Shannan Cooksey - Interior Design Thesis by Shannan Cooksey

Interior + Well-being + Place Research Thesis S. Cooksey

Interior + Well-being + Place

â&#x20AC;&#x153;A sense of place; your ability to create places that are meaningful and places of quality and character, depends entirely on your ability to define space within buildings, and to employ the vocabularies, grammars, syntaxes, rhythms and patterns of architecture in order to inform us who we are.â&#x20AC;?1

James Howard Kunstler

iii

Interior + Well-being + Place

Preface

Preface A common thread that has often run through my design work, is the exploration of the nature of peopleâ&#x20AC;&#x2122;s relationships with the places around them, and the role of interior design in the creation of places that nurtures oneâ&#x20AC;&#x2122;s sense of self and well-being.

I have chosen to spend this research thesis looking at the conditions of design that foster and support the well-being of those who occupy a space, and desire to be able to express these in a way that can form a guide or design language for myself & potentially others.

I believe that the places we occupy, play an essential and vital role in our human lives, and that the physical design of these environments should not be limited to the facade, the decor, or the visual appearance but should give priority to the activities and experiences those spaces are likely to engender for the end user and the local community around that space.

I have undertaken this task to better my own design processes, to better understand the role of the designer in the lives and experiences of people in settings such as the home, the workplace, and other everyday environments, and to uncover my role in improving these spaces for the user.

Interior + Well-being + Place

Work

Introduction

Page 21

Page 1

Home

01 Page 5

Contents

Language

Page 43

Conclusion

Public

Page 75

Page 33

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Interior + Well-being + Place

A Question;

How does Interior Design contribute to and develop a sense of â&#x20AC;&#x2DC;Placeâ&#x20AC;&#x2122; & support well-being?

Introduction

Introduction I strongly believe the practice of Interior Design, is the practice of Making Place. Through every design decision about form, lighting, texture, colouring, material and so on, a decision is being made that determines how space will be experienced. To design for Place, is to design the experience to be positive, to be connective & to foster a relationship between the user and the built environment you are creating. Therefore any spatial design, should consider first and foremost the experience of the user, the connection and meaning for the user, and how that specific space can be transformed into a meaningful Place. A crucial aspect of being able to design in this way, is having an in-depth understanding of how people actually experience space, and how they perceive the qualities of space. There is an expansive amount of research on these key concepts, of perception & experience, and through this we can gain some insights and understandings on how to design a space to encourage feelings of safety, security, enclosure, warmth, welcoming, usefulness, convenience, accessibility, and so on, which can lead us on the path to creating meaningful Places. How these spatial qualities are broken down cognitively and emotionally is difficult to generalise across different contexts and individuals, and therefore we must rely on human centred design process to get the best outcomes for the particular user groups & the circumstances of each site specific design.

The question of how interior design develops a sense of place is explored in this thesis, through the studies of spatial qualities such as light, material, air quality, temperature, noise, plan and layout, and so on. In addition, the social and behavioural impacts of designed spaces is examined, through the of analysis of existing spaces & precedents. Well-being is a dynamic human state, characterised by a sense of individual vitality. Well-being is impacted by our own understanding and perception of our place in our community, and whether our goals and aspirations are being met. Our emotional state also impacts our sense of well-being, with states of contentment, joy or happiness experienced more frequently being associated with positive well-being, and more frequent and longer periods of sadness, anger or frustration being associated with a negative state, or lack of, well-being. While the physical environment is not the only factor that impacts of on well-being, it is important to consider the experience of interior space, as being able to create an environment that supports the positive emotional and cognitive state of the occupants. Again, similarly to sense of place, different individualsâ&#x20AC;&#x2122; sense of well-being is varied, and difficult to generalise, this thesis works to uncover the key factors within spatial design that have the greatest impact on well-being, in order to form a way of designing for the positive state of well-being.

Interior + Well-being + Place

Key Terminology Place; a specific environment that holds a connection between the user & the built environment, as opposed to a space, as a nonspecific measure of location. Well-being;

describes the emotional and physical state of an individual, associated with a positive state of being, where the individual can be described as healthy, happy & supported.

Sense of Place; a way to describe a location that foster a sense of authentic human

attachment and belonging, which may be felt through its qualities of sociability, security, activity, comfort, image, and access & linkage.2

Placemaking;

the active and performative element of making a change that improves or positively impacts an environment, to increase feelings of connection or belonging through the felt qualities of the space.

Key Terms

Breaking down ‘Well-Being’ Cognitive;

self assessment of well-being based on one’s own interactions with their environment and other people, based on our aspirations and needs and to what extent we deem our needs to have been met.3

Affective;

self assessment of well-being based on one’s emotional feelings and responses, based around the self rating of emotional conditions such as stress, anxiety, anger, depression, boredom and tiredness.4

Breaking down ‘Environment’ Perceptual;

elements of space that make up an environment that can be physically seen and felt, such as the size, structure, texture, colour, light and so on. Perceptual terms includes aesthetic considerations, spatial descriptions, assessment of form and architectural elements.5

Associational;

the unseen elements of a space that are based on an individuals response to the perceptual elements in the environment, based on their own interpretations and meanings. Associational terms describe mood, feelings and attitudes of the environment, and are laden with personal meanings.6

The Notion of Home

“All really inhabited space bears the essence of the

notion of home... the imagination functions in this direction whenever the human being has found the slightest shelter: we shall see the imagination build “walls” of impalpable shadows, comfort itself with the illusion of protection.”7 Gaston Bachelard

Interior + Well-being + Place

Imagery provided by the respondents of their â&#x20AC;&#x2DC;Happy Placeâ&#x20AC;&#x2122;.

The Notion of Home

‘Happy’ Spaces “I feel a real sense of security in my bedroom because it is mine and I am surrounded by things that are significant to me.” “The use of colour in the space makes an older apartment feel fresh, clean and modern. This makes the space feel warm, yet like a blank canvas at the same time, which means we can focus on styling the space to make it our own.” “The room has three large almost floor length windows, looking out onto the street. It makes you feel connected to the outside. This is calming and relaxing, makes a nice space for contemplation and thought.”

I surveyed a group of 47 people, ranging in age from their 20’s to their 50’s, and asked them to self-rate spatial qualities of their everyday spaces. This allowed me to open up other perspectives on how the physical elements of the space can create an environment that is comfortable, enjoyable, warm, relaxing and creating feelings of security and happiness, for different individuals. Elements such as lighting, colour, layout, air quality, appearance, and acoustics were self rated, with varying results, both positive and negative. These examples (left) demonstrate some of the positive relationships between physical space and occupant. >>

Interior + Well-being + Place

‘Un-Happy’ Spaces “The starkness of the white walls seems sterile and uninviting. It lacks in warmth and personality and creates a sense of boredom and confinement.” “To get full natural light means everyone has a full view into the interior which is awkward and makes the space very public. Also if my door is open everyone can see into the space. I never feel like I’m in private.” “I dislike the repetition of the same dull colours through the unit, whilst it is neat and clean the uniform nature seems austere and unwelcoming and does not create a sense of ownership or belonging.” “The view and aspect to outside is closed in almost claustrophobic, with a few straight out to a neighbours fence and trees. Locking out the sky the small windows increase this closing in feeling of an already small room.” >> The above responses discuss the lack of enjoyment and comfort felt within the home environments of these respondents, with varying reasons such as; lack of colour, privacy, variation, and outdoor views attributed to feelings of boredom, confinement, discomfort, and claustrophobia. It is clear to see from these responses, and also from the positive outcomes, that the users here are feeling the impacts of the perceived qualities of the spaces surrounding them.

