Progressive Patterns // Extending Territories by Sarah Brown

Progressive Patterns // Extending territories Sarah Brown Architecture and Social Space Studio 2012 - 2013

CONTENTS

A State of Mind 7 Before

Inside

In Between

After

101

Appendix

107

A State Of Mind

Question posed to schizophrenics: Where are you? ’I know where I am, but I do not feel as though I’m at the spot where I find myself.’ To these dispossessed souls, space seems to be a devouring force. Space pursues them, encircles them, digests them in a gigantic phagocytosis. It ends by replacing them. Then the body separates itself from thought, the individual breaks the boundary of his skin and occupies the other side of his senses. He tries to look at himself from any point whatever in space. He feels himself becoming space, dark space where things cannot be put. He is similar, not similar to something, but just similar. And he invents spaces of which he is “the convulsive possession.” 1

In the UK, within the course of a year, one in four people will experience some form of mental health problem. This equates to 15,660,250 people, based on the current UK population.2 It is estimated that approximately 450 million people worldwide have a mental health problem. The most common forms of mental illness are anxiety and depression. Depression is now prominent in one of five adults. About ten per cent of all children have a mental health problem at any one time. Only one in ten prisoners has no form of mental disorder. 3

Preface

The statements on the previous pages indicate the effect that mental health conditions have on an individual, and on society as a whole. The number of people with a mental health condition in the UK now includes one in four of us, and with experiences as severe and haunting as that described by Roger Caillois - individuals with mental health conditions, and the environments they live in - should not, and cannot be ignored. This thesis explores the condition of transition, and temporary occupation of space, and aims to help answer the schizophrenic’s question “where am I?’. The thesis aims to soften the difficult transition between institutionalised living and healthy self-sufficiency during life after the institution; two opposing situations - one enforcing rules and containment, the other offering freedom and exploration. Mental health patients, during their journey to recovery, experience and complete various stages of transition, some of which occur during the blink of an eye; some of which are completed over extended periods of time. Psychotic break, admission to an institution (either voluntary or forced), medication, therapy, recovery... During these turbulent times, the patient is placed into uncertain situations, both physically and mentally. By exploring the conditions experienced within such an institution, and those of life outside its walls, this thesis aims to provide a proposal to bridge the gap and soften the transition between the two, aiming to reduce the trauma experienced in the often harsh period. Various studies and explorations will be undertaken to understand the current situations, and a design proposal will be developed as an aid for this transition, based on the results of such explorations. Care has been taken throughout this thesis when describing those with a mental health condition to use words that do not suggest any form of disability or hindrance due to the individual’s condition, as I myself do not believe that a mental health condition is an ‘illness’, or that those with one are ‘sufferers’. I merely believe that these individuals are misunderstood, and have not yet found the correct course of action to control and understand their condition. This thesis hopes to provide a possibility for such individuals.

Before

Temporary Occupation of Mind

“

The label schizophrenia was unavoidable. If I must be called a schizophrenic, please understand it is not something I ‘have’ or ‘got’, it is neither an appendage nor something I have contracted,

it is

something I am. I regard my experience as a natural, integral and vital part of my personal evolution.it is not a cure, it is a blessing… I am because I am.4

”

one in a million Aidan Shingler

Aidan Shingler was diagnosed as a schizophrenic in 1978 at the age of nineteen. Since then he has had thirteen individual periods of schizophrenia, and considers them as “stages within a continual process, each stage representing a psychic opening”5 that has assisted him to comprehend himself in relation to the earth and the universe.

One in a Hundred is Aidan’s story, written in his own words, taken from his very first “dramatic shift in consciousness”6, and detailing twenty-six individual visions that he’s had, each once instigated by a different trigger. Aidan uses art to communicate his on-going experience of schizophrenia; each vision described within the book is coupled with an image representing the vision, all of which have been exhibited as a collective piece of work in galleries around the country. As a prelude to the story, Aidan asks that all preconceptions are put aside, and that the word schizophrenia is read as “spiritual conflict”7. Aidan believes that schizophrenia is an enlightened state of mind, which is misunderstood by the medical community and the world alike. Aidan takes a spiritual stance on the subject of schizophrenia, and believes that we should “create a climate in which we value and validate the acute perceptiveness of the ‘psyche-sensitive’ and celebrate such states as clear and unmistakable evidence of humankind evolving”8.

“

Please hear this: There are not ‘schizophrenics’, there are people with schizophrenia. 9

”

A tale of mental illness from the inside Elyn Sacks At 21, Elyn Sacks had her first complete schizophrenic break. While studying law at Oxford University, Ellen started experiencing intense and frequent illusions, along with chaotic and disorganised thinking. For ten years after this episode, and after five months institutionalised, Elyn refused to believe that she was suffering from a mental illness. This in turn prevented her from taking her medication seriously. Elyn believed that everyone had the same “scary and weird thoughts” and the only difference was that other people were better at hiding them.

“The more I accepted that I had the illness, the less it defined me.”10 Although not a regular occurrence, during Elyn’s darkest moments, she’s “stuck in the corner, shaking for a week”11. During daily life, Elyn struggles in social settings, which means it’s hard for her to be around people for extended periods of time. Schizophrenia is classified as a psychotic disorder which means it involves being out of touch with reality. The mental health condition contains positive and negative symptoms - positive being things that you have but do not want (for example delusions and hallucinations); negative being things that you want but do not have (empathy, the ability to hold onto relationships or a job). Elyn believes that extreme and exaggerated ideations are a defence mechanism — which in some circumstances can make a person feel better or safe12. Elyn has been taught to identify her stressors and learn to avoid or at least control them. She has learnt to strengthen her ‘observing ego’ - the part of her brain that allows her to observe her feelings and thoughts in order to observe them and not become swept up by them. Elyn also surrounds herself with ‘auxiliary egos’ therapists, friends and her partner, who know when an episode is coming and help her to control and manage it. Elyn, now a law scholar and writer, as well as an advocate for schizophrenia and mental health awareness, is now in control of her condition, due to a stringent routine of medication and therapy - a routine which she herself admits that if either one were to stop, she would be affected greatly. She also believes that “occupying [her] mind with complex problems has been [her] best and most powerful and most reliable defence against [her] mental illness.”13

