DESIGNERS >creating proposals for healing architecture volume II -- part one
>foreword The studio project explores the relationships between human well-being and architecture through design of a facility, the purpose of which is to support the rehabilitation of torture survivors. The process of designing such a building spans many topics related to both architecture and other fields. Each proposal focuses on a different therapy method or user group, allowing the body of knowledge of the class to encompass many facets regarding healing environments that positively support refugees. Through many long hours, reviews, iterations, and much collaboration, the studio has accomplished an incredible amount of work and has set out to document the process that led to their final proposals. The process has just as much importance as the final scheme itself, as the story of how the building came to be is visible in the details of each project.
TABLE OF CONTENTS volume II -- part one CHAPTER I _ farmstead _ levi caraway _ horticulture therapy CHAPTER II _ together _ rachel gordon _ women & children CHAPTER III _ voice _ brianna grimm _ music therapy CHAPTER IV _ water _ nicole harris _ hydrotherapy CHAPTER V _ creation _ mathew heatherly _ recreational therapy CHAPTER VI _ growth _ journi johnson _ horticulture therapy
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FARMSTEAD >horticulture & healing architecture chapter I
>foreword This studio project will explore the relationships between human well-being and architecture through the design of a facility, the purpose of which is to support the rehabilitation of torture survivors. Horticultural therapy within the Gill Tract will provide a community of individuals caring for and interacting with plant life, creating a safe and caring present setting where traumatic memories can be explored without them consuming the individual. Providing a building that encourages horticultural therapy, relates to the existing Gill Tract Farm, and emphasizes biophilic situations, will encourage this creation of a healing place within the California Center for Torture Survivors.
THE AUTHOR chapter I >levi caraway I would always find peace in my time working on an urban farm, not to say that it didn’t also have its frustrations. As an outlet for physical tension and plenty of time outside, it was a welcome change from the endless hours we spend as students indoors with a screen in front of us. It is that peace and relief that convinced me of the research this document is built on. Thank you,
Levi Caraway
TABLE OF CONTENTS chapter I Section I _ research _ effects & recovery _ architecture and healing _ past and future _ vision statement section II _ site selection _ site attributes _ urban strategy _ site strategy section III _ program & evaluation _ conceptual approach _ architectural idea _ building program section IV _ proposal _ design proposition _ building diagrams _ materials, forms, architectural expression _ later progression BIBLIOGRAPHY
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>research A Center for Torture Survivors is a minimally explored architectural idea and has left the studio searching for precedent. This has led us to research about torture and its lasting effects, how one might heal from trauma, architectures potential role in that healing, and related case studies from around the world. Using these inputs the studio has developed various approaches and emphases to guide each individuals architectural design.
SECTION I >research
Effects & recoveryresearch >ptsd & horticulture Torture leaves many lasting effects, such as Post-traumatic stress disorder (PTSD); which alone includes flashbacks, severe anxiety, and depression; with disassociation, substance abuse, psychosis, and plenty more also plaguing many survivors. (Symptoms of PTSD) Deciding on a specific therapeutic response is the first step in the design process. Horticultural therapy has increased in popularity in recent years. Various forms can be encompassed to not only ease symptoms related to PTSD, but also allow a medium for social interaction, provide education towards a potential employment opportunity, engage one in a meaningful activity in contact with living things, and result in healthy food an individual can take home to their family (Dixon).
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>ptsd The Anxiety and Depression Association of America claims four main types of symptoms among PTSD sufferers: reexperiencing a traumatic event through flashback and nightmare, emotional numbness and avoidance of anything that reminds of the trauma, feeling cut off from others or other negative alterations in cognitions/ mood, and marked changes in arousal and reactivity-such as difficulty sleeping, feeling jumpy, easily irritated or angered. “PTSD sufferers often experience anxiety, as well as intrusive memories of their traumas and triggering reminders of those traumata. The therapeutic use of horticulture... can provide a calming ground for the exploration of traumatic memories. It also provides a here-and-now tangible and tactile safe space within which the past powerful events (Lorber, 2001) can be differentiated from the present.� - (Lorber, Howard Z.)
figure 1. ptsd
figure 2. horticulture
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>horticulture & ptsd General psychological counseling includes an evaluation and follow-up care, healing groups bring people together and necessitate support amongst one another, and varying therapy sessions seek to involve the community through local institutions and volunteer professionals interacting with enjoyable activities. (“PVTLA | Healing Lives”)
Dale, a Vietnam vet: “I have been flower gardening for a few months now since I’ve moved to Southern California from Chicago. I was depressed in Chicago, as one can imagine with the long winters stuck indoors. I do feel better now that I’m doing my yardwork, planting seeds and flowers ...Not so depressed anymore; I don’t have time for it!” (“Healing Combat Trauma.”)
figure 3 & 4. trauma & recovery
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>horticulture in use Horticulture is the practice of garden cultivation and management. Horticultural Therapy is based on reaching specific treatment goals via interaction with horticultural activities as facilitated by a trained therapist (AHTA). Therapeutic horticulture is the use of horticultural activities through which an individual strives for improved well being, without any specific end goal or therapist, however a leader of sorts keeps the idea in mind (AHTA). Social horticulture is a more leisurely exercise that focuses on social interactions within the horticultural activities (AHTA). Vocational horticulture, which is often a large part of therapy programs, provides training that may allow individuals to pursue professional horticultural jobs (AHTA). figure 5. two months of tomato growth
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Architecture as healingresearch >gesler Wilbert M. Gesler, author of Healing Places, strives to define what it is that constitutes the title of his book. The concept of healing, he describes, include healing’s multidimensional character, being that of physical, mental, spiritual, emotional, and social; the idea of wholeness, connectedness, integration, and healing from within; as well as the fact that it is an ongoing process of finding meaning in one’s everyday life. In order to fully heal, a person must not only be physically cured, but their emotional and spiritual needs must be met, while maintaining social relationships, and their mind is set at ease. At least, these will benefit each other in the process. The environment consists of multiple aspects as well. Natural, built, symbolic, and social environments constitute what may create a healing environment.
