Architectural Press, 2012. 33: Stanek, Lukasz. Henri Lefebvre on Space :Architecture, Urban Research, and the Production of Theory Lukasz Stanek. Minneapolis: University of Minnesota Press, 2011. 34: Yanni, Carla. The Architecture of Madness :Insane Asylums in the United States. Architecture, Landscape, and American Culture. Minneapolis: University of Minnesota Press, 2007. http://www.loc.gov/catdir/ toc/ ecip079/2007003766.html. p. 51

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37: Kirkbride, Thomas Story, 1809-1883. On the Construction, Organization, And General Arrangements of Hospitals for the Insane. Philadelphia: Lindsay & Blakiston, 1854. p. 138 38: Kirkbride, Thomas Story, 1809-1883. On the Construction, Organization, And General Arrangements of Hospitals for the Insane. Philadelphia: Lindsay & Blakiston, 1854. p. 138 39: Kordetzky, Lars, Aleksandra Wagner, Lebbeus Woods, and Research Institute for Experimental Architecture. Sequences :Saw Only the Moon. RIEAeuropa Book Series. Wien; New York: Springer, 2001. 40: Kordetzky, Lars, Aleksandra Wagner, Lebbeus Woods, and Research Institute for Experimental Architecture. Sequences :Saw Only the Moon. RIEAeuropa Book Series. Wien; New York: Springer, 2001.

41: “Bipolar Disorder.” Time To Change. Time To Change, 2008. Web. 04 Oct. 2013. 42: NHS Choices. “Borderline Personality Disorder .” Borderline Personality Disorder. NHS Choices - Your Health, Your Choices, n.d. Web. 05 Nov. 2013. 43: “Dementia.” Time To Change. Time To Change, 2008. Web. 04 Oct. 2013. 44: “Depression.” Time To Change. Time To Change, 2008. Web. 04 Oct. 2013. 45: WebMD. “Obsessive-compulsive disorder.” WebMD. WebMD, 2005-2013. Web. 10 Oct. 2013. 46: “Post-traumatic Stress Disorder.” Time To Change. Time To Change, 2008. Web. 04 Oct. 2013. 47: “Schizophrenia.” Time To Change. Time To Change, 2008. Web. 04 Oct. 2013.

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Grob, Gerald N. The Mad among Us :A History of the Care of America’s Mentally Ill. New York: Free Press, 1994.

Bond, Earl D. Dr. Kirkbride and His Mental Hospital .. Philadelphia etc.: Lippincott, 1947. Of Mental”Priory. November 2009,

Heidegger, Martin, Joan Stambaugh, and Dennis J. Schmidt. Being and Time. SUNY Series in Contemporary Continental Philosophy. [Sein und Zeit.English]. Albany: State University of New York Press, 2010.

Busfield, Joan. Mental Illness. Key Concept Series. Cambridge; Malden, Mass.: Polity Press, 2011.

Holl, Steven, Juhani Pallasmaa, and Alberto Pérez Gómez. Questions of Perception :Phenomenology of Architecture. New ed. San Francisco, CA: William Stout, 2006; 1994.

Bristow, Daniel “Kirkbride’s Architectural Stigma comIllnesspriory.com/history_of_medicine/Kirkbride.htm, 2009

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Health, Illness, and Caregiving. [Generous confidence]. Philadelphia: University of Pennsylvania Press, 1994; 1984

Kaufmann, Walter Arnold. Existentialism from Dostoevsky to Sartre. Rev a exp ed. New York: New American Library, 1975.

Craig, James A. and Ozga-Lawn, Matt. Pamphlet Architecture 32: Resilience. New York: Princeton Architectural Press, 2012.

Kirkbride, Thomas Story, 1809-1883. On the Construction, Organization, And General Arrangements of Hospitals for the Insane. Philadelphia: Lindsay & Blakiston, 1854.

Foucault, Michel. Madness and Civilization :A History of Insanity in the Age of Reason [Folie et deraison; histoire de la folie.English]. New York: Vintage Books, 1988; 1965.

Kordetzky, Lars, Aleksandra Wagner, Lebbeus Woods, and Research Institute for Experimental Architecture. Sequences :Saw Only the Moon. RIEAeuropa Book Series. Wien; New York: Springer, 2001.

LeCroy, Craig W., Jane Holschuh, and MyiLibrary. First Person Accounts of Mental Illness and Recovery., N.J.: Wiley,2012.http://lib.myilibrary.com/detail. asp?ID=391639.

Stanek, Lukasz. Henri Lefebvre on Space :Architecture, Urban Research, and the Production of Theory Lukasz Stanek. Minneapolis: University of Minnesota Press, 2011.

Lefebvre, Henri. The Production of Space [Production de l’espace.English]. Oxford, OX, UK; Cambridge, Mass., USA: Blackwell, 1991.

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Malpas, Jeff. Heidegger and the Thinking of Place :Explorations in the Topology of being. Cambridge, Mass.: MIT Press, 2012. http://site.ebrary.com/id/10531187. Merleau-Ponty, Maurice and Donald A. Landes. Phenomenology of Perception [Phénoménologie de la perception.English]. Abingdon, Oxon; New York: Routledge, 2012. NCBI Bookshelf. Common Mental Health Disorders S.N.,. http:// VV4KG5GR5V.search.serialssolutions.com/?V=1.0&L=VV4KG5GR5V &S=JCs&C=TC_011432280&T=marc. Priest, Robert G. and Jack Steinert. Insanity :A Study of Major Psychiatric Disorders. London: Woburn Press, 1978; 1977. Romdenh-Romluc, Komarine. Routledge Philosophy Guidebook to MerleauPonty and Phenomenology of Perception. Routledge Philosophy Guidebooks. Milton Park, Abingdon, Oxon; New York: Routledge, 2011.

United States. Architecture, Landscape, and American Culture. Minneapolis: University of Minnesota Press, 2007. http://www.loc.gov/catdir/toc/ ecip079/2007003766.html. Weiner, Deborah E. B. Architecture and Social Reform in Late-Victorian London. Manchester; New York: Manchester University Press, 1994 Woods, Lebbeus: Anarchitecture : Architecture is a Political Act. Architectural Monographs. Vol. 22. London: Academy Editions, 1992 Woods, Lebbeus. “THE QUESTION OF SPACE.” LEBBEUS WOODS. http:// lebbeuswoods.wordpress.com/2009/11/19/the-question-of-space/ Yanni, Carla. The Architecture of Madness :Insane Asylums in the United States. Architecture, Landscape, and American Culture. Minneapolis: University of Minnesota Press, 2007. http://www.loc.gov/catdir/toc/ ecip079/2007003766. html.

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