(untitled) Martin Oâ&#x20AC;&#x2122;Neill

These two stories from the inside provide a harrowing first point perspective into a world that, still today, carries a harsh stigma. Although reams of medical research have been completed, and countless accounts of experiences have been told, this world is still commonly misunderstood by the wider population, drawing on negative, pin-point cases which provide a warped insight into such a complex and diverse world. Both Aidan and Elyn have experienced, and still experience albeit on a less regular basis, temporary psychotic episodes, and use these as opportunities to explore their condition further and heighten awareness throughout wider audiences (the information above regarding Elyn’s condition was taken from a TED talk Elyn gave in 2012 to raise awareness about the effects of schizophrenia, as well as to encourage the world to “see people with mental illness clearly, honestly and compassionately”.)14 Both Aidan and Elyn embrace their condition and, in different ways, use it to their advantage, by thoroughly understanding how the condition affects them specifically, and how to use outlets such as art and knowledge to control it. These encouraging recollections provide an insight into how the mind of a person with schizophrenia thinks, acts and feels, and shows how, although ever present in their lives, their mental condition is only prominent temporarily, and doesn’t act as a definition to the people they are. This temporary state of mind provides a flux of activity within their mind and, as Aidan shares in his account, may provide a heightened sense of awareness, as well as opportunity to explore and understand the condition further. When people experiencing schizophrenia are this capable and adept at leading a life deemed ‘normal’ by society, they serve as role models for the collective community to which they are connected. These records of mental health conditions from the inside provide precious insights into how the conditions are experienced not by medical professionals, textbooks or exterior observers, but by the people who encounter the condition first hand; by the people who know how the condition feels, and not just why the condition is present within them.

Temporary Occupation of Space

“

how do you lay emotional claim to a place that isn’t yours? can you still belong to a place that you move through?

rights of common : ownership, participation, risk LISA FOR architecture and participation 15

”

TEMPORARY 16 origin: Latin temporarius, from tempus, tempor- ‘time’ 1. not permanent; provisional 2. lasting only a short time; transitory synonyms: fleeting, passing, transient, ephemeral

26 transition 17 origin: mid 16th century: from French, or from Latin transitio(n-), from transire ‘go across’ 1. the process or a period of changing from one state or condition to another: students in transition from one programme to another synonyms: evolution, flux, passing, progression, transformation

No architecture is permanent, neither is our occupation of it, or time within it. We move through multiple spaces throughout our lives, occupying each space for a period of time, and adapting that space to our current needs. Each adaptation varies depending on time, current requirements and the space itself. A temporary state is always relative to the other states and conditions of space experienced by an individual during an extended period of time, as well as the prescribed preconception of that space. Some architecture is designed to accept the temporary nature of its occupants; their fleeting time within it a mere ghost of an existence which, although ephemeral, leaves a trace of the activity held within it. Some architecture is designed to embrace its prolonged inhabitation: its very form and characteristics less ephemeral; a nurturing environment constructed with the ideas of solidity and security. How can architecture be tailored to suit the temporary occupation of those within it without feeling uncertain, or temporary itself? The very nature of temporarily occupied spaces could provide some suggestion of uncertainty - the scale, construction methods, materiality, and othersâ&#x20AC;&#x2122; occupation all contribute to our perception of such spaces, and how we react to them, behave within them, and adapt them to our current needs. Can we create architecture that, although occupied temporarily, suggests characteristics of solidity and security, and therefore aids those within it during their transition?

ARCHITECTURE AND SOCIAL SPACE STUDIO Occupation 9 months 40.43m2

My occupation of my selected workspace within the studio is temporary – I reside within this space between September and May; the duration that is prescribed by the university as the time it takes to complete our final year of study. Even though this period of occupation within this space is of a transitory nature, I have claimed it as my own, and have adapted this space to suit my needs. The drawing opposite shows the nine desks in the studio, one for each of the nine occupants, and my individual space within that. The drawing also shows the shared space set within the centre of the room, extending from the doorway – the shared desk and seating as well as the ‘kitchen’. My space within the studio, although singular and related directly to me due to the way I have claimed and configured it, is part of the room as a whole. I take protection from the small wall directly behind me, along with the window to my left. The window also provides a connection to the outside – a spatial element integral to the way I work best. My position within the room allows me to remain open to the rest of the group, all of who also take comfort and protection from a small part of wall adjacent to them.

PENNYCOOK LANE Occupation 12 months 15.89m2

My occupation of my bedroom at Pennycook Lane is also temporary, although for a slightly longer period of time. Situated within domestic environs, I am provided a larger space to claim as my own for this temporary occupation. Having more personal belongings around, this room has a contrasting feel to the studio space, despite sometimes bonded by a shared function of work. Softer materials increase the comfort levels within this room, as well as better acoustic properties and a smaller scale.

MURRAY ROYAL HOSPITAL Occupation 1-24 months 11.06m2

Adorned with hard materials, basic furniture, as well as a hospital bed (not a domestic bed), the room is a sterilised bedroom â&#x20AC;&#x201C; a combination of necessary medical function with domestic characteristics. A wide, full height window provides views out to the car park or, if lucky, the landscape beyond. The bed, situated in the middle of the room to provide maximum access for medical requirements, removes any connection to the walls, and therefore the room around it. The patient, already isolated from the rest of the hospital, and the world outside its walls, is also removed from any connection to the only room they can take ownership of as their own. The length of stay in this room is determined by the rate of the patientâ&#x20AC;&#x2122;s recovery process: often undeterminable at admission to the institution. This therefore creates another layer of uncertainty in an already instable world: not only is the patient questioning how their recovery is progressing, but also how long they will stay in this room; their only point of stability in their ever changing world.