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>biophilia Involvement with nature – whether experienced in the wilderness, or as “nearby nature” viewed passively through a window – reduces stress and increases an overall sense of well-being (Ulrich, 1984; R. Kaplan, 1992; S. Kaplan, 1992; Lewis, 1992; McDonald & Bruce, 1992; Mattson, 1992; Relf, 1992; Ulrich & Parsons, 1992; Kaplan and Kaplan, 1995) (Lorber, Howard Z.). figure 6. biophilia
Biophilia, or “love of life” is the innate attraction to natural conditions of light, wind, and living organisms. (“Biophilia Hypothesis.”) Understanding this, and in accordance with a focus on horticultural therapy, connections with nature should be sought as thoroughly as possible throughout this design.
figure 7. also biophilia
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Past & futureresearch >organic farm
figure 8. materials yo
Organic Farm by Architizer (China, 2016) uses glued timber and steel connections, creating a natural feel with dark metal accents. Translucent pc board creates the enclosure, allowing a sense of the exterior without loss of privacy. These characteristics would be appropriate in therapeutic situations. The form of the four separate buildings were pushed and pulled to create intermediate courtyards around one large center. Corner courtyards have covered walkways at the edge, creating a sense of enclosure to the courtyard while tying the buildings together. This form could easily be emulated for horticultural therapy purposes, with one shared central garden and individual areas at intermediate courtyards.
figure 9. plan
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>vision Located on some of the last open space with class 1 soil, we have opportunity to connect with natural elements and use them to better ourselves as well as the environment around the building. Partnering with the Gill Tract Community Farm, we can involve the community, and through the practice of horticulture therapy, address mental, as well as physical, health. Identifying these mental, physical, and social aspects of overall health, this center aims to improve ones overall quality of life. Statement: To provide a community interacting and healing through the transformative effects of biophilia and horticultural therapy.
figure 10. horticultural community
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>site selection & building form Gill Tract is located in Albany, California. From above it is easy to see that this is some of the last significantly open land in the area. On top of that, this is class 1 soil, meaning it has the least restrictions on what it can be used for. Based on this knowledge, the Gill Tract Community Farm has fought for and temporarily secured a small corner of the greater Gill Tract. UC Berkeley plans to pave the area in the not-so-distant future, despite this (“Occupy the Farm.�). Making use of this class 1 soil is an obvious positive for not only the community that will visit this Center for Torture Survivors, but for the greater community around. Rooting them in their backyards, while perhaps introducing them to the benefits of horticulture and its related therapies on their own lives, can showcase benefits of local horticulture and its related therapies on local community.
SECTION II >site selection & building form
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site attributes site selection & building form
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gill tract farm and service road
views to extended landscape
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population
wooded area
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privacy
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>context 1) Preliminary investigation of context suggested the center of the site, pushed south against the trees. 2) Examining the suburban feeling of this placement led the design to want to shift to east or west and address the street. East would have placed the building on what it currently Gill Tract Farm, as well as it would then be placed amongst the busiest context. 3) By pushing east, the building may respond to University Village residential buildings across Jackson Street and make use of a relation to existing parking to the north.
2 3
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figure 17. potential placements
This placement along the less busy Jackson Street prevents the building from blocking glancing views from the busier streets, helping to publicize the farm and increase the related community, while also pulling therapy spaces away from those views.
figure 18. decided location
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>form within site Extension of the form east/ west along the tree line achieves to distinguish between a larger farm and a more private garden against the trees. This also allows the simple extension of the Gill Tract Community Farm without wrapping the building.
figure 19. east/west
Extension of the form north/ south to match adjacencies creates a street presence with the neighbors.
figure 20. north/south
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>spacial division
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figure 21. spaces in spaces
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Using the building as a barrier allows the division of a large site into defined horticultural areas. Most prominent of these divisions would be that of a more private horticultural therapy garden and the larger farm in connection with Gill Tract Community Farm. This division may benefit those less keen to interacting within view and contact of a larger community.
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The idea of “spaces within spaces� is that of a larger and more open general space within which the other rooms exist. This is to allow individuals entry into the building without feeling constricted in any way, then from here they can enter into the more private and closed rooms, leaving as little of the building without immediate understanding as possible.
figure 22. divided environment
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>program & evaluation Many farm related areas must be specified for a building focused on horticultural therapy. Not only are many horticultural therapists needed to interact with clients within the farm, but at least one employed farmer must be in charge of just maintaining the crops when clients and volunteers are unable to fully satisfy the base needs. On the other hand, if volunteers, clients, and therapists are plentiful, my experience shows that there seems to always be more work to be done on a farm. Spaces are divided amongst administration and mental, physical, and social aspects as related to overall health. With the focus on horticultural therapy, the physical takes place largely outside or within an interior planting area. The building itself is likely to be dominated by the division of public community space and private therapy spaces. Utilizing form and spatial ideas from local and historic farm structures could be a fun method of introducing a larger architectural idea to the building while playing off of horticultural therapy.
SECTION III >program & evaluation
Building program program & analysis >program Creating a central kitchen/dining/living area for the therapeutic community within this building is desired. Having a secondary hub for entry reception and more social events in relation to the larger horticultural community of Gill Tract is also important. Having these two centers allows clients to choose their level of exposure between different groups. Program can then be used in relation to-or as a divider of-these centers, or vice versa.
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Roots Admin
open offices? director office
office
160 ft²
rr
office
office
therapist therapist hor. ther. hor. ther. hor. ther. hor. ther. office office office office office office
3 × 120 ft²
janitor
rr
laundry
2 × 40 ft² 100 ft² 100 ft²
2 × 120 ft²
storage
printer
200 ft²
180 ft²
4 × 120 ft²
mech. support spaces
farmer office
5 × 100 ft²
120 ft²
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Public
library computer
group therapy
multi multi multi multi purpose purpose purpose purpose classroom classroom classroom classroom
300 ft²
250 ft²
4 × 250 ft²
reception w/ desk
350 ft²
entry space
100 ft²
main living room
kitchen
dining
food storage
500 ft²
250 ft²
250 ft²
200 ft²
Private
3,20
respite room
respite room
2 × 100 ft²
Outside
storage
400 ft²
indiv. therapy
indiv. therapy
2 × 100 ft²
rr
rr shower shower
2 × 40 ft²
2 ×100 ft²
locker room
200 ft²
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dropoff trash area area
100 ft² 100 ft²
figure 23. spatial comparison
Total Interior- 8,580 ft² [6,600 ft² + 1,980 ft² circulation (30%)] Total interior- 8,580 ft² [6,600 ft² + 1,980 ft² circulaiton (30%)]
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figure 24, 25, 26, & 27.
>building blocks
figure 24.admin and social
figure 25. mental and physical
figure 26. potential centers
Working off the extensions discussed in “form within site�, administration and social spaces should be placed nearest to the road so as to address new clients and those attending classes in multipurpose spaces. Therapy spaces should be within a more secluded space, shielded from the road and larger site by the building and nestling the exterior space between it and the tree line. Physical spaces in relation to the horticultural activities should look out to the farm, allowing easy access from the fields. Open central areas relate somewhat to the spacial orientations. The more social center fits between the administration and social spaces, placing the entry directly off the road. The main kitchen/dining/living center fits between mental and physical spaces, catering to the therapeutic community that will be accessing those areas. With these basic placements the interior spaces divide and gain access to distinguished exterior spaces.