The users are interpreting these spaces and rating them with both cognitive and affective terminology, describing the positive aspects or disappointments of the space (cognitive - not living up to ones expectations) and then relating this to an emotional response or reaction (affective). These results allows us to understand the potential space that will support and develop well-being for these individuals, and while these responses cannot be generalised to all groups and contexts, they can begin to form a deeper understanding of personal assessments of well-being and the key spatial factors that are perceived as having the greatest influence on this state of welfare. Another aspect opened up by this survey is the strong connection between private spaces, such as the home, and the importance of self and belonging in these spaces. Each user desires to feel a part of, and connected to their environment, through their own personal way, by ‘making it their own’, desiring for a ‘sense of ownership’, and surrounding themselves with things that are ‘significant to me’. This shows that as must as the environment can be designed, and the spatial characters can be set up to enhance well-being, it is essential that the space is given over to the user, that they are allowed, and desire to, take ownership of the space and feel themselves within the space.

Obs erv ing

The Notion of Home

External Stimuli

Our perceptual environment, free of connotation or interpretation eg. low lux levels + warm colour temperature + ambient temperature of 21°C + quiet background music

‘The Home’

Inter

pre ting

“The house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace.”8

Perceived Conditions

Our associational environment, filtered through personal meaning eg. above stimuli leading to the description of a warm, cosy, relaxing, and inviting space

ing ter Fil

‘The Self ’

Filter of personal memories, circumstances, emotional and mental state & preconceptions

Interior + Well-being + Place

â&#x20AC;&#x153;This is a fundamental view of the world.

It says that when you build a thing you cannot merely build that thing in isolation, but must repair the world around it, and within it, so that the larger world at that one place becomes more coherent, and more whole; and the thing which you make takes its place in the web of nature, as you make it.â&#x20AC;?9 Christopher Alexander

The Notion of Home

“A Pattern Language” ‘A Pattern Language’, by Christopher Alexander presents an archetypal “language” of 253 socio-spatial patterns that make up a way to design towns, buildings, and homes. These patterns have a strong research background, based in environmental design and social design, and I believe that these ‘rules’ or ways of designing are an effective way to begin thinking about how built space and forms do have an impact on the social dynamics of that space. However my main concern with Alexander’s patterns is that although he provides strict measurements for widths of buildings, size and scale of open space, required lumens and lux levels, and so on, the integration of each of the patterns is too open to interpretation; “Each pattern describes a problem which occurs over and over again in our environment,

and then describes to core of the solution to that problem, in such a way that you can use this solution a million times over, without ever doing it the same way twice.”10 I feel, while it is necessary to allow flexibility, the lack of information of how the patterns should be integrated together. The problem with this is that the design may be made up of very resolved and effect parts of a house/street/ town but may not be an effective ‘whole’. The idea of ‘whole’ design is important to a persons sense of continuity and readability of a space, which impact on one’s sense of place. The diagrams (following pages), are my own interpretation of a few of Alexander’s patterns, which I have identified as being important concepts to consider in the design of a house. I then assigned myself the task to design 2 floor plans using these patterns. >>

Interior + Well-being + Place

76. House for a Small Family

136. Couple’s Realm sitting

Parents’ Realm

Common Area

connected by path but separate spaces

dressing sleeping

Children’s Realm

shared space

bathing

Intimacy Couple Adult

Shared Central Together

Play Ownership Comfort

private bed

distinct ownership but non-exclusivity

private bed

137. Children’s Realm

109. Long Thin House

127. Intimacy Gradient Vertical

Horizontal gradual movement from public to private allows user to shade the meaning of their social interactions appropriately

Increase the point to point value = increase in relative privacy.

129. Common Areas at the Heart

131. The Flow Through Rooms

Private rooms

Central Space

Entry Tangent paths

Looping circulation paths with generosity of movement allows for more interaction and creates an open social environment

Aim: To encourage and allow constant informal contact

The Notion of Home

107. Wings of Light

135. Tapestry of Light and Dark Use our human phototropic nature to direct people in space. Bright entrances and key points draw attention and movement.

50% of light from the sky to seem ‘naturally lit’ Reduce width to increase natural light for entire floorplate

159. Light on Two Sides

163. Outdoor Room Better natural lighting conditions = less glare, more detailed interactions & friendlier atmosphere

Harsh, high contrast light conditions

Positive health benefits due to bringing the outdoors in

Screened & protected from elements

Remove barriers of access to the outdoors

Even, balanced light conditions

191. The Shape of Indoor Space

Extension of indoor living space, not just something to look at

141. A Room of One’s Own

SELF Our biophiliac nature gives Harsh convex angles our preference to convex generally create awkward and curved spaces and uncomfortable spaces

“No one can be close to others without also having frequent opportunities to be alone... Only a person who has a well-developed strong personal self can venture out to participate in communal life.”

Interior + Well-being + Place

The Notion of Home

Plan & Arrangement These 2 plans take on a similar approach, diving the house into 3 zones, and creating â&#x20AC;&#x2DC;wings of lightâ&#x20AC;&#x2122; to allow for natural lighting conditions to filter through the home. Each of these 12 patterns has been considered in the arrangement of this plan, however as discussed there is not a truly effective way to know if these arrangements will create spaces of well-being, or harmony between the occupant and the environment. The user brief is missing, in order to know if well-being can be supported in these spaces, it is key to first understand the expectations and preferences of the user. I feel using Alexanderâ&#x20AC;&#x2122;s patterns as a method of design would be effective if you were both the designer and the user, however I am interested in trying to open up a more broad method for myself as a designer to work in, so that the method can be applied to various typologies and clients, but still guide the project to have a supportive and positive outcomes.

Interior + Well-being + Place

Prospect

Refuge

The Notion of Home

Peril

Enticement

Innate Spatial Perception Grant Hildebrand’s writing in the ‘Origins of Architectural Pleasure’11 suggest that our enjoyment and attraction to environmental conditions are based on our human survival instincts, and that our architectural preferences stem from natural selection principles. He outlines 3 sets of principles; 1. Prospect & Refuge; A theory originally published by Jay Appleton in ‘The Experience of Landscape’ (1975), the term prospect is used to describe the aesthetics qualities of opportunity for clear vistas and command (from our hunter/gather instinct), whereas refuge describes the comfort of shelter and protection. The theory is we will feel pleasure when experiencing such spaces e.g. cosy cabin overlooking a large field, due to them satisfying our innate needs. 2. Peril & Enticement: These principles describe the excitement that is stimulated by our sense of curiosity and also our innate fear of falling. Peril describes pleasurable fear, of experiences that bring about a sense of adrenaline fuelled excitement, seen in the design of cantilevered structures. Enticement is similarly about the unknown, but it is about the explorative element of going to see what is beyond, or being drawn into/through a space due to its spatial qualities, e.g. lighting. 3. Complexity & Order: Complexity and order are seen to be of equal importance for stimulating our interest in a space, a pattern or a design. Our brain intuitively sorts all perceived information into categories, and this principle explains that we are excited by patterns that are full of complexities and variations, but still have an overall order or underlying similarity so that we can still decode them. I believe that these concepts are important to recognise as a step towards an architecture that recognises human experience of space as a key element to design for. These evolutionary approaches to architectural preference are explored in these models, they give form to these ideas. While I hold these principles as important considerations, they do not describe the importance of user specific design, as discussed previously. However they do add an a scenario based element to my understanding of how to design for human well-being, as these principles set up 3 different types of scenarios that generate attraction, interest and enjoyment - 3 things which can create a human & environmental connection, and therefore can create a sense of place.