The rooms described above all serve as studies concerning temporary occupation of space. The spaces have all been studied by myself throughout the year, two of which I have directly occupied during daily life, the other being observed from an external perspective as the subject of this thesis, which will be further explored on the following pages. Two rooms are solitary spaces, designed to embrace the individual in a safe environment; the other is designed to encourage interaction between individuals. All three rooms embrace temporary occupation and are designed in such a way to be generic enough to allow adaptation to suit various needs within the space. Furniture can be moved, walls can be adorned, but each room can be stripped down to its bare essentials of four walls in preparation for a new occupant. However, each room possesses various spatial, material, lighting and acoustic properties, all of which help to shape our perception of a space. Even when the suggested activity within each of the spaces is removed, the rooms provide clear distinctions between one another in terms of their spatial qualities, and therefore, project a different influence upon the inhabitant. The spaces are all designed to be generic enough to allow adaptation by each individual user, but solid enough to ensure the structure of the room itself doesnâ&#x20AC;&#x2122;t need to be changed to allow that adaptation. Throughout his works, Herman Herzberger suggests the notion of polyvalent spaces: space in which the activity and use can change, without the space itself requiring modification.18 These spaces all fulfil that requirement, albeit it within different contexts, within an educational, domestic or institutional setting.

Holy Ghost Aidan Shingler

Juxtaposition of Space

Is there a correlation between physical space and mental space? Are the physical spaces we inhabit dictated by our mental state of mind at any point in time? In One in A Million, Aidan describes an episode, the artwork created for which he has entitled ‘Holy Ghost’: “I believed that if I covered myself in a white veil I became invisible. This also created a sense of being protected”19. In this episode, the physical space that Aidan created for himself was directly influenced by his state of mind, and the beliefs in his mind during that period in time*. His physical space could, therefore, be seen as an extension of his mental space; a physical space which allows him to extend his mental territory to the bounds of which his mental state of mind will allow and is comfortable with. Do we all experience the same feelings as Aidan, albeit, possibly in a more rational way? During our lives, on a daily basis, our state of mind, and therefore our mental occupation of space, fluctuates... craving small, intimate spaces at a time of upset or insecurity; a desire for large open spaces when we want to feel free and uninhibited. Our occupation of physical spaces can be seen to correlate with our mood and requirements for a certain quality of space. Habraken discusses the notion of territory and inhabitation in The Structure of The Ordinary: “In short, we are interested in the overlapping relationship between physical form and territorial control.”20 From Habraken’s writings, we can discuss that an individual’s territory can be seen as a spatial expansion of self, therefore an individual’s state of mind can have control over their physical territory. As an example, the diagrams on the following page provide two instances of the juxtaposition of mental and physical space: Physical space larger than mental space : the individual’s state of mind is restricting their occupation of the physical space. The individual is not ready to occupy the larger physical space around them. Mental space larger than physical space : the space the individual is inhabiting is restricting their state of mind. The individual is willing to occupy a larger physical space; their state of mind is allowing them to increase their physical territory. These two states of occupying physical and mental space show how one can create limitations on the size of * Note : the image for Holy Ghost in One in A Million is not a direct replication of the actual space Aidan created for himself during that particular episode; rather, it is an artistic representation of the episode itself.

Physical space larger than mental space

Mental space larger than physcial space

the other; a flux of condition that can bring restricting ramifications. Varying from person to person, most individuals are able to occupy a physical space, the scale of which was not predetermined by their state of mind. Some individuals, however, may struggle to comprehend a physical space which is larger than what their current state of mind allows them to feel comfortable within. Is there a solution for their physical environs which would aid them to adjust to their surroundings, regardless of their mental state of mind? Remembering Caillois’ question to schizophrenics “Where are you?”, it is apparent that the schizophrenics questioned experience a clash within their mind when assessing where they are in space. “’I know where I am, but I do not feel as though I’m at the spot where I find myself.’ To these dispossessed souls, space seems to be a devouring force. Space pursues them, encircles them, digests them in a gigantic phagocytosis. It ends by replacing them. Then the body separates itself from thought, the individual breaks the boundary of his skin and occupies the other side of his senses. He tries to look at himself from any point whatever in space. He feels himself becoming space, dark space where things cannot be put.”1 To ensure this scenario is not experienced by the masses, and that these individuals stay stable within their own mind and body, should the physical space be influenced by the state of mind, without the individual being inhibited or restricted? Would spaces related to the individual’s state of mind help them in their quest to find where they are within space, and indeed the world? Obviously, a space directly in correlation to an individual’s mind would be in constant flux of scale, shape and proportions. However a series of spaces created with varying scales, and spatial and material qualities could provide an opportunity for the individual to occupy the space most closely related to their current state of mind and provide a safe, sheltered environment during psychotic episodes, and help to stabilise the mind. Could these spaces aid in the recovery and rehabilitation of individuals with mental health conditions? Could these spaces act like Aidan’s art work and Elyn’s knowledge by providing a control mechanism to help cope with and accept the mental health condition each individual is experiencing?