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figure 27. relation to exterior
>avatars _ jim _ limited accessibility _ wheelchair _ frequent visitor 4+ times a week _ enjoys access to horticulture
_ jil _ one child _ busy schedule _ infrequent visitor ~2 times a week _ less interested in horticulture
_ story Both arrive by bus and are typical of the accessible horticulture area, however Jim occasionally pushes himself to explore exterior. Jil uses the ease of the area to quickly and cleanly access therapy while between destinations with her child.
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>proposal Moving forward with design aspects as discussed previously, spaces begin to push and pull amongst one another until a floor plan begins to form. Spacial ideas and views are more thoroughly explorable at this stage and begin to affect design.
SECTION IV >proposal
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figure 28. & 29.
>diagram to form Working from the spatial blocks, the form can be shifted to multiple orientations. Aligning the spaces into a linear form realizes an idea of molding the reaction and relation to street context and then curving it around into a more organic bend that mimics the shape of the site.
figure 28. adjusted linearity
Returning to the “spaces in spaces� idea, and to prevent a spinal double loaded corridor, circulation has been wrapped around the interior spaces. This is to help prevent feelings of confinement within circulation and provides plentiful views out. New trees pull the tree line to meet the building and screen the internal garden.
figure 29. resultant form
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>issues By wrapping the circulation around the spaces, interior therapy rooms were left looking through that circulation to view the exterior. By gently raising those rooms, views can be accessed to the exterior without circulation looking in. Beneath these raised floors could be placed lowered respite rooms. These low spaces would also allow minimal views in. figure 30. therapy and respite section
An angled roof permits north light and helps emphasize private therapy on the low side and more public physical spaces on the high side. A light shelf bounces south light and shades the circulation while creating a covered exterior walkway.
figure 31. sketch plan layout
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>materials
figure 32. barn
figure 33. rammed earth
The use of natural materials wherever an individual will come into contact with a surface is useful in creating a calming environment. (Lorber, Howard Z.) Using barn typology follows this, typically being all wood. An overly complex environment can sometimes cause a “sensory overload�, particularly in sufferers of PTSD. (Michelle Houston) The simple linearity of the design, paired with the simple construction of a barn, creates a space that is easy to understand. Utilizing rammed earth in place of concrete will create a warmer environment in texture and color. Translucent pc board, as used at Organic Farm, could be used between spaces that want a sense of the exterior without full visual connection.
figure 34. organic farm pc board
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1
>later progression of form 2
3
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Bibliographychapter I TEXT --
IMAGERY --
AHTA “Chapter I. Organization Of Positions.” The War of Positions (n.d.): n. pag. AHTA Position Paper. AHTA, 2007. Web. 9 Dec. 2016.
figure 1. Rein, Mistress. “”What Will Your Verse Be?”” Pinterest. N.p., 25 Aug. 2015. Web. 13 Dec. 2016.
“Biophilia Hypothesis.” Wikipedia. Foundation, n.d. Web. 13 Dec. 2016.
Wikimedia
CTRS, Charles C. Dixon MS. “Therapeutic Recreation Resources for recreation therapy, recreational therapy, and activity directors.” Therapeutic Recreation Resources for recreation therapy, recreational therapy, and activity directors. N.p., n.d. Web. 04 Apr. 2017. “Healing Combat Trauma.” Healing Combat Trauma. N.p., 6 Nov. 2010. Web. 13 Dec. 2016. http://www. healingcombattrauma.com/horticultural-therapy/ Lorber, Howard Z. “The Use of Horticulture in the Treatment of Post-Traumatic Stress Disorder in a Private Practice Setting.” Journal of Therapeutic Horticulture 21.1 (2011): n. page. Web. 13 Dec. 2016. “Occupy the Farm.” Wikipedia. Wikimedia Foundation, 03 Apr. 2017. Web. 04 Apr. 2017. “Posts about Plant Seeds on From the Desk of MarDrag.” From the Desk of MarDrag. N.p., n.d. Web. 05 Apr. 2017. “Retorcidas ramas de árbol transformadas en marcos, por Darryl Cox - Cultura Inquieta.” Arte, cultura, lifestyle, tendencias, fotografía y música - Cultura Inquieta. N.p., n.d. Web. 05 Apr. 2017. Salzer, Tom. “The century-old barn.” Beavercreek Demonstration Farm. Beavercreek Demonstration Farm, 21 Aug. 2013. Web. 05 Apr. 2017. Sourby, Charles A., MS Ed. CTRS. “Horticultural Therapy.” Encyclopedia of Quality of Life and WellBeing Research (2014): 2926. Recreation Therapy. 27 Feb. 2008. Web. 28 Mar. 2017. “Symptoms of PTSD.” Anxiety and Depression Association of America, ADAA. Anxiety and Depression Association of America, Apr. 2016. Web. 09 Dec. 2016.
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figure 2. Hands in Soil- “Past Forums.” The Horticultural Society of New York. N.p., n.d. Web. 02 Apr. 2017. figure 3. “Style Your Voice With Your Heart.” Hearts Style Your Voice With Your Heart Comments. N.p., n.d. Web. 02 Apr. 2017. figure 6. “Marius Stanciu - Google.” Collections Google. N.p., n.d. Web. 02 Apr. 2017. figure 7. ”Think Pink When You Think Green.” Woodgrove. N.p., n.d. Web. 02 Apr. 2017. figure 8 & 9, 27, 34. ”Organic Farm.” Architizer. N.p., n.d. Web. 02 Apr. 2017. figure 10. Igrowhort, Posted By. “Social Media for Growing Gardens.” Igrowhort - grow your gardening knowledge. N.p., 21 Feb. 2016. Web. 02 Apr. 2017. figure 5, 11-27, 30 & 31. Caraway, Levi. Kansas State University. Farmstead. Manhattan, Kansas, 2017. Digital. Jil. “Christian TV for the Middle East and North Africa.” SAT-7 UK. N.p., n.d. Web. 02 Apr. 2017. Jim. “Guard of Moscow’s gay club beats visitor with disability because of his wheelchair.” Human Rights. N.p., 08 July 2016. Web. 02 Apr. 2017. figure 32. Churtichaga, Josemaría De. “Arch_wood.” Pinterest. N.p., 29 Aug. 2014. Web. 02 Apr. 2017. figure 33. “Coffee Shop.” Pinterest. N.p., n.d. Web. 02 Apr. 2017.