Interior + Well-being + Place

The Notion of Home

Case Study: Townhouse B14 Architects: XTH-Berlin Location: Berlin, Germany Year: 2012 Area: 230 sqm This townhouse has an unusual trapezoid site, and a unique structural layout, with 6 staggered floors set up by 2 large concrete boothsA, with a floor below, between and above each. Both facades are floor to ceiling glass curtains walls, allowing plenty of natural light into the space. The internal concrete booths create the sleeping rooms and have an entire face that can be opened to let the light in, or closed to shut it out. The angular spaces that are created by this staggered floor plate are treated playfully with slides, sitting spaces up on the walls and horizontal netted catchments.B The house is designed for a family, and this is reflected in the programming of the house. It demonstrates a close relationship between occupants, with its flexible and flowing spaces that encourage social interaction, while also allowing for privacy and space to be alone, due to being split over many levels. I believe the design of this space fulfils qualities for well-being, and would support the well-being of the family that lives here, as it has been designed with their use in mind, but in a way that considers that spatial experience and elements of the space careful and uses them well. Below some of the elements within the home that I believe generate a ‘sense of place’ are outlined, these are elements that encourage connection & a positive relationship between the user and the physical space; - Specific function planning for individual user needs, seen in the programming of the zones, i.e. music room, bicycle storage, craft room, reading area, large open plan kitchen and dining, & garden terrace. - Designed for maximum and even natural lighting across entire width of floorplate with large glass panels and open void spaces bringing light down from above. - Varied and interesting views occur across the townhouse, creating vistas to other zones, also orientates views towards the outdoors and the natural park landscape outside as well as views to the rooftop terrace. - High reverberating concrete and glass is balanced with timbers and heavy, sound absorbent fabric curtains, thermal mass of concrete also provides warm refuge within the sleeping areas inside the concrete booths. - Mix of social spaces with varying levels of exposure and interaction in each zone, the smaller scale of the reading area creates intimacy, compared to the more social kitchen space which is open to a large void. Overall the design comprehensively considers the owners needs and aspirations as a key consideration, allowing the user to form personal meaning and attachment, as it is ‘theirs’, and designed for ‘them’.

Interior + Well-being + Place

Health & Happiness at Work

â&#x20AC;&#x153;The workplace is a delicate ecosystem with

space, people and technology, all mutually reliant and co-dependent. ... New workplaces take advantage of our new found [technological] mobility. They are also significantly more exciting than monotonous rows of bench desks, scattered break outs and conference rooms that are the mainstay of most workplaces today and this appeals to our desire to have more meaning and richer experiences as a part of our work life.â&#x20AC;?12 Geyer

Interior + Well-being + Place

The poor design of this site, prevents the blinds from being opened as the un-tinted & minimally screened windows let through a harsh glare.

Healthy Workplaces

Workplace Survey “I feel somewhat as if I am being watched due to my very small cubicle being part of a thoroughfare for others. The lack of natural light and open space makes me feel somewhat trapped. I frequently feel bored, uninspired, frustrated and restless.” “Being able to see outdoors helps to clear my mind, inspires creativity and helps to have a concept of time. It also increases the feeling of participation in society rather than seclusion from it... where as at in spaces where the window cannot be seen (i.e. facing away from a window, meeting rooms, blinds are drawn etc.) this creates a sense of confinement and seclusion.” “Open plan layout is too noisy, hard to concentrate sometimes and irritating to listen to coworkers talk all the time and sniff.” “The use of colour is extremely poor. Horrible mismatch of carpet style, each level of the 14 story building has a different theme and they are very garish.” “The privacy in the space is less than idea. The positioning of the desk means people can see what I am working on and my back faces my fellow colleagues but if I didn’t face this way, then I wouldn’t have a great view and get the lovely afternoon sun, so it’s a okay trade off.” The above results are part of the same survey originally discussed in Chapter 1 - page 7.

People here are drawn to the negative qualities of their workspaces, discussing emotional associations such as feeling trapped, secluded, irritated, and exposed, as being a result or highly impacted by, their physical surrounds and the conditions of their environment; no natural light, no views, and open plan arrangements. There is no doubt that the design of these workplaces is having a negative impact on the emotional state of these employees and therefore also negatively impacting their well-being. While other contributors to emotional state, such as feelings of achievement, colleagues moods and actions, weather and time of year, were also discussed, these factors are not necessarily able to be addressed through the physical design of the space. Workplace environments require a delicate balance between quiet, private, focussed work areas and collaborative, social, and therefore noisier areas. There is a need for natural light and views, but this is balanced the difficulty in seating all staff near windows. And there is a need for stimulating, creativity inspiring space, which is made difficult by each individuals personal taste & variations in what they find to be ‘stimulating’. However despite the difficulties, there is a need to strive to satisfy all of these factors. The following page discusses the ‘ideal conditions’ that have been researched in the area of workplace design, these standards are important to consider, but satisfying the specific user function and needs should always be key.

Interior + Well-being + Place

Mutually reliant and co-dependent elements of the delicate ecosystem that is the workplace environment;

People

Space

Technology

The employees, management & clients all working in harmony.

Facilities, program, arrangement & conditions of the site.

Processes, equipment & material essential to the completions of tasks.

Light

Windows

Views over natural = reduced stress, increased job satisfaction. (vs. built) Natural view = health & physiological benefits

Crowding

Creates physiological (^ heart rate) & behavioural stress (less sociable). Interferes with privacy. Not enough space (physical/personal).

Natural light diminishes stress and anxiety. No windows = feeling restricted and tense. Too much light = glare & eyestrain.

Spatial Condition

Perceptions of the environment based on sensory data & influenced by cognitive and emotional evaluations.

Air Quality

Moderate air movement / humidity + pollution free. Natural ventilation is generally preferred to mechanical ventilation.

Artefacts & Artwork

Noise

Employee control over noise level reduces stress. Phones & voices most disturbing/intrusive. Low frequency harder to ignore.

Temperature

Ideal temp. of 21°C. Frequent fluctuation leads to job dissatisfaction. Thermal discomfort = complaints about other factors.

Workstation

Ergonomic support. Provide privacy. Adjustable furniture & storage components increase environment satisfaction.

Personal artefacts help create belonging. Architectural details & artwork reinforce the place identity.