Creating Chaos

#1 poster paint on watercolour paper 12 March 2013

#2 poster paint on watercolour paper 12 March 2013

#3 poster paint on watercolour paper 12 March 2013

#4 poster paint on watercolour paper 12 March 2013

#5 poster paint on watercolour paper 12 March 2013

Painting Methods #1 poster paint on watercolour paper | blue, red, yellow, black, white 12 March 2013 Technique: paper placed on floor; paintbrush loaded with paint and ‘thrown’ at the paper; each colour was thrown from a different side of the paper to avoid a singular directional influence Afterwards: bin bag upon which the painting was resting blew on top of the paint and created sections of alternative paint application and mixing #2 poster paint on watercolour paper | blue, red, yellow, white, black 12 March 2013 Technique: paper placed on floor; bottles of paint held above paper and squeezed while moved around in a random fashion Afterwards: bin bag upon which the painting was resting blew on top of the paint and created sections of alternative paint application and mixing #3 poster paint on watercolour paper | black, red, white 12 March 2013 Technique: paper placed on floor; brush loaded with black paint and brushed on to paper in a random fashion until all white space was covered; brush loaded with red paint and brushed onto paper until covering black; brush loaded with white paint and ‘thrown’ at the canvas from one side #4 poster paint on watercolour paper | blue, red, yellow, black, white 12 March 2013 Technique: paper placed on floor; paintbrush loaded with paint and ‘thrown’ at the paper; each colour was thrown from a different side of the paper to avoid a singular directional influence; left to dry for five minutes; brush loaded with white paint and dragged vertically over surface of paper to the opposite edge; brush reloaded and repeated in same direction over whole surface of paper #5 poster paint on watercolour paper | blue, yellow, red, white 12 March 2013 Technique: brush loaded with blue paint and dragged vertically over surface of paper to the opposite edge, by which time, the paint had run out; brush reloaded and repeated along in same direction covering the paper; paper rotated 90 degrees; process repeated with yellow paint; process repeated with red paint; process repeated with white paint

The paintings on the previous pages were created in the hope that a sense of the chaos and disorder experienced by those with a mental health condition could be portrayed and explored. With conditions and symptoms varying drastically between individuals, capturing the essence of the extent and effect of mental health conditions on the masses and the individual is impossible. Statistics help to indicate the sheer impact of mental health conditions on the global population, and tales from an inside perspective help when trying to imagine the state of mind of individuals during a psychotic episode. The paintings were created in the hope that the sporadic, chaotic nature of such conditions could be expressed in a visual manner. Of relatively stable mind at the time of creating these paintings, my subconscious is less fluctuating than that of a person with a mental health condition, therefore, the paintings are, of course, not truly representative of what such a person would feel, see, or experience, but provided an opportunity to be completely uninhibited, and a basis for further study and contemplation. The paintings were created without preconceptions of the achievable outcome; none of the paintings had a specific predetermined subject matter to depict. Although created without an objective, the creation of these paintings could, of course, never have been truly random, as even when a random effect is desired, the painter always has control over their own movements and in effect are subconsciously controlling the outcome of the process. In this way, the paintings could be seen as more controlled when painted by myself than when painted by an individual with a mental health condition. Echoing the Abstract Expressionist style, the paintings become more than just splashes of paint on paper. Art critic Harold Rosenberg discussed the methodology of Action Painting in a 1952 edition of Art News. “[The canvas is] an arena in which to act. What was to go on the canvas was not a picture but an event.”21 With this in mind, the paintings can be seen not only as visual representations of the experiences, but also as physical representations; the actions used to create them a release of emotion and frustration, and an opportunity to express oneself through the process of creativity. Contemplating the paintings as an arena in which to act, the paintings also provide an opportunity to consider the role of art therapy within the rehabilitation and recovery of individuals with mental health conditions. Similar in approach to the artworks created by Aidan for One in A Million, these pieces act as representations of a temporary state of mind. Art therapy encourages individuals to render emotional portraits of significant people and events in their lives22, as well as creating pieces that represent their feelings and thoughts, when words alone may not be sufficient23. Art therapy also encourages a holistic approach to healthcare, ‘taking account of our cultural and spiritual needs and finding expression through art and creativity’24. Centres for healthcare are now recognising the benefits of having a strong art therapy programme within their environments25, with several foundations supplying funding for such programmes to support arts in healthcare initiatives26, and to ensure the use of the arts and creativity in healthcare continues to play an ‘integral role in effective, patient-centred care’26.

Inside

MURRAY ROYAL William Burn

Situated on the rise of Kinnoul Hill on the left bank of Perth, Murray Royal Hospital is home to a community of people united, whether voluntarily or by force, by their mental health conditions, which require them to reside within the walls of the hospital to ensure their safety and good health. Their conditions span a wide range of mental states, and their stay within the hospital can range from an out-patient, single day visit, to an extended stay of months or years. Some patients within the hospital are ex-convicts and have been placed within the hospital as part of their sentence and are contained within a secure ward.

Established in 1827, Murray Royal Asylum, as it was known at the time, was designed so that ‘the meanest patient could be well fed and clothed, and those among the higher classes who could pay for it were well lodged and cared for as they could be in a palace’27. The aim was to provide a stable, homely environment in a spacious building that ‘allowed the sun and air to enter at every window’27, provided plenty of room for exercise, and had views over the surrounding parkland. The hospital was to be ‘sufficiently secure to prevent injury or escape’ but ‘free from the gloomy aspect of confinement’27. This regime was relaxed compared with the usual standards of the day. The hospital has benefitted from additional accommodation and facilities from 1833 to the present day, recently undertaking a large master plan development, providing state of the art, up to date facilities, as well as a considerable amount of additional accommodation for various classifications of patients.

During the course of this study, the information sourced and received regarding the Murray Royal estate and its patients was minimal. The community, and therefore subsequent information, within the walls of the hospital is closed, and highly guarded, and as such, information on the patients within the hospital, along with courses of treatment, and recovery and relapse rates proved difficult to obtain. As such, many of the studies within this thesis have been created as a supplement due to a lack of information. Although not specifically derived from Murray Royal hospital itself, the information these studies are based on is not fallacy, but rather derived from other texts and sources when reading around the subject of mental health.