THANK YOU!
TOGETHER >healing architecture for women & children chapter II
>foreword The studio project explores the relationships between human well-being and architecture through design of a facility, the purpose of which is to support the rehabilitation of torture survivors.
THE AUTHOR chapter II >rachel gordon As I finish my Master’s of Architecture, I am reminded of my past and the people who helped redeem it. I was like one of these kids and my family had to flee our home to try to escape the danger that pursued us. But God was faithful and we were not consumed. We received a second chance at life. Now I have the privilege to use my past experiences to help others and to inspire a community that embraces the broken. We cannot change the circumstances of people’s lives, but I believe that we can make it easier for them to overcome the difficulties placed before them. May this work touch your life, inspire purpose, and give you hope. With a smile, :)
Rachel Gordon
TABLE OF CONTENTS chapter II Section I _research _ torture & its effects _ healing trauma _ case studies Section II _program & evaluation _ conceptual approach _ building program _ user definition Section III _ proposal _ site strategy _ design proposition _ architectural idea BIBLIOGRAPHY
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>preliminary research When attempting to create a new building type in architecture, a large amount of research is required. There is an understanding of what is needed for creating a hospital or a school, however, no one has attempted to create a center of healing for torture survivors. Therefore, in order to design and create a place of healing for torture survivors, we must first understand the symptoms and issues that torture survivors face. We must understand who they are and what they need. Then we can begin to create spaces especially for them Next, we must seek to understand healing in the context of architecture. How architecture can promote healing through the creating of environments best suited for the health and wellness of the whole person. We can also learn from similar building types, case studies. Based on our other research, we can look at other works of architecture and pull ideas from them that we believe will work in our new project.
SECTION I >preliminary research
Torture & its effects preliminary research
figure 1. lack of peace
>lack of peace Perhaps the most important issue that needs to be investigated and resolved in this design project is the issue of a lack of peace in the lives of torture survivors. Many things are happening or lacking in their lives and it culminates to a lack of peace. Their lives have been turned upside down. They have been taken away from their homes, friends, and loved ones. Perhaps they have been betrayed. Some of the people they care about are also being tortured or threatened. They themselves have experienced bodily harm, degrading and humiliating acts, and have been mentally terrorized and stripped of security and self-worth. Sometimes this has lasted for years (Association for the Prevention of Torture; Goleman). And yet they survived. Somehow they have made it back to society to live a normal life, but their life is not normal. The fear can be crippling. There is the constant wonder if they are really out of danger. Can they trust anyone? Perhaps someone will betray them again (Goleman). They don’t want to be found by their tormentors. Some people look down on them because of the way they speak or dress, or because they are poor or are on welfare. People look at their scars but pretend like they are not there. Is it too uncomfortable to ask about it? Once some people find out, they 54
act as if the survivors are the ones who have done something shameful instead of something terrible being done to them. Some ask, ‘How did you get yourself in that situation?’ like it was something the survivor did. The person they thought was a new friend now avoids them. No one understands them or their situation. Maybe they will just keep quiet to avoid these things… And so the survivors experience a new kind of isolation while being surrounded by people (Hauksson 22). The survivors may be in a new city or country where they know no one. Part of their family may be missing and yet they must focus on caring for the ones who are with them. The legal processes they are involved in to protect themselves are demanding and take a long time. Will they have to go back? Will they have to endure the torture again? When will they finally be safe? When can they put this behind them? Some noises bring back memories of the survivor’s village being bombed or of the metal pipe clanging against the chair before they were finally beaten. The nightmares torment them throughout the night. Sometimes a word, or a certain smell or object triggers a bad memory. Sometimes the memory is so bad they forget it is not happening at that moment (Hauksson 21; Herman, M.D. 37). These are things the doctor said might happen. Why did this happen to them? Their life could have been normal. It is not their fault, or maybe it is. That’s what their tormentor said (Herman, M.D. 94; Hauksson 20). How do survivors get and keep a job with this kind of mental stress or a physical disability? With no job, they cannot provide their family with a place to live or something to eat. They may be unfamiliar with ways in which they can receive help (Ward). Maybe they find work and have to work several jobs, but they barely sleep.
That’s just as well because the nightmares keep them up or make sleep restless anyway (Hauksson 20-21). Their health gets worse. But there is no time to deal with that because other things are more pressing. Their kids are growing, which means they need bigger shoes and new clothes. The school is having another field trip and the church has a youth activity. How can they afford their kids to participate in those activities? How can they make sure their kids are able to live a normal and happy life and not feel like they are missing out? The survivors do not know anyone in their building, yet t is terrifying for them to think about introducing themselves (Hauksson 9). Their kids have not made any friends to play with at home and there is no one to talk to as a friend (Hauksson 18). The survivors may have no car to drive across town, money to afford the gas, or time to spare between jobs. Some people try to help with different things, but it makes the survivor’s life harder because they do not understand what they need. Why don’t they ask? Many times they help either once or a few times before they are never heard from again. Perhaps it is because their sense of obligation to help has been met (Ward). Why won’t anyone stick around and get to know them? Nothing seems to be constant in their life. The demands of normal life on top of what the torture survivors are experiencing are too overwhelming. How can they focus on healing with everything that is going on with their life? They just need some peace—at least in one area of their life perhaps. Their life before was difficult to bear, but now it haunts them every day through little episodes of torture—one right after another. They physically, spiritually, socially, financially, legally, emotionally, and mentally need peace in their lives.
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Healing trauma
figure 2. peace
preliminary research
figure 3. holistic healing
>architecture as healing Gesler’s concept of healing can be thought of as a holistic process that connects and integrates the physical, mental, spiritual, emotional, and social aspects of the human being. This process is ongoing, must be meaningful and have a humanistic approach, and comes from within. The path to healing involves more than just a cure. The scientific and medical community is only beginning to discover the connections and implications that the different aspects of the body have on each other. The second part of Gesler’s concept of healing is that healing always happens in a place, therefore, place also has an important contribution toward healing. There are four types of environments that Gesler identifies as being important to making a healing place: natural, built, symbolic, and social. Since architecture is the practice of making place, architecture can also affect healing (Gesler)..