The above is a diagrammatic interpretation of the information set our in ‘Environmental Stress’ & ‘Environmental Factors in the Office’ by Christina Bodin Danielsson.

Healthy Workplaces

Conditions in Workplace Design “The most dominant aspect of the interior design in an office is the plan layout—it sets the framework within which other physical factors have to subordinate. It determines not only the borders of the space and the placement of furnishing, but also architectural features such as design elements and architectural detailing. Above all the plan layout sets the conditions for the environmental factors and their architectural qualities by determining the placement of windows and thereby the visual and natural lighting condition of a space.”13 Christina Bodin Danielsson The conditions of space outlined in the diagram to the left, explain the physical elements of the space that most impact on our perceptual and emotional response to the environment. Through the research summarised by C. Danielsson, we understand that noise and thermal comfort are the most complained about factors in the office environment. Overall these physical stimuli impact on a person’s privacy, their health outcomes, their feelings of stress an anxiety, and feelings of loss of control, which are all important factors in the well-being of an individual. This indicates to us that through the design of the physical framework that holds these conditions, we can design to improve the sense of well-being in these spaces. The framework in the case of an office is, as Danielsson explains in the above quote, the floor plan layout. This impacts on any possible future arrangements and qualities of the interior space.

If we can arrange the plan of the space to allow the occupant access to windows and natural light, maintain a constant comfortable temperature, allow for natural ventilation, reduce feelings of crowding and increase feelings of privacy, as well as control noise levels, then we can begin to create office environments that not only support the well-being of the user but also spaces that create a connection between user and physical space,and create a feeling of place in that environment. Another element determined by the plan layout, apart from the spatial qualities of the space, is the social structure of the space. The design also needs to take into account the way in which people may prefer to work, and provide opportunities for various types of social interactions, be it formal, casual, indirect, social, collective, or intimate. The consideration for both the physical elements, and the social elements of the space is important in creating a space that is felt by the occupant to be considered & designed for their needs. These conditions are not necessarily user specific, as the research has found general applications for each physical stimuli, however each persons interpretation of what ‘crowded’, ‘distracting noise’, ‘privacy’, ‘ideal temperature’ actually is will vary, and it is important that social based design strategies are used and that the occupant has input into the design of the space, so that they can create a connection with the environment, and the end result is a space which will foster a sense of place for those individuals.

Interior + Well-being + Place

Redesign of an Existing Workplace

The existing building is approx. 20 years old, and it shows in the wear and tear. The managers offices lining the window side, while the communal floor kitchen sits at the back of the office with no aspect or natural light. The open plan design provides no flexibility and exposes employees backs to the centre of the space, reducing privacy. The space is not stimulating for the employees and detracts from their sense of well-being.

< Existing Floor Plan

Healthy Workplaces

New Proposed Site Plan

The task of redesigning the floor plan with the existing architecture, allowed me to think about the applications of some of the principles that I am uncovering in relation to creating health and happy workplace environments. The below outlines the key improvements to the spaces; Flexible work pods; - no sharing desk surfaces - own space - flexible computer screen - lower-able partitions - small groups avoids distraction

Team offices; - smaller office = less noise - open plan layout within team to encourage communication - colour is injected & varied - glass walls to let light through (semiopaque panel at desk height for privacy)

Shared spaces; - Hot desk area removes training from work areas - Kitchen has natural light and lounge area - Main thoroughfare doesnâ&#x20AC;&#x2122;t overlook peoplesâ&#x20AC;&#x2122; desks - Filing room has natural light (as often staff will work in here for several hours)

By considering the needs and aspirations of the users, I am able to design a space that addresses their key concerns, and creates a work environment that connects and engages with the employees in a way that fosters the sense of authentic human connection, that is, Place. By improving the conditions of the environment, such as the lighting, colour, views and aspect to the outdoors, noise levels, privacy, and layout, it has also improved the qualities of the site, and now has the potential to enhance the experiences of the user and create positive working conditions which will positively impact on social outcomes and internal feelings of happiness and well-being.

Interior + Well-being + Place

“I believe our only hope for the future is to adopt

a new conception of human ecology, one in which we start to reconstitute our conception of the richness of human capacity. Our education system has mined our minds in the way that we strip-mine the earth: for a particular commodity. And for the future, it won’t serve us. We have to rethink the fundamental principles on which we’re educating our children.”14 Sir Ken Robinson

Healthy Workplaces

Education & Workplaces; Designing School Spaces Workplace design, and activity based working (ABW), is not a new concept according to Geyer, who state; “The premise of ABW or choosing a place to work based on the activity at hand is one that has been practiced by millions of university students around the globe for a long time.”15 This integration of university style of work/study modes, into the design of workplaces, is a logical step, and benefits the well-being of the employee as the needs and requirements of the user are more carefully being considered and tailored in this style of design, compared to the traditional computer/desk/cubicle scenario of a lot of workplaces. At the heart of this ABW style is the improvement of the quality of human relationships, team effectiveness, and employees feelings of control and choices in the workplace environment. This trend for more tailored design solutions is also transferring itself over to the education sector. With more and more primary & secondary

school environments now also integrating this activity based design strategy into the design of the physical environment. “Education must come to be recognised as the product of complex interactions, many of which can only be realised when the environment is a fully participating element.”16 Loris Malaguzzi Founding Director Reggio Emilia Education Project

The importance of the physical structure of space, and the spatial conditions (discussed on page 24) of the that environment, are being recognised in terms of their impact of human interactions, relationships and overall well-being. In order to foster and support these relationships, and create a sense of place in these environments - both school and workplaces - we need to craft these spatial qualities to benefit the health of the user, the function of the space and to enhance the social relationships formed in the space.

Interior + Well-being + Place

Image sourced: http://www.spconsulting.com.au/images/86.jpg?592, Accessed 26th June 2014

Healthy Workplaces

Case Study: HWT ‘Our Space on 3’ Architects: Geyer Location: Melbourne, Australia Year: 2012 Size: 500sqm Client: Herald Weekly Times “The motivation behind “Our Space on 3” was to provide an inspiring location that encouraged cross-departmental communication and collaboration in a relaxed and flexible environment... [it] is designed to encourage all levels of the business to embrace the space as a place to escape the normal working environment to allow for creative and innovative thinking.”17 Geyer The interiors of level 3 in the HWT building reflect a casual mood and atmosphere of a domestic environment rather than a strict office.C&D This ‘casual’ vibe was intended by the designer at Geyer, in order to create an environment that was easily approachable and welcoming, to invite staff from various areas to come and socialises and collaborate on projects. The floor also contains some more formal meeting spaces, a cafe/bar, as well as the lounge. By effectively zoning the space, Geyer have created environments for a variety of social interactions to occur, from formal business meetings to casual conversations between colleagues. The floor has large windows that provide

natural light to the majority of the floor, which is important in creating a relaxing atmosphere. This is also supported by warm artificial light, the colour temperature of the light being warmer may lead to the space being perceived as more welcoming. The space offers an escape from the normal working environment, with a more playful atmosphere supported by the arrangement and choice of furniture items with varying heights, groupings and materials. The inclusion of interactive elements such as a ping pong table, chalkboard and inclusion of greenery also aid to this playfulness, which is intended through the design to stimulate creative and innovative thinking. By naming the development ‘Our Space on 3’ the client and Geyer have given over ownership to the users of the space, which is important in order for a connection between the user and space to be formed. Overall a great sense of place is formed in this workplace design.