Although allowed some degree of freedom within the institution, the patients are governed by rules and routines; a system that provides the best care possible for a large number of people with a myriad of conditions and symptoms. Considering the variation of the same mental health condition between two individuals, Aidan and Elyn, evidently, not every individual fits into such a structured system, as each individual is a case unto themselves; one size does not necessarily fit all. The multidirectional application of colour imposed on the paper in painting #1 provides a chaotic visual display, which at a first glance, doesn’t reveal an area of focus, with its myriad of ‘patterns’ and colours, yet after further contemplation, the painting starts to reveal more... A larger splash of a single colour, an new blend of colours, parallel splashes, pathways over the paper... This painting, as previously discussed, could be seen to represent the feelings, visions or experiences of a person with a mental health condition - their true manner of mind, uninhibited and unrestricted, allowed to ruminate life as they will. Imposing a rigid grid over the top portrays the institution one is forced into when the uninhibited mind is seen to be ‘out of control’: forcing the chaos into a regimented system of order and precise method - containing the mind in a systematic, prescribed manner. When the grid is imposed, the painting is divided and segmented. The symbolic composition starts to be viewed as a series of spaces, categorised; each smaller square presented as an individual element, providing a manner in which to understand and rationalise the painting. Taking a small part of this painting masks the painting as a whole, and is interpreted in an alternative manner to the original intent. By forcing individuals into a system that is not tailored for them, the patient is broken down into a series of miniature sections, viewed as a detail rather than as a person as a whole.

DRAWING WITH SATELLITES

During my first visit to the Murray Royal estate, I used a GPS tracking app to trace my exploration of the site. Each change in direction was recorded, and as a result, the route I took while exploring the site was plotted against an aerial map. The route shows clear intent of exploring a new place for the first time whilst trying to constantly absorb information. With compensation given to the construction works on site at the time, the route shows exploration of most of the buildings on the site, as well as defined pathways and roads. The route also tracks the edge of the site to comprehend the size of the site, as well as to provide an external perspective looking from the outside, in. The route taken also highlights the inconsistency of connections through the site: with various areas of the site not connected to each other via pathways or roads, I had to move outside the site boundary, and follow the road round to the next entrance to continue the route. My exploration of the site is the process of the rational mind efficiently exploring space to absorb the maximum amount of information with the minimal amount of ground tread. Having no restrictions on where I walked (aside from the construction areas), I was able to wander freely. This however, is not the case for most of the people residing within the Murray Royal estate. The patients are housed within the two new blocks recently completed as part of a master plan to transform the estate (large buildings within the north section of the site, shown on plan on previous page). The building on the eastern boundary houses thirty-two patients who, having progressed from Carstairs High Security Hospital28, are seen to require medium security. These patients never leave the extents of the building, and although allowed outside, are restricted to a small, tall-fenced, CCTV monitored garden and five-a-side football pitch. Their daily lives play out within one building: all activity happens within those walls. The building in the centre of the site houses thirty-five patients who are deemed to require low security. The daily activity of these patients mainly takes part within the single building, but patients are allowed to walk around the site, as they are not regarded as likely to abscond. Although definitive information regarding the daily lives of these patients cannot be obtained, patterns can be created based on other information gained and assumptions of daily routines. These patterns are portrayed on the following pages, and are created to be viewed alongside the abstract paintings and tales from the inside, to provide an insight into a patientâ&#x20AC;&#x2122;s world.

Defining Patterns

Medium Security bedroom bathroom bedroom dining room bedroom visiting room bedroom dining room bedroom gardens bedroom group therapy bedroom dining room bathroom bedroom The patient in the medium security ward has just been transferred from Carstairs High Security Hospital, and as a result has been placed in this ward to continue their recovery under strict observation. The patient is now entitled to more freedom than at Carstairs but their daily routine is still monitored and fixed. A lot of their day is spent in solitary company; alone with their thoughts. The rest of their day is planned out to the minute, with appointments, time outdoors and time integrating with other patients.

Low Security bedroom bathroom bedroom dining room gardens therapy room dining room visiting room walk around grounds dining room group space - living room bathroom bedroom The patient residing in the low security ward was transferred to Murray Royal from Carstairs High Security Hospital eight months ago, and as a result of extensive treatment and therapy, is now seen to only require low security within the hospital. The patient is still not deemed healthy enough to be released from the hospital, but is responding well to continued treatment. The patient is now permitted to walk around the Murray Royal grounds, as well as partaking in social activities within the ward.

Experimentsinmotion Mathew Borrettposter

THE KNOWN Murray Royal Room 11.06m2

“territory is containment: the forms we control are kept within the space we control”29 N J HABRAKEN the structure of the ordinary

For the patients within Murray Royal, their single room is the only piece of the hospital that they can truly claim as their personal territory during their time within the hospital. All other spaces within the hospital are either communal or private, the latter only accessed by staff. Their room (shown on page 32) is furnished with basic, standard furniture – a hospital bed, a chest of drawers, a table and chair, and set of shelves – and has one door for access from a common corridor, along with a full height window looking out onto the grounds (which sometimes, is only a car park). This room, although plain and repeated throughout the hospital, is the centre of their world, and their point of stability. Mathew Borrett’s Experimentsinmotion, provides a symbolic representation of the weighting of this single room within the wider context, the room itself much larger than the rest of the city it is adjoined to. While within this room, within the institution, and when occupying a temporary state of mind, this room holds more significance than anything else outwith these four walls. This prominent room is therefore the most frequently occupied room, which can be seen in both of the defined patterns above. By returning to this room, they are returned to their comfort zone, and stability returns to the familiar. This room is their space; their territory; their point of stability. This room is ‘The Known’.

In Between

â&#x20AC;&#x153;

time is the longest distance between two places

The Glass Menagerie Tennessee Williams 1944 30

â&#x20AC;?

Defining Patterns

Visitor bedroom bathroom kitchen walk the dog kitchen drive to shops corner shop chemist craft shop drive to hospital viting room drive to house kitchen living room bathroom bedroom The visitor to Murray Royal is a local resident within Bridgend, visiting a relative within the low security ward. On the day of the visit, the visitor completes various errands before entering Murray Royal in the afternoon.