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>natural environment _ Gardens (flower and vegetable) with paths to walk through and sit and meditate in smaller places of refuge _ An open, grassy space amidst the fields to allow for games such as soccer _ Bird feeders to attract birds near building _ Plants indoors _ Views to outside _ Access to light
figure 4. natural environment
>built environment _ No long, straight hallways, but rather shorter ones broken up by open spaces and windows _ Use of thick construction methods to indicate strength and safety _ Courtyard to provide a place outdoors that is also protected _ Fully supported kitchen spaces
figure 5. built environment
>symbolic environment _ Community expressed through the sharing and preparing of food (a cross cultural practice) in the kitchen _ Building form that embraces _ Healing gardens that reflect growth and survival through plants _ Smaller structures or spaces throughout site for contemplation
>social environment
figure 6. symbolic environment
_ Kitchen area to cook together (and accommodations for children) _ Outdoor courtyard for large gatherings _ Indoor courtyards/ gathering spaces _ Small spaces to sit and talk in small groups _ Places to eat together (possibility for outdoors) _Play room and playground for children figure 7. social environment
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case studies
preliminary research
>maggie centres, united kingdom Maggie Centres across the United Kingdom help to promote healing through community. They are places to rest and reflect surrounded by vegetation and gardens. Each Maggie Centre has a kitchen where people can gather to eat, or talk, or just be. It is the central community hub, with access adjacent to it to allow for maximum use. The Maggie Centre in Gartnaval surrounds a single courtyard, providing views into the courtyard as well as specific views out into the landscaped building site. Also at Gartnaval is a room for contemplation and reflection. The skylight allows for natural daylighting as well as symbolism for inspiration.
figure 9. maggie center gartnaval, courtyard view
The Maggie Centre at West London also has a courtyard, however, you have to walk through it to enter the building. The walls shield the courtyard from the busy city life in which it is located, providing a little haven for those who are recovering. figure 10. maggie centre gartnaval, skylight
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figure 8. maggie centre gartnaval
figure 11. maggie centre west london
figure 12. leo surgical clinic
>leo surgical clinic, burkino fasa, africa Since many people in Burkino Fasa, Africa are wary of medical buildings (Divisare), the clinic was designed to attract people to it and give it a sense of community. This is achieved through the courtyard and playful nature of the building design. The two wings of the building are like a zipper that is pulled together by the courtyard and the action that happens there.
figure 13. floor plan
The main circulation happens along the axis between the buildings with secondary circulation along the perimeters of the buildings to the patios or to exit off of the platform. However, places of rest and gathering happen on the perimeters of the building and the platform. Perhaps the biggest healing aspect of the Leo Surgical Clinic can be found in the way it approaches community. No one is isolated, but they are given privacy when needed. The clinic makes the people of the community feel welcomed, it meets their needs, and it encourages use for patients as well as visitors. By doing so, this is a happy place of healing.
figure 14. courtyard
Just as being together in a community is important for the people seeking medical treatment, it is important for people seeking healing from torture as well. figure 15. places of rest and gathering
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>program & evaluation Programming is the process of evaluating relevant research and planning the organization of the building. We determine the needed spaces, the equipment and support for those spaces, the minimum square-footage of those spaces, and the potential height requirements. This later becomes the framework for the design process. The concept creates a vision of the desired end result of the building design. What do we want the building to accomplish? We also create fictional people who represent different potential users of our building, called avatars. These people help guide the experience of the building on a human level.
SECTION II >program & evaluation
conceptual approach
program & evaluation
>vision I propose that the Center of Healing embrace torture survivors into a community of fellowship so in order to redeem their lives through freedom from the past and be inspired toward a future of hope and peace..
_ embrace These spaces primarily promote gathering together and community. They are welcoming spaces for all users to interact. They are a place for families to be in the same place, for women to befriend each other and kids to play together. This is where people are embraced into something bigger than themselves.
_ redeem These spaces are related to therapy and healing. They are focused on redeeming the past with the help of others or on allowing reflection and release as an individual. This is where freedom is found. This is where the horrible past is restored to make room for something better.
_ inspire These spaces breathe new life into people. Where there once was trauma, there is now room for something else; things that make the body, mind, and soul alive. This is where the second chance starts and the hope for new life comes true.
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figure 16. major spaces
figure 17. concept definitions
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building program
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figure 18. program square footage
program & evaluation
figure 19. total building with circulation
>entry lobby
>indoor playroom
This is the first impression of the building and should be welcoming and inviting. Clear sight lines to circulation, particularly vertical circulation, and a welcome desk are important.
Kids play together. The younger they are, the less it matters if you speak the same language or have anything in common other than being a tiny human and liking to play. This space is for children to bond together and make friends. This area will also be where mothers can safely leave their children while they go to an appointment somewhere else in the building.
>community kitchen This is the heart of the center. Community is a key component to healing at this center, and that can be difficult with many languages and cultures in the same place. However, food is cross-cultural. Everyone eats and prepares food. Many cultures do this together and bond over food. Therefore a kitchen is a great place to socialize, share, heal, and bond women and children into a community. The kitchen also reflects the idea of nurturing, something mothers do for their children. This is a place where everyone can be nurtured toward healing. The kitchen will essentially be multiple kitchens in one space to allow for groups to cook at the same time. However, there will be common workspace as well. The kitchen will be accessible and safe for children to participate in meal preparation along with their mothers and friends. There will be a pantry for food storage and an area for eating as well. The kitchen should be near a major circulation path and central to the rest of the building.
This space will have a number of areas for kids to play with toys and use their imagination. Nooks and appropriately sized spaces will be included. There will be staff there to supervise the children whose parents are not there, so a check-in station should be included. Bathrooms should be close by.
>community space Community space are areas sprinkled throughout the building to allow for casual and/or spontaneous gatherings of people. This may be in the entry lobby, or a space tucked off the circulation path.
>quiet courtyard The quiet courtyard is an outdoor space for gathering, but on a more low-key note. This is not a courtyard designed for running around, but rather small groups, reading, or picking herbs. This space should have access to sun, but also shade. There should be vegetation, herbs to be used in the kitchen would be ideal.
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>playground
>art room
Kids have lots of energy. This area is meant to be an extension of the playroom. A safe, outdoor area for kids to play and bond. A place where the kids under supervision of the staff can be taken to play and get sunshine.
This is a space where mothers and their children can heal together through art therapy. Some healing must be done on their own, but the relationship between the mother and child should be strengthened and some healing needs to be done together.
This space should be enclosed so kids do not wander off and get lost. Slides, tunnels, swings, and balls should be included in the equipment. It should be near in proximity to the playroom.
>large courtyard
>individual counseling rooms
This courtyard is one designed for more robust use. It would be ideal if the kitchen opened up into this courtyard for larger gatherings or just because the weather is nice.
These spaces are your traditional counseling spaces that have an area for talk therapy and an area for the counselor to work when therapy is not in session. Comfortable seating, a table, desk, chair, lamps, and a file cabinet are the large furniture items that need to be accounted for. Plants and daylighting would contribute to a healing environment.