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Importance of Public Places

â&#x20AC;&#x153;What defines a character of a city is its public

space, not its private space. What defines the value of the private assets of the space are not the assets by themselves but the common assets. The value of the public good affects the value of the private good. We need to show every day that public spaces are an asset to a city.â&#x20AC;?18

Joan Clos i Matheu

(UN-HABITAT Executive Director)

Interior + Well-being + Place

QV Courtyard - Public Square

N ≈ 36m ≈ 19m

Recognised Patterns:

69. Public Outdoor Room 105. South Facing Outdoors 106. Positive Outdoor Space 115. Courtyards Which Live 119. Arcades 124. Activity Pockets 161. Sunny Place

= common land - partially enclosed edges - connected to paths and views = buildings to the north, avoid deep shade behind northern building = partial enclosed, convex (line connecting 2 points lies inside) = partly open to activity, private, min 2-3 entrys, natural paths, views out = connects buildings to one another & to the street, keep ceilings low = partly enclosed; shops, benches, gardens, etc, alternating with entrances = ‘best sun space’ in south facing courtyard given ‘special’ & defined use

Bourke St Mall - Shopping Street

Recognised Patterns:

31. Promenade 32. Shopping Street 63. Dancing in the Street 88. Street Cafe 101. Building Thoroughfare 119. Arcades 165. Opening to the Street

= centre; close to walk, high density, activity hub no more than 45m away = short pedestrian street, perpendicular to major roads, with parking behind = accommodate for the ‘street musicians’, give them a stand and a place = cafe, several rooms, opens onto a busy path with seating onto the street = indoor street, shortcut, wide entrance, places to stop/activity on edges = connects buildings to one another & to the street, keep ceilings low = fully open wall onto street, connect pedestrian to activity in the building

Public Places

State Library Lawn - Green Spaces

≈ 45m

Recognised Patterns:

60. Accessible Green 106. Positive Outdoor Space 125. Stair Seats 171. Tree Places 241. Seat Spots 243. Sitting Wall 245. Raised Flowers

= greens/parks accessible within 3 mins walk (2-3 block radius), 45m wide = partial enclosed, convex (line connecting 2 points lies inside) = allows elevation & participation in the action, connected to surrounds = plant with purpose for ‘umbrella’, ‘gateway’, ‘grove’, ‘square’, ‘avenue’ = face onto pedestrian activity, winter sun, summer shade, shield from wind = barrier that doesn’t disconnected 2 spaces, 40cm high, 30cm wide = raise - by 30-90cm - to give connection, touch, smell, give a place to sit

Socio-Spatial Patterns in Public Environments These diagrams use some of the socio-spatial patterns set out by Christopher Alexander in ‘A Pattern Language’ to decode the public environment. By documenting the patterns that are present in these spaces, I attempt to understand successes from these places in order to be able to apply this knowledge of a form of placemaking into the design of future civic and public spaces. Here I am identifying patterns of spatial conditions that exist, and leaving out the many patterns that relate to public spaces, that are not present. For example, I do consider QV square to be a positive public space, that gives a sense of place and is widely used by the surrounding community (office workers, uni students, residents, etc.), however it doesn’t meet Alexander’s rules for the size of a Small Public Square (61) and definitely doesn’t always meet his requirement to have wind velocity

of less than 0.9m per second (Sitting Spots 241), and most likely a few more as well, but it is still a nice place that people are drawn to within the city. The patterns allow us to identify possible conditions for a site, that give it a sense of place, they focus around ideas of; Scale - fit to purpose, not too large (intimidating), not too small (crowded, busy, stressful). Connection - connect the building to the street through structural elements (arcades/ openings/ building thoroughfare) Activity Hubs - engage people in the space through social elements and activities (street cafes/ performers/ well positioned seating/ shops). Environmental Conditions - protect people from the rain, wind, and sun (covered walkways, wind blockers, south facing outdoors, sunny spots, large shady trees, and so on.)

Interior + Well-being + Place

Projects for Public Places Organisation “Great public spaces are where celebrations are held, social and economic exchanges take place, friends run into each other, and cultures mix. They are the “front porches” of our public institutions – libraries, field houses, neighbourhood schools – where we interact with each other and government. When the spaces work well, they serve as a stage for our public lives.”19 Another method of effectively measuring feelings of Place in public environments, is outlined through the work of the ‘Projects for Public Spaces’ organisation. This organisation “is a nonprofit planning, design and educational organization dedicated to helping people create and sustain public spaces that build stronger communities.”20 The diagram to the left, adapted from their website, shows that a Place is felt through its qualities of; Sociability - this describes the social relationships and experiences that can be had in the space, and how friendly or welcoming the space is perceived to be. Use & Activity - how can the space be used? and how well does the space accommodate for they way that people need or wish to use it? Comfort & Image - this relates to the physical conditions and safety of the space, as well as how beautiful people believe the space to be, if a space is more enjoyable to be in, the people will wish to spend more time there. Access & Linkage - that is its connection to the other spaces and places around it, and also its ability to

be easily accessed by all members of the community. These 4 criteria outline key conditions similar to what has previously been discussed - human scale, activity hubs, connection, and protection from environment - however this also bring the look and feel, as well as the social dynamics of the space, into the discussion of its fulfilment of Place. All of these are important discussions around the creation of public environments, which should be able to create desirable environments for social interaction between the whole of the community, in order to remove feelings of isolation, danger, fear or discrimination, and to enhance the well-being of the society. In order to do this, the tools of socially responsible design must be expand to consider the needs of all societal groups, from the disadvantaged, the tourist, the commuter, the university student and so on. This is why these qualities of safety, social inclusion, functionality, activity, cleanliness, accessibility, connection, as well as beauty and the physical character must be considered in the design of public Places.

Public Places

Sociability Intangibles: Diverse. Stewardship. Cooperative. Neighbourly. Pride. Friendly. Interactive. Welcoming. Measurements: Number of women/ children/elderly. Social networks. Volunteerism. Evening Use. Street Life.

Access & Linkage

Use & Activities

Intangibles: Continuity. Proximity. Connected. Readable. Walkable. Convenient. Accessible.

Intangibles: Fun. Active. Vital. Special. Real. Useful. Indigenous. Celebratory. Sustainable.

Place

Measurements: Traffic data. Mode splits. Transit usage. Pedestrian activity. Parking usage patterns.

Measurements: Local business ownership. Land-use patterns. Property values. Rent levels. Retail sales.

Comfort & Image Intangibles: Safe. Clean. ‘Green’. Walkable. Sittable. Spiritual. Charming. Attractive. Historic. Measurements: Crime statistics. Sanitation ratings. Building conditions. Environmental data.

The above diagram is adapted from the PPS ‘The Place Diagram’ found here: http://www.pps.org/ reference/grplacefeat/. It describes how they suggest you can measure if a place is ‘good’ or ‘bad’, based on both qualitative perceptions/intangibles and quantitative measurements.