Whilst reinforcing and complimenting the abstract paintings and tales from the inside, these defined patterns help to distinguish the differences, and similarities, between life within and without the hospital, as well as providing further definition to the characters and communities within this study. From these drawings, reoccurrences of daily patterns, as well as patterns within an individual’s day, can be seen: steps are retraced through regularly frequented rooms, and routines and tasks are repeatedly completed. What are seen as constricting schedules and structures within the institution are seen as idiosyncratic habits or rituals outside it; the only defining difference between the two being the freedom in which one carries out these repetitive patterns. This realisation shows that even when set in differing contexts, and individual tasks vary, the patterns created by individuals within in and outside the institution are essentially the same. Christopher Alexander documented how “patterns, as consistent relations between two or more parts, play an important role in our structuring and understanding of the environment”31. Patterns and repetition help us to create structure within our lives that provides stability, and enable us to cope with disruptions and trauma, but when this structure is forced on an individual, does it hinder, rather than help? This notion is further reinforced by Habraken’s opinion that “the pattern is... a recipe intended to produce a certain outcome”32. The patterns enforced within the institution are designed to aid in the recovery of individuals with a mental health condition, but as previously seen; one size does not fit all. The creation of a halfway between these two situations therefore requires room for adaptation and interpretation. But should the design for this halfway be defined on the middle ground between defined patterns, which are, essentially, the same, or the atmosphere that is imparted from the drastically different environments in which they take place? How can this halfway be designed to provide the best environment for those partaking in the transition between the institutional life they are familiar with and to which they have grown accustomed, and the freedom of life after they leave, keeping in mind that these individuals often experience shifts in states of mind and question the very essence of location within space?

â&#x20AC;&#x153;

healing is a natural process, the task of the healer is to facilitate the process

Dr David Reilly Director : Glasgow Homeopathic Hospital 33

â&#x20AC;?

Mat-Building model Candilis-Josic-Woods-Schiedhelm

The In between

“The pattern is, in short, a recipe intended to produce a certain outcome. Systems, on the other hand, allow for greater freedom to make any configuration desired: what matters most is the relation of parts, not the particular configurations.”32 Although the theories of both Alexander and Habraken suggest that patterns help individuals to cope with daily life, they appear far too rigid in their intent to allow these individuals to explore and embrace the irregular. Using Habraken’s continuing argument, systems, and their various relationships of parts, may provide an alternative, less restrictive mechanism in which the individual could inhabit space to place themselves within an appropriate setting for their current, temporary, state of mind. “Mat-Building can be said to epitomise the anonymous collective: where the functions come to enrich the fabric, and the individual gains new freedom of action through a new and shuffled order, based on interconnection, close-knit patterns of association, and possibilities for growth, diminution and change.”34 Although the principles behind Mat-Building and its characteristics seem to provide a suitable, even optimistic set of ideals, the built form and appearance of Mat-Building provides a far too rigid and ordered plan and layout. Indeed, in the same article, Smithson is quoted to say: “Given the discipline of a continuous system frame, functions may be articulated without the chaotic results which we obtain when we pursue only the articulation of function without first establishing a total order. Indeed it is only within such a frame that function can be articulate”35. Is this not what the patient has just been released from within the walls of the institution? A completely planned and organised system, which forces patients into it to avoid ‘chaotic results’? Smithson goes on to state, “the parts of a system take their identity from the system. If there is no order there is no identity but only the chaos or disparate element in pointless competition.”36 The cells and clusters within Mat-Building although organic looking in their growth and relation to each other on an urban planning level, are, when considered at a smaller scale, rigorously organised, defined by a set, orthographic geometry. The very nature of mental health conditions is that, even when diagnosed with the same condition, individuals all experience varying symptoms, visions, and episodes, making each case unique. Treatment that works for one person may have the reverse effect on another, causing their condition to worsen.

“Systems are not recipes: they provide rules within which variations are made. Forms of understanding jointly establish themes. We appropriate and impose upon them to make new instances of our own.”37 Enforcing such a rigid geometry, it is hard to see how the repetitive spatial conditions could provide any sense of a rich architectural atmosphere, and how these banal spaces could aid in the recovery and enjoyment of the patients within the building. Reiach and Hall in their publication ‘Space to Heal’ enforce this theory by saying “one should remember that reactions and responses to hospital situations are individual and are therefore bound to be variable. It is most unlikely that any particular design of space will satisfy every user in every detail. The solution may be to recognise this and provide a variety of visual stimulation”38. Louis Kahn in his patient search for architecture spent almost three years dedicated to design, and over 900 sketches, drawings, and prints39, in the search of the perfect layout and pattern for the Dominican Motherhouse. Despite the vast number of various configurations of the chapel, refectory, library, school, cells and cloister, Kahn’s search was stopped short in 1969 due to cost constraints. Now considered one of Kahn’s most iconic projects, would he ever have found the perfect solution for the Sisters, or are patterns and configurations never perfect, merely a temporary solution to a situation within a world on constant flux? Maybe the spaces within the halfway are not dictated by a pattern or system, but are a considered configuration of interpretable spatial conditions, which provide the individual and the collective alike, a number of spaces which can be inhabited when partaking in the transition. By designing a series of interlinking spaces, each with contrasting, yet complimenting forms, scales and qualities, patients can find suitable conditions for the temporary state of mind they are currently experiencing. These spaces, instead of being based on patterns and systems, as just investigated and argued, could be founded on the middle ground between the spatial conditions and qualities found within the institution and the world outside its walls, and the similarities and differences between the institution and the domestic, in which the individual is also familiar. AHMM’s design for the North London Hospice, along with the Maggie’s Centres, on which the hospice design was based, both provide an opportunity within a neutral setting for patients to remove their illness or condition from their home environment. Situations where they can receive treatment on an individual and group level, interact with other patients with similar conditions, and feel vulnerable yet secure, without returning to an institutional setting. These centres act as a halfway to bridge the gap between institutional, hospital care and self-sufficiency at home. The architecture created by renowned architects for the Maggie’s Centres not only raises the awareness and funding for the foundation, but also acts as a power to heal. Acting as a hybrid building between the city, the mega-hospital that we’re now so used to experiencing, and the human40, the architecture of the Maggie’s centres is designed on a domestic scale to “make you safe, but throw you off guard enough to let in new