Garden space can be integrated into this courtyard and trees are welcomed. A large portion of the building should open up to this space or look onto it. this space will give borrowed views to indoor spaces and promote healing through nature and light.
>indoor private reflection These are small spaces that are very private where an individual can go to mediate, pray, reflect, or gather thoughts. If needed, two people can meet for conversation in privacy.
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There should be tables and chairs and ample space for each person to work. Storage for art supplies should be located nearby. Views to outside are also ideal.
>group therapy This is a space for groups of people to talk about the issues they are facing or have faced and offer support for one another. A round shape would be ideal for no one to be the center or attention. All would be equal. Views to outside might be distracting, but a skylight would allow daylighting. Soft, even lighting would be ideal.
>chapel
>medium classroom
This is a spaces to encourage addressing the spiritual aspect of healing. It does not need to be large, but should be able to accommodate twelve people. This space could work as a destination place on the site, one of the places of refuge.
This classroom should be able to accommodate 30 people. This space will be for children’s and adult classes. It should be furnished with movable tables and chairs. Storage should be nearby.
>small places of refuge These are spaces sprinkled throughout the site. They are protected places to meditate or reflect; to gather with a few, or one, or none. They will be along the walking paths that run through the gardens.
>flower garden Flowers are colorful and symbolize a number of things and a plant in general symbolizes rebirth and new life. The seed dies in the ground and then something beautiful comes from it. The seed didn’t die or go through the darkness in vain. Flower gardens should be integrated with the outdoor spaces and landscaping, allowing for spaces that are pulled off from the rest to sit and be surrounded by beauty.
>large classroom This classroom should be able to accommodate 50 people. This space will be for large classes and meetings. It should also be able to accommodate things such as yoga or dance. It should be furnished with movable tables and chairs to allow for flexible use. Storage space should be nearby.
>flexible office This space is for meetings that need to happen with professionals who are not kept on staff at the center. This includes lawyers, social services, or prospective employers.
>resource library Access to education is important because it opens many doors. The library is not actively teaching people like a class does, but it makes knowledge available for individuals to actively seek. This library will include subjects for kids and for adults. Resources for adults will include law and medial information as well as parenting information. A variety of books about skills will also be available. There should be space for stacks and for reading. There should be reading nooks fro kids and lamps. There should also be an area for computer research as well as computers dedicated to directory searches. There should be a space for the librarian and for books to be returned, sorted, and put back on the shelf.
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>art display
>coordinator’s office
There will be spaces for art that the visitors have made to be displayed with their consent. It is a way for the visitors to leave their mark on the center. it provides hope for those who are coming for the first time. And it provides beauty to the center.
These offices are for the program, coordinator, financial coordinator, educational coordinator, and volunteer coordinator. The financial coordinator’s office should be near in proximity to the director;s office.
>herb garden
>teacher’s offices
This is a garden to grow herbs to be used in the kitchen. Part of it needs to be in sun and part in shade depending on the herbs.
These offices are for the teachers who are on staff at the center. There is a teacher for children’s education , adult education, cooking, art, and parenting. These offices should be available for teachers to meet for appointments. They should be near to the classrooms.
>soccer field Soccer games encourage rooting for a team. Soccer is a game that is almost universal, so is perfect for bringing people together from many cultures.
>director’s office This office should be available for people to make appointments and meetings for. There should be a space for a secretary nearby to facilitate appointments and messages to the director.
>assistant’s office This office is for the assistant director and should be near in proximity to the director’s office. There should also be a printing area close by.
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>staff break room This space is to promote community and support for the staff. The staff need a private space where only staff are allowed in order to talk about their day with each other after dealing with hard cases. There should be space for eating lunch, and a kitchen area.
>volunteer station This is an area where the approved volunteers check in for the day. There should be an area where they can store their belongings.
>bathrooms Bathrooms should be near in proximity to all parts of the building. There should be some bathrooms that are specifically for small children.
>art storage There should be room to store some tables and chairs, paint, brushes, clay, paper, drawing utensils, and many other art related items.
>classroom storage There should be room tables and chairs as classroom supplies. classroom, there should and dance equipment.
to store unused well as various For the large be room for yoga
>seasonal storage This space is for storage only used part of the year such as decorations, and event supplies.
>outdoor storage This space is for gardening equipment and tools, outdoor furniture, loose playground equipment, etc.
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User definition program & evaluation >visitors The Center of Healing will be focusing on single parent families (women and their children) who have experienced or been influenced by torture and are seeking help to heal and rebuild their lives holistically. This means physically, psychologically, emotionally, and spiritually. These are people who are having significant stress in several areas of their lives all at once. They are overwhelmed and in need of help or resources on multiple fronts in order to find peace in their lives. The women and children who come to the clinic will not have serious medical issues that need constant attention. Some could have had them, but have now healed. However, they may have minor physical ailments such as somatic symptoms, headaches, etc. or physical disabilities such as missing limbs, wheelchair bound, limited mobility, etc. The women are seeking help not only for themselves but their children too who may or may not have been tortured, but have been impacted just the same and need help dealing with the trauma. Therefore both indoor and outdoor major spaces have been included for both women and children to help with the healing process.
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>aamino Aamino is a 30 year-old Somalian woman, who has lived in the U.S. for two years, has refugee status, and is seeking asylum for herself and her five kids. Her husband is a farmer stuck back home with two of their children. She identifies herself as a Sunni Muslim and is pursuing avenues to have the rest of her family join her here in the United States. Aamino is overwhelmed with her situation and needs help. She and her children use public transportation.
figure 20. aamino
>hibah Hibah (Hibat Allah) is a 21 year-old woman from Iraq. Her husband is a pastor back home and is imprisoned. Hibah identifies herself as a Christian and is a refugee seeking asylum in the United States. She would like to be reunited with her husband. Hibah would like to find a community where she feels safe. She uses public transportation.