Interior + Well-being + Place

Public ‘Places’ & Non-’Places’ in Melbourne “The goal is to create a place that has both a strong sense of community and a comfortable image, as well as a setting and activities and uses that collectively add up to something more than the sum of its often simple parts.”21 The previous principles of sociability, comfort & image, usage & activity and access & linkage, must be brought into our environments. This must be done through the design of the streetscape, the connection of the buildings onto the street, the thoughtful planning of our

public and civic squares and cultural locations, and so on, in order to create Places that people can enjoy, spend time in, feel comfortable in and create a meaningful connection with. By doing so it ingrains in us a send of purpose, attachment and belonging to the city, which after all is the purpose of our public realm. These principles are achieved through the design being able to provide affordances to human life, use and scale. The above examples either disregard this human connection, or enhance it.

Public Places

Interior + Well-being + Place

‘Council House 2” by Rory Hyde available at https://flic.kr/p/5gmFEs under a creative common licence (BY-SA 2.0)

Public Places

Case Study: Council House 2 Architects: Design Inc. Location: Melbourne, Australia Year: 2006 Client: City of Melbourne

â&#x20AC;&#x153;CH2 was designed to be a holistic and all-inclusive system with its occupants as participants. The design follows a model that promotes a more interactive role between the city and nature, acting more like an ecosystem in which all parties depend on each other.â&#x20AC;?22 Design Inc. This building, on Swanston Street, provides not only a prolific example of green architecture being a world first in exceeding the 6 star rating but also in its civic design, the building connects down onto the street level and provides activity and amenities to the public - with a cafe, set back seating areas, shade, trees, and a chess board.E By creating a open space that is accessible by all members of the public the space has a feeling of social equality and therefore people are more likely to feel they can, and wish to participate in the activities that may occur on the site. The cafe gives people a reason to visit and occupy this site, it creates comfort and familiarity, as people understand the design language associated with the street cafe. By setting back

and slightly raising the cafe seating area, those people in this space feel protected from the street and will spend more time in this space as they feel safe, and not overly exposed. The inclusion of natural elements of the trees, and timber screening on the facade, give the space a more human quality, as the natural materials soften the otherwise more harsh stone and glass. Public art is also a good tool for placemaking, as it can help to improve the perceived image of the space, while also acting as a placemarker in peoples mental maps of the city to identify the city. The interiorsF of the building are also dedicated to improving the health, and in turn, the wellbeing of the employees, with 100% fresh air to all occupants with one complete air change every half hour. Overall this site meets the conditions of place as discussed, and this dynamic building creates a sense of place for the community, and provides a friendly, healthy microclimate within the urban fabric of the Melbourne CBD.

Interior + Well-being + Place

A Language for Place

An exploration into 5 different conditions that

lead to the feeling of ‘a sense of place’, and which are important considerations for the design of all spatial environments. These conditions are not prescriptive, but form a framework which filters existing design knowledge through considerations for well-being and happiness. Together they describe ‘a Language for Place’.

Interior + Well-being + Place

Place Language

1. Variations in Lighting

Interior + Well-being + Place

Place Language

Condition 1: Variations in Lighting Throughout my research I have found that light, and in particular natural light, is important to reducing stress and anxiety - particularly in workplace environments. And is also important in maintaining the body’s circadian rhythms - which if not maintained can lead to negative impacts on our psychological health (e.g. seasonal affective disorder) and well-being. It is understood that we require various levels of light, to complete different types of tasks, and that if these needs are not met we can put ourselves under physical or mental strain. However I also believe that in addition to receiving enough light, we also crave variations and more exciting, interactive or playful experience of light. Through observing the pattern of light and shadow that plays on a white wall, cast by the trees moving in the wind, a new awareness of the temporal nature of simple daylight is sparked. This playful aspect of light is then testing in a more lasting material - shown here to the left - a transparent concrete (cast with fibreoptic cable) diffuses light and reveals movement and changes in lighting conditions beyond. This test allows us to think about the application for this condition for place, and the ways in which materials can be re-imagined to create a more interactive and exciting experience in the space for the user. A play of light and shadow should be considered as an integral part how we experience a space, the orientation of the window, the shape and size, the view out, the angles of light that are let in, the use of screens and patterns, and the use of varying levels of opacities, are all elements to consider in the design of a ‘place’, that are all to often overlooked or left out completely. Therefore I have proposed that as a condition of placemaking; not only should we cater for task based lighting applications, but also create variations in the lighting conditions of a space to create a more interesting and interactive experience of light. ‘T Space’ by Steven Holl or Sean Godsell’s facade for the RMIT Design Hub, are both examples of how the design of the lighting conditions creates a unique experience of light and shadow that changes over time, being in these building is an experience, the consideration of light is not just functional.

Interior + Well-being + Place

Light

2 sides of Light

Gradient light - dark

Points of light

Place Language

User choice

Natural view / aspect

Play with Light

Interior + Well-being + Place

Place Language

2. Character through Materiality

Interior + Well-being + Place

Timber

Fabric

Plastic & Glass

Place Language

Condition 2: Character through Materiality Material choice impacts on our comfort felt within a space, and the perceive image of that space. It is an important element in the spatial design of an environment that impacts on other environmental stressors such as elevated sound levels, and even safety - with damaged and decaying environments being perceived as unsafe or unstable. A material should be suited to its function and purpose, and be able to stand up to the weather, wear and tear that it may face in its use within an environment. In addition to this it is important to recognise the inherit meaning that the materiality of a space gives to that environment. Material choices relate to their perceived meanings and associations, which give a material its character. This can be described in perceptual or association terms, a perceptual character of hardwood timber may relate to its density and hardness, where as an associational character is that it gives a natural/ organic feel. While each individual that experiences a space will bring their own meanings and associations, it is important to consider the common perceptions of a material by the targeted user of the space. Does materiality of the space reflect the intended mood and feeling? Does it create a sense of personality and place? And does it invite the intended user to occupy, engage and enjoy the space? We can observe the how different materials reflect different characteristics by looking at the humble door. The material tells us a story about the experience we will have behind those doors, they tell us if we should feel intimidated or whether we feel at home. These 3 models (left) explore the materiality of natural timbers, layered fabrics and the combination of glass and plastic. These models demonstrate the different atmospheres and characters that are imposed and created by the material choices. Therefore I have proposed that as a condition for designing a place, the perceived character of a material should be given focus and attention. Our innate human perceptions of ‘cold’ vs ‘warm’ and ‘sleek’ vs ‘rustic’ all branch from the materials that are chosen. To create places of well-being, more natural, organic and comfortable materials should be used to create more nurturing environments.