Noiseless sink : Paimio Sanatorium Alvar Aalto

Sketch section through Dominican Motherhouse cell Louis Kahn

possibilities”41. These environments are all designed on the domestic scale – the familiarity of home but with an opportunity to provide an outlet for emotions and illness. The communal space within the heart of each Maggie’s centre, which is so highly regarded by the patients and staff alike, provides a catalyst for interaction – a notion that is embraced by the patients, despite their often withdrawn nature during their recovery42 . These buildings, in a constant state of flux with patients, visitors, and staff, all coming in and out on a daily basis, act as a catalyst for change within the health sector. “Those caring centres that offer psychological, social and information guidance will inevitably increase in the future, and they will cover a wider spectrum of chronic problems such as heart disease and Alzheimer’s… Cancer caring centres are a model for what may soon become a standard building type.”40 Although the prominence of the domestic within these spaces goes some way towards creating an ambience of care and familiarity, the nature of the spaces runs deeper than spatial configuration and scale. This immediate connection with each specific room naturally influences the inhabitant, and their occupation of such space, but to the same, if not larger degree, so does our intimate connection to materials. In a special edition of the AJ, entitled Buildings that Care, editor Christine Murray remembers the modest hospice in Italy in which her cousin died: “Not a single fitting felt institutional, from the coat hooks behind the door to the comfy chair by the window. How grateful I was for the hand of the architect that designed that room.”43 The qualities she experienced within that room, “humility, dignity, a human scale and natural light”43 are all found within the buildings which have been, and will be discussed, within this essay, and all of which prove to be integral to a healing environment. Aalvar Alto recognised that these minute details had lasting ramifications on the patient and the progress of their recovery. Patients’ rooms in Paimio Sanatorium were designed around the nature of the patient’s condition. Some rooms were designed for ‘the horizontal man’44: the dark colour of the ceiling; light fixings on the walls avoided glare in the patients eyes; the positioning of heating panels on the ceiling to ensure an evenly distributed heat throughout the room and to avoid the patient overheating; the south-southeast orientation of the rooms offering the most variable natural light throughout the day while avoiding sharp sun. All of these factors were tailored to provide the most suitable environment for a patient who, due to his condition, would spend most of his day lying down. As a contrast, some rooms were also designed for ‘the vertical man’ in ‘the ordinary room’ – rooms that accommodated patients who spent a lot of their time sitting or standing. The attention to detail to which Aalto designed descended down to the smaller details of each room, to ensure the comfort of each individual patient. The ‘noiseless sinks’ within shared rooms were designed to reduce the “auditory disruption of tap water”45 splashing onto the porcelain surface of the bowl. These details, although subtle and understated design moves, provided a nurturing environment that, albeit within an institution, sympathised with and aided the patient’s recovery instead of hindering it.

Wabi sabi interior

The materiality of institutions due to their medical nature, and their ambition to strive for sterile environments, consequently creates an impression of emptiness. Long, white corridors that echo the sounds emitted from the similarly stark, adjacent rooms; the austerity of which allows the institution to wipe clean the contaminant and memories once imprinted on them, ready for a new inhabitant. This ambition for sterility results in clean lines, non-porous, hard materials, and an absence of colour in the concern that any impurity will be missed. Within the halfway environment, there is no requirement for sterility, therefore the hard, often uncomfortable and unwelcoming materials can be replaced by ones more forgiving and inviting. Materials, in their very essence and the intimate connection we share with them, can very sensitively, and sometimes dramatically, alter our perception of the spaces we inhabit. Could the materiality of a space, while helping to shape our experience within it, also instil the very nature of the inhabitants residing within it, without distilling an atmosphere of uncertainty or the nature of the temporary? “Wabi sabi is a beauty of things imperfect, impermanent, and incomplete.”46 Wabi sabi embraces the inevitability of change and accepts that all things are impermanent, imperfect and incomplete. In this sense, it instils the nature of the halfway’s inhabitants, who in their nature are in a constant state of transition, both mentally and physically. The origins of wabi and sabi refer to different things, but over the centuries have merged together to distil a combined set of ideals and principles. Wabi refers to a way of life, a spiritual path; the inward, the subjective; a philosophical construct; spatial events. Sabi refers to material objects, art and literature; the outward objective; an aesthetic ideal; temporal events. In this sense, one can not only occupy the space of wabi sabi, and hold things wabi sabi, but also be wabi sabi; a way of life in both spiritual and physical forms.

Things wabi sabi can appear coarse, and unrefined, made from materials that are not dramatically changed from their original condition, but beckon to be touched. Their nicks, chips, bruises, scars, dents, peeling, and other forms of attrition are a testament to histories of use and misuse. Although things wabi sabi may be on the point of dematerialization (or materialization) – extremely faint, fragile, or desiccated – they still possess an undiminished poise and strength of character47. This essence of character can be seen to represent the individuals within the institution, whose flaws and imperfections can be celebrated and encouraged within the halfway. They inspire a reduction of the psychic distance between one thing and another thing; between people and things48. Things, as well as places, wabi sabi, encourage people to be in constant connection with the physical world around them. Places wabi sabi are tranquil and calming, enveloping and womb-like, and enhance one’s capacity for metaphysical musings48. When this is paired with Aidan’s understanding that schizophrenia is an enlightened state of mind, this can be used to portray the temporary state of mind experienced by an individual with a mental health disorder.