Interior + Well-being + Place

Material

Natural material

Soft material

Warm material

Place Language

Colour variation

Interactive material

Digital interaction

Interior + Well-being + Place

Place Language

3. Positive Atmospheric Impacts

Interior + Well-being + Place

Rubber on carpet

Relaxed Response

Metal on brick & metal

Stressor Response

Place Language

Condition 3: Positive Atmospheric Impacts When I talk about ‘atmosphere’ I am referring to the air quality, temperature, noise and volume, as well as crowding and density. Through the research outlined in this book I have found that poor air quality and loud (particularly unwanted) noise levels are the leading causes of negative health and wellbeing within a space. Already there is an understanding of the technical requirements for filtering and recycling air in interior environments - seen particularly the mechanic ventilation of office environments, but it is important to consider this as a design factor in the placement and arrangement of doors, windows and the flow of the air through the space. Noise is a major factor that influences on our well-being, and can lead to feelings of frustration, irritation and anger. The testing, shown to the left, focused on the idea of sound and materiality, and the impact of sound on our heart rate and stress levels. It is important to consider how different materials will react with each other, and their reverberation characteristics. Materials with high reverberation should be balanced with sound absorbing materials or acoustic solutions in order to create a positive atmosphere within a space, and therefore meet this condition for well-being. Other qualities that impact on the atmosphere of a space is the feeling of crowding and perceived density relate to our feelings of personal space and self control over our environment - which are both important to our well-being. The image on the previous page shows a space that forms an environment that is comfortable; you can control your temperate in this space by choosing to sit in the sun or shade, or by placing yourself out of the wind, the sound scape of this environment is quieter than the main street it sits off, sounds of water flow and wind rustling through trees create a relaxing space. Food smells emanate from the surrounding cafes, while the back end kitchen and waste smells are contained in a separate lane-way. If these positive qualities can be captured and brought to any interior environment, then it is a step closer to making a ‘place’ for well-being. Materiality, layout and ventilation are the key conditions to consider in forming the atmosphere of a space. Currently I do not feel these qualities are given enough consideration, but they have direct impacts on our well-being and therefore I propose that designing for positive atmospheric qualities is a condition of placemaking.

Interior + Well-being + Place

Atmosphere

Spread people traffic

Natural ventilation

Exhaust ventilation (high odour areas)

Place Language

User control

Balance hard & soft materials

Soundproofing

Interior + Well-being + Place

Place Language

4. Human Scale

Interior + Well-being + Place

Place Language

Condition 4: Relating to the Human Scale A key factor in how people are able to connect with a space is the scale of that environment. The scale concerns the volume of space, how far away the edges and ceiling are from our body, and how easily we can move through this space is also of key important. I am proposing that a condition for making place is that the environment relates to the human scale - our height, the distances we can perceive, and our sense of spatial orientation. The height of a space impacts the social interactions that will comfortably take place there, with lower ceiling heights creating intimacy (such as the image on the previous page) and larger ceiling heights creating publicness and generally lower levels of sociability. We can only perceive the details of a human face up to a maximum of 7m away, and perceive movement and hear voices at a max of 100m, after this a space may become intimidating or uncomfortable to linger in.23 Edges related to spatial orientation, if we are required to be able to easily navigate ourselves through a space we require perceivable edges to make this as easy as possible. Not to say, that it isnâ&#x20AC;&#x2122;t possible for joy to come from spaces that remove the edge - but generally in these space is it not the intention to create easy navigation.

In order to meet this condition, of relating to the human scale, the environment should be designed to facilitate the appropriate or desired connection and relationship between occupant and built form. Using the physical environment to appropriately shape spaces for various types of social interactions, making for space that encourage connection, sociability, comfort, ease of movement and enjoyment.

Interior + Well-being + Place

Human Scale intimate < 45 cm personal < 1.2m social < 3.7m

Tall ceiling - Public

Low ceiling - Intimate

Social distances

Place Language

e m

al 100m

Public distances (field of vision)

Wayfinding

Wall Shape

Interior + Well-being + Place

Place Language

5. Complex Order

â&#x20AC;&#x153;Victorian Terracesâ&#x20AC;? by Donaldytong available at wikimedia.org/wikipedia/commons/2/29/Victorian_terrace_on_canterbury_road,_Middle_ Park.jpg under a creative common licence (BY-SA 3.0)

Interior + Well-being + Place

} â&#x20AC;&#x153;Alhambraâ&#x20AC;? by Jebulon available at commons.wikimedia.org/wiki/File:Detail_arabesque_Alhambra_Granada_Spain.jpg under a creative common licence (CC 1.0)

Radiolara Pavillion available at http://www.eartharchitecture.org/uploads/printed3_r.jpg under a creative common licence

Place Language

Condition 5: Complexity within Order â&#x20AC;&#x153;In so far as we appreciate order, it is when we perceive it as being accompanied by complexity, when we feel that a variety of elements has been brought to order--that windows, doors and other details have been knitted into a scheme that manages to be at once regular and intricate.â&#x20AC;?24 We can observe complex order in the slight variations of Victorian terraces, through changes made to the building colour, the ironlace, the door, the yard, each individual has been able to feel ownership through customising their space, and it has added complexities that tease our intuition for sorting complex patterns. This type of complexity is explored here (left) through the breaking down of the detailed Islamic patterns seen in the Alhambra, to basic shapes. Even by completing this process, I have utilised my innate sorting ability. I believe that the beauty, rather than total chaos, we perceive in these scenarios can be partially explained by the fact that we can decode and understand these spaces. (Also influenced by personal tastes and preferences.) I propose that as a condition of making place, the spatial design should strive to create complexity by implementing variations on the patterns of design being used. This could be done by making simple changes and slight variations to the facade of a multistory residential complex to create uniqueness within each part of the building. Or could be explored more radically through avenues such as 3D printing - seen to the left is the Radiolaria pavilion by Shiro Studio from 2009 printed on D-shape - the largest 3D printer in the world.25 To create uniquely formed shapes and volumes that are specific to an individuals idea of beauty, their needs and their own set of complexities. I feel this condition will enhance the built environment by creating varied and interesting spaces, which will positively impact our feeling of place as we can identify uniqueness and find our own sense of beauty in the environment. This will also positively impact well-being as if we are more connected to the unique qualities of a space then we are more engaged in the space, and more likely to feel positively towards it.

Interior + Well-being + Place

Variation

Simple shapes and repetitions

Create a recognisable framework

Layers of detail and complexities

Place Language

Variation within a single building

Variation within a cluster of buildings

Variation within a neighbourhood

Interior + Well-being + Place

05 Conclusion

In conclusion, the research and testing I have completed into the relationship between human experience and the built environment has led me to a richer understanding and knowledge of how place is experience and how it can be designed for. As each investigation progressed, a set of new environmental, social and spatial qualities were questions and evaluated, and it is through the analysis and taking on board of these references and precedences that have been able to form and position my work within the field of interior design. By applying a set of methodology to each condition, I was able to unpack the more detailed spatial considerations that I was drawn to in the creation of place. By understanding the interior quality concerned through observation, testing, and application, I am able to create more solid principles that can be used in the design of interior space than enhance the feeling of Place. The principles, while non-prescriptive, are beneficial to the understanding of placemaking. They describe and bring importance to the user experience of space, carefully consider the impact on the well-being of the user, and overall bring out qualities of design that foster a sense of authentic human attachment and belonging. I feel I am now more developed in my understanding of how to establish a relationship between the built conditions of the environment and the occupant or user, which will lead to more informed design outcomes, that are able to follow my design ethos for placemaking.