Wabi sabi, in more delicate, poetic terms, seems to mirror and sympathise with the state of mind and attributes of an individual with a mental health condition. Wabi sabi’s very nature of impermanence and imperfection provides a foundation for design which these individuals can inhabit while feeling secure, nurtured, and comfortable within their self. “Keep things clean and unencumbered but don’t sterilize. (Things wabi sabi are emotionally warm, never cold.)”49

It is apparent that the qualities of a caring, nurturing environment are influenced by many conditions; from the materiality of the space, through to the furniture within it, how each space is positioned and related to the spaces around it, through to its position in the wider context. These qualities and principles all provide an insight into how a caring, halfway environment could be designed to ensure the nurturing, secure feel does not carry with it the atmosphere of the institution the individual has just vacated. The investigations on the facing and following pages are an attempt to define the scale of such a halfway environment. The first, based on the standard Murray Royal Hospital room increases the size of the individual’s territory to include basic living requirements to enable self-sufficiency within a single space. In this instance, the individual is exposed to a very slight change in pattern and scale of territory, and as a result, may feel as though they remain in an institutional setting, irrelevant of the materiality of the space. The second investigation provides a progressive pattern, using incrementally more exposed spaces in terms of scale, natural light, and connection to external space, encouraging inhabitants to adapt to the changing array of spaces they might experience during life after the institution. Although progressional in nature in a single direction, this composition of spaces starts to explore the variety of spatial conditions possible within the halfway to help individuals through the transition.

1. Window Box Small scale, window out to landscape, view to the beyond but still protected and enclosed. A view towards the end goal: outside. 2. Murray Royal Hospital Room Exact size of â&#x20AC;&#x2DC;The Knownâ&#x20AC;&#x2122;. No windows except for window box. Columns represent the size of the single bed within the room to which the patient is strongly connected. 3. Top Light Roof lights to increase the amount of natural light without increasing the openness of the room. Inhabitant still feels protected. Roof lights create a connection to the sky. 4. Side Light Full height, thin windows to provide natural light, as well as glimpses out to the landscape beyond. Steps down into the space to increase the scale gradually, and to allow the inhabitant to interact with the change in scale. 5. Central Courtyard Glazed courtyard within the centre of the space, with planting within. Controlled views out to natural landscape outside. Contrast between the controlled landscape within the courtyard with the wild landscape beyond. Open courtyard brings natural light into space. Overall scale of space is increased (both in width and height) but narrow space to walk around courtyard controls the increase.

Progressive pattern

6. Progressional Columns Progressional room with door to the outside clearly visible at the end as destination to work towards. Large roof light to let in large amounts of natural top light. Full height windows along walls to provide constant, yet controlled, views out to landscape beyond. Columns break up space to three smaller processional routes and provide places to â&#x20AC;&#x2DC;hideâ&#x20AC;&#x2122; behind. 7. Reflection room Same height as previous room but much narrower. A place to pause and think before competing the final step in the progression. Full height window to provide view of landscape beyond. Seat in centre. 8. Outside Room Tall outside room, exposed to the sky and enclosed on three sides. Large open view out to the landscape.

â&#x20AC;&#x153;

if the sense of who we are is, in part, dependant on where we are, then does being in a place however transitory, generate a sense of ownership of that place - however momentary?

rights of common : ownership, participation, risk LISA FOR architecture and participation 50

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After

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concluding remarks

A definitive solution to the schizophrenicâ&#x20AC;&#x2122;s search for location within space and mind can never truly be found or defined. Throughout this study, it has become apparent that each individual with a mental health condition is as varied as the myriad of treatments used to aid them throughout their recovery. One size can never fit all, but situations and environments can be designed to ensure that the nature of each colourful individual, and all of their traits can be accepted, nurtured and even encouraged within such spaces, and the wider context. We can create environments that not only provide support for those with a mental health condition, but also provide an arena for those individuals to act uninhibited within a safe space, and excel when free from judgement and criticism, not constrained by rules and regulations, or forced into a system to which they are not suited. While these environments cannot be tailored to suit each individual when shared within a collective, the myriad and variety of spaces designed can go some way to providing suitable, temporary conditions in which individuals can explore their condition when occupying a temporary state of mind. Above all, this halfway should be designed to help individuals complete the transition between the institution and life outside its walls. The design of halfway requires consideration into how the individual inhabits the space as a singular and as part of a collective of other like-minded individuals. The halfway needs to act as a point of stability and security throughout an uncertain period of transition, whilst allowing the individual space, and the complexity of space, to act uninhibited whilst defining their own coping mechanisms and exploring their unique condition. These spaces, as so many studied within this thesis, could also work in flux, with individuals from both sides of the halfway, both patient and visitor, joining together to share these experiences and situations, thus creating a catalyst for change in the opinions and stereotypical preconceptions of mental health.

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Appendix

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Picture references

Unless stated, all images, drawings, paintings and photos are writers own.

107 pg 17

http://meggenge.blogspot. co.uk/2009/02/finding-my-wings. html

pg 84

http://at1patios.wordpress.com/tag/ how-to-recognise-and-read-matbuilding/

pg 20

Martin Oâ&#x20AC;&#x2122;Neill, Harvest - New Writing in Australia. http://cutitout.co.uk/ work/corporate

pg 88

Top: Aalto, A, sourced in Anderson, S; Fenske, G; Fixler, D, 2012. Page 24.

pg 36

Shingler, A, 2008. Holy Ghost.

pg 64

writers own drawing, traced over GPS tracking route provided from using MapMyRun iPhone app https://itunes.apple.com/gb/app/ r un-map-my-r un-gps-r unning/ id291890420?mt=8

pg 70

Borrett, M, Experimentsinmotion. Sourced on pinterest.com.

Bottom: Kahn, L, sourced in Merrill, M, 2010. Page 87. pg 90

Wabi Sabi Decor. http-//dzinetrip.com/ wabi-sabi-nothing-lasts-nothing-isfinished-and-nothing-is-perfect/

references

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