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References 1. Howard Kunstler, James. 2004. TED Talks: The Ghastly Tragedy Of The Suburbs. Video. https://www.ted.com/talks/james_howard_kunstler_dissects_suburbia. 2. Pps.org,. 2014. ‘Project For Public Spaces | What Makes A Successful Place?’. Accessed June 26 2014. http://www.pps.org/reference/grplacefeat/. 3. Gilboa, Itzhak, and David Schmeidler. 2001. “A Cognitive Model of Individual Well-Being.” Social Choice And Welfare 18, no. 2: 269-288. EconLit with Full Text, EBSCOhost (accessed June 20, 2014). 4. Daniels, Kevin. 2000. Measures of five aspects of affective well-being at work. Human Relations 53, (2) (02): 275-294, http://search.proquest.com/docview/231481367?account id=13552 (accessed June 20, 2014). 5. Rapoport, Amos. 1990. The Meaning Of The Built Environment. 1st ed. Tucson: University of Arizona Press. 6. As above. 7. Bachelard, Gaston, and M Jolas. 1994. The Poetics Of Space. 1st ed. Boston: Beacon Press. 8. As above. 9. Alexander, Christopher, Sara Ishikawa, and Murray Silverstein. 1977. A Pattern Language. 1st ed. New York: Oxford University Press. 10. As above. 11. Hildebrand, Grant. 1999. Origins Of Architectural Pleasure. 1st ed. Berkeley: University of California Press. 12. Geyer.com.au,. 2012. ‘The Shades Of Grey In Activity Based Working’. Accessed June 26 2014. http://www.geyer.com.au/posts/the-shades-of-grey-in-activity-based-working. 13. Danielsson, Christina Bodin. 2010. ‘THE OFFICE — An Explorative Study Architectural Design’s Impact On Health, Job Satisfaction And Well-Being’. Ph.D, KTH School of Architecture and Built Environment. 14. Robinson, Ken. 2012. TED Talks: How Schools Kill Creativity. Video. http://www.ted.com/ talks/ken_robinson_says_schools_kill_creativity.

References

15. Geyer.com.au,. 2012. ‘The Shades Of Grey In Activity Based Working’. Accessed June 26 2014. http://www.geyer.com.au/posts/the-shades-of-grey-in-activity-based-working. 16. Malaguzzi, Loris. 2010. ‘Dandenong High School - Learning Environment Design’. Featherston.Com.Au. Accessed June 26 2014. http://www.featherston.com.au/1658/ dandenong-high-school-learning-environment-design. 17. Geyer.com.au,. 2012. ‘’Our Space On 3’ Helps Herald Weekly Times Connect, Collaborate & Create’. Accessed June 26 2014. http://www.geyer.com.au/projects/hwt. 18. Placemaking And The Future Of Cities. 2012. Ebook. 1st ed. Project for Public Spaces, Inc. http://www.pps.org/wp-content/uploads/2012/09/PPS-Placemaking-and-the-Futureof-Cities.pdf. 19. Pps.org,. 2014. ‘Project For Public Spaces | What Makes A Successful Place?’. Accessed June 26 2014. http://www.pps.org/reference/grplacefeat/. 20. Pps.org,. 2014. ‘Project For Public Spaces | About’. Accessed June 26 2014. http:// www.pps.org/about/. 21. Pps.org,. 2014. ‘Project For Public Spaces | Eleven Principles For Creating Great Community Places’. Accessed June 26 2014. http://www.pps.org/reference/11steps/. 22. Designinc.com.au,. 2006. ‘CH2 Melbourne City Council House 2 By Designinc’. Accessed June 26 2014. http://www.designinc.com.au/projects/ch2-melbourne-city-councilhouse-2. 23. Gehl, Jan. 2010. Cities For People. 1st ed. Washington, DC: Island Press. 24. De Botton, Alain. 2006. The Architecture Of Happiness. 1st ed. New York: Pantheon Books. 25. Chalcraft, Emilie. 2013. ‘How 3D Printing Will Change Architecture And Construction’. Dezeen. Accessed June 26 2014. http://www.dezeen.com/2013/05/21/3d-printingarchitecture-print-shift/.

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Bibliography Alexander, Christopher, Sara Ishikawa, and Murray Silverstein. 1977. A Pattern Language. 1st ed. New York: Oxford University Press. Buchanan, Peter. 2012. ‘The Big Rethink Part 7: PLACE AND ALIVENESS - Pattern, Play And The Planet’. Architectural-Review.Com. Accessed June 26 2014. http://www.architectural-review. com/essays/the-big-rethink-part-7-place-and-aliveness-pattern-play-and-the-planet/8633314. article?blocktitle=The-Big-Rethink-Essays&contentID=6601. Butterworth, Iain. 2000. ‘The Relationship Between The Built Environment And Wellbeing: A Literature Review’. Melbourne, Australia: Victoria Health. Cold, Birgit. 2001. Aesthetics, Well-Being, And Health. 1st ed. Aldershot, Hants, England: Ashgate. Danielsson, Christina Bodin. 2010. ‘THE OFFICE — An Explorative Study Architectural Design’s Impact On Health, Job Satisfaction And Well-Being’. Ph.D, KTH School of Architecture and Built Environment. De Botton, Alain. 2006. The Architecture Of Happiness. 1st ed. New York: Pantheon Books. Goldblatt, David, and Roger Paden. 2011. The Aesthetics Of Architecture. 1st ed. Malden: WileyBlackwell.

Bibliography

Hildebrand, Grant. 1999. Origins Of Architectural Pleasure. 1st ed. Berkeley: University of California Press. Howard Kunstler, James. 2004. TED Talks: The Ghastly Tragedy Of The Suburbs. Video. https:// www.ted.com/talks/james_howard_kunstler_dissects_suburbia. Pps.org,. 2014. ‘Project For Public Spaces | Placemaking For Communities’. Accessed June 26 2014. http://www.pps.org/. Rapoport, Amos. 1990. The Meaning Of The Built Environment. 1st ed. Tucson: University of Arizona Press. Robinson, Ken. 2012. TED Talks: How Schools Kill Creativity. Video. http://www.ted.com/talks/ken_ robinson_says_schools_kill_creativity. Sime, Jonathan D. 1986. ‘Creating Places Or Designing Spaces?’. Journal Of Environmental Psychology 6 (1): 49--63.

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Appendix

Case Study 1: Townhouse by XTH Berlin Architects Page 19 Source: http://www.archdaily.com/481743/townhouse-b14-xth-berlin/ Image Copyright: Anja Büchner

Case Study 2: HWT ‘Our Space on 3’ Page 31 Source: http://www.geyer.com.au/projects/hwt Image Copyright: Geyer

Appendix

Case Study 3: Council House 2 by Design Inc. Page 40 Source: E - http://www.pps.org/wp-content/uploads/2012/09/PPS-Placemaking-and-the-Future-of-Cities.pdf F - http://www.designinc.com.au/projects/ch2-melbourne-city-council-house-2 Image Copyright: PPS & Design Inc. respectively.

Interior + Well-being + Place

‘Interior + Well-being + Place’ A Research Thesis by Shannan Cooksey All content is © Shannan Cooksey (2014) - unless otherwise sited