>maria Maria is a 33 year-old woman fleeing Mexico with her 4 kids (Anna 11, Elizabeth 8, Antonio 4, Carlos 2). Her husband died one year ago, after being repeatedly imprisoned for various lengths of time by the authorities. She identifies herself as a Roman Catholic and is seeking permanent residency in the United States for herself and her children. Maria wants to make sure her children heal from the trauma they have experienced. Maria lives close enough to walk to the Center.
figure 21. hibah
figure 22. maria
>anna Anna is the eleven year-old daughter of Maria. She is the oldest child and helps her mother take care of her younger siblings. She is scared to be moving to a new place with strange people and customs. She would like to make some friends with kids who won’t look at her funny when they find out about her past. She has a hard time trusting people, especially those in authority.
figure 23. anna
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>staff >alejandra Alejandra is the Director of the Center of Healing for Torture Survivors. She is 44 years old and is the person who keeps the Center keep running. Her charisma and contacts makes her an invaluable resource to her staff. She drives to work.
figure 24. alejandra
>david David is 31 years old and is in charge of coordinating programs at the Center. He is responsible for creating the program schedules, getting volunteers, and making sure everyone has a chance to try new things.
figure 25. david
>daniel Daniel is a teacher on staff at CHTS. He is 35 years old of Somalian nationality. Daniel teaches Art and leads Art Therapy Sessions. He uses public transportation
figure 26. daniel
>michelle Michelle is a Therapist at the Center. She is 29 years old and specializes in therapies such as Splankna, Play Therapy, and Talk Therapy for individuals and groups. She drives to work
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figure 27. michelle
>volunteers >hannah Hannah is a member of the Albany, California community and regularly volunteers to teach health and nutrition classes at the Center. She lives within walking distance.
figure 28. hannah
>martha Martha is a long-time member of the Bay Area Community. She is 53 years old and emigrated from Ethiopia several years ago. Martha volunteers in several capacities which includes: giving tours, welcoming new visitors, and helping Coordinators as needed.
figure 29. martha
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>proposal This is the first attempt at a design proposal after significant research and a site visit. The specific location on the site is chosen based on site factors. Those site factors are hypothesized and confirmed or corrected. Potential building massing is explored and one configuration is chosen as the first attempt.
SECTION III >proposal
Site Strategy proposal >site condition The site is located on a part of the Gill Tract in Albany, California, across the bay from San Francisco. Across from the site on the other side of Jackson Street is an elementary school and a residential apartment building. An access road transects the site and provides access to the community garden that currently occupies the site.
figure 30. site location
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_ access
>strategy 1 -- reaching
>strategy 2 -- courtyards
figure 31.access
figure 35.access
figure 32.noise
figure 36.noise
figure 33 sunshine
figure 37. sunshine
figure 34. visibility
figure 38. visibility
Potential access to the site by car can come off of Jackson St. at almost any point and can come off of San Pablo Ave. at the access road. Buchanan has too high of traffic to consider accessing the site from that side.
_ noise A large amount of white noise comes from Buchanan St. and San Pablo, however, there is nonuniform noise that comes from Jackson St. where cars stop and start frequently.
_ sunshine Access to sunlight covers almost the entire site. The only shade comes from the tall Eucalyptus trees on the southern border of the site.
_ visibility A building would be visible anywhere on the site, however the degree of prominence varies.
_ strategies The Reaching strategy aims to stretch into the site to demonstrate access and encourage exploration. The bowl entry to the southeast embraces visitors. The Courtyard strategy encourages use of designated outdoor areas
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design proposition proposal >first review The courtyard scheme allows for multiple uses of outdoor spaces that relate to the main indoor space in the center, which contains the kitchen on the ground floor, and the library and group therapy room. Gardens are located on top of three roofs to take advantage of the California sun. The site will have gardens (green) on the majority of the site as well as embracing the parking lot. The location for this building makes an urban statement and allows for the best access to the building whether coming by car, public transportation, or walking. The screen at the front of the building helps with the noise coming from the street.
figure 39. gradient of privacy
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figure 40. program
Group Therapy
Library/ Computer
figure 41. second floor
Staff Break Room
Office Space
StorageStorage
Restroom
Office
Classroom
Storage
Storage Classrom
Office
Office
Classroom
Restroom
Storage Office
Restroom
Classrom
Security
Restroom
Flex Space
Restroom
Flex Space
Flex Space
Restroom
Counseling
Play Room
Counseling
figure 42. ground floor
Counseling
Counseling
Medical Office
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Architectural idea
proposal
figure 43. building axonometric
>refuge amidst the garden With a lack of peace in their lives, a refuge is what torture survivors need. A refuge from the world to allow for a few hours of peace and healing. This refuge is placed amidst the garden to maximize healing with nature and includes enclosed courtyards to allow for people to gather together. In order to embrace and inspire, and to help redeem, at least two people must come together. Nature has long been known to help with healing, and the site currently is used for agricultural uses. It makes sense then to preserve the site as a natural expression in the urban context, but in order to heal, let people gather in it. Let people gather in the garden to heal. The courtyard scheme allows for multiple courtyards integrated with gardens, as well as gardens on the roof for gathering.
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figure 44. site plan
The majority of the site will remain a community garden, however, there will be walking paths through it leading to small places of refuge. Protected places to meditate or reflect. To gather with a few, or one, or none. Parking will be amidst a garden as well. Due to the nature of transit
in the area, it is not expected that the amount of required parking will be used. Therefore, it is even more ideal to make the parking lot less like a typical parking lot. Trees, bioswales, and flower gardens will beautify the area and clean surface runoff.
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Bibliography chapter II AUTHOR PAGE -Frakes, Shelby. Rachel Gordon. 2011. Photograph. Joplin, Missouri.
TEXT -Association for the Prevention of Torture. A Leal Definition of Torture. n.d. 25 Aug. 2016. Divisare. Kere Architecture Surgical Clinic and Health Center. 31 March 2016. 27 Sept. 2016. Gesler, Wilbert M. Healing Places. Rpwman & Littlefield. 2003. Print. Goleman, Daniel. 25 April 1989. http:// www. nytimes.com/1989/04/25/science/grim-specialtyemerges-as-therapists-treat-victims-of-torture. html?pagewanted+all.26.Au.2016 Hauksson, Petur. n.d. http://wwwcpt.coe.int/en/ working-documents/cpt-2003-91-eng. Digital. 26 Aug. 2016. Herman, M.D., Judith Lewis. Trauma and Recovery. New York: Basic Books, 1992.
IMAGERY -figure 1. Gordon, Rachel. Lack of Peace. Kansas State University, Together: Healing Architecture for Women and Children. Manhattan, KS, 2016. Digital.. figure 2. Gordon, Rachel. Peace. Kansas State University,.Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. figure 3. Gordon, Rachel. Holistic Healing. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. figure 4. Gordon, Rachel. Natural Environment. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2017. Digital. figure 5. Gordon, Rachel. Built Environment. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2017. Digital.
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figure 6. Gordon, Rachel. Symbolic Environment.
Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2017. Digital. figure 7. Gordon, Rachel. Social Environment. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2017. Digital. figure 8. Kershner, Sarah. Section A. Kansas State University. Survivors: Healing Architecture In Response to Political Torture. Manhattan, KS, 2016. Digital. with reference to: Dezeen Magazine. Maggie’s Garnaval by OMA, 5 Oct. 2011. Web. 26 Sept. 2016. figure 9. Ruault, Philippe. Untitled. Maggie’s Gartnavel by OMA. 2011. Photograph. figure 10. Ruault, Philippe. Untitled. Maggie’s Gartnavel by OMA. 2011. Photograph. figure 11. Untitled. 2009. Rogers Stirk Harbour + Partners. Web. Accessed 09 Nov. 2016. figure 12. Kere Architecture. “Steel.” Surgical Clinic in Leo. Berlin, Germany, 2014. figure 13. Kere Architecture. “Floorplan” Surgical Clinic in Leo. Berlin, Germany, 2014. figure 14. Gordon, Rachel. Courtyard. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016. Digital. figure 15. Gordon, Rachel. Places of Rest and Gathering. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016. Digital. figure 16. Gordon, Rachel. Major Spaces. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. figure 17. Gordon, Rachel. Concept Definitions. Kansas State University,.Together: Healing Architecture for Women and Children, Manhattan, KS, 2017. Digital. figure 18. Gordon, Rachel. Program Square Footage. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital.
figure 19. Gordon, Rachel. Total Building with Circulation. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2017. Digital. figure 20. Gordon, Rachel. Aamino. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. with reference to: Hiiran Online. Somali Refugees In Kenyan Camps Queue Up To Return Home. Web. Accessed 26 Oct. 2016. figure 21. Gordon, Rachel. Hibah. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. with reference to figure 22. Gordon, Rachel. Maria. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. with reference to Once & Future Mexico. Mexican Women Face A Tough Future. Web. Accessed 26 Oct. 2016. figure 23. Gordon, Rachel. Anna. Kansas State University,.Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. with reference to Brian. Selling Trinkets. 2008. Photograph. Chichicastenango, Guatemala. Hey Brian. Accessed 26 Oct. 2016 figure 24. Gordon, Rachel. Alejandra. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2017. Digital. with reference to Gordon, Stacy. Untitled. 2012. Photograph. Joplin, MO. figure 25. Gordon, Rachel. David. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. with reference to Klein, Amanda. Untitled. 2016. Photograph. Joplin, MO. figure 26. Gordon, Rachel. Daniel. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2017. Digital. with reference to Flickr. Portraits from Ethiopia. Web. Accessed 26. Oct. 2016. figure 27. Gordon, Rachel. Michelle. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2017. Digital. with reference to Ngoh, Cheryl-lyn. Untitled. 2016. Photograph. Manhattan, KS. figure 28. Gordon, Rachel. Hannah. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2017. Digital. with reference to Cooper, Victoria. Untitled. 2017. Photograph. Joplin, MO. figure 29. Gordon, Rachel. Martha. Kansas State
University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital with reference to: The Kitchen Salon. Portrait of a Mature Woman With Grey Hair Smiling In A Casual Hooded Top. 2014. Accessed 26 Oct. 2016. figure 30. Gordon, Rachel. Site Location. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2017. Digital. with reference to: “Albany, CA.� Map. Google, 7 Sep. 1993 figure 31. Gordon, Rachel. Reaching Access. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. figure 32. Gordon, Rachel. Reaching Noise. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. figure 33. Gordon, Rachel. Reaching Sunshine. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. figure 34. Gordon, Rachel. Reaching Visibility. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. figure 35. Gordon, Rachel. Courtyards Access. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. figure 36. Gordon, Rachel. Courtyards Noise. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. figure 37. Gordon, Rachel. Courtyards Sunshine. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. figure 38. Gordon, Rachel. Courtyards Visibility. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. figure 39. Gordon, Rachel. Gradient of Privacy Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital figure 40. Gordon, Rachel. Program Diagram. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. figure 41. Gordon, Rachel. Courtyards Second Floor. Kansas State University,.Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. figure 42. Gordon, Rachel. Courtyards Ground Floor. Kansas State University,.Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital.
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figure 43. Gordon, Rachel. Courtyards Building Axonometric. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital. figure 44. Gordon, Rachel. Courtyards Site Plan. Kansas State University. Together: Healing Architecture for Women and Children, Manhattan, KS, 2016. Digital.
THANK YOU!
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VOICE
>weaving healing architecture with music therapy chapter III
>foreword The studio project explores the relationships between human well-being and architecture through design of a facility, the purpose of which is to support the rehabilitation of torture survivors. Every person has a voice. No matter the circumstance, there is a spirit inside every soul that is resonating and awaiting a time to speak. The following research and design focuses on healing the unique voice of those who have been silenced by physical and psychological trauma. The manifestation of voice is translated from theory to reality through the architectural exploration of the djembe, and its relationship to music therapy. The djembe is a central part of African culture that embodies a spirit of empowerment and connection. It too, has a unique voice that beckons everyone involved to gather together in peace.
THE AUTHOR chapter III >brianna grimm I am a fifth year Master’s of Architecture student who is trying to figure out where I fit into the picture. I have been told that our lives are a series of puzzle pieces that come together one-by-one until you are able to look back on life and see the magnificent picture that was created by your impact. Though I may not know what the next piece will look like after I graduate in May 2017, I do trust that this research and project I will leave behind will touch many lives. I believe in the power of music and the necessity of finding, preserving, and giving back the unique voice that every person has. If anything, I hope this book encourages all readers to begin the journey of understanding what their own voice is. It exists. It is only a matter of discovery. Thank you for readings! Composed by,
Brianna Grimm
TABLE OF CONTENTS chapter III SECTION I _ research _ torture & its effects _ music therapy _ healing environment SECTION I _ site selection _ contextual parameters _ urban strategy _ design options _ site strategy SECTION III _ program & evaluation _ conceptual approach _ architectural idea _ building code _ building program _ program analysis _ building users SECTION IV _ finding my voice _ wood working SECTION V _ proposal _ review one _ review two _ structure _ precedents _ review three BIBLIOGRAPHY
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>research Almost 1% of the world’s population has been forcibly displaced from their homes (Connor). This unprecedented landmark has sent a wave of tens of thousands of refugees to the United States. Many are left with physical and emotional scars from political torture. The California Center for Torture Survivors in Albany, CA, embraces music therapy as a means to aid these refugees, as well as the surrounding community in healing from the effects of torture. The following chapter covers the research that links music both to the torture and the healing process.
SECTION I >research
torture research >traumatization The process of addressing political torture around the world is overwhelming. One does not have to look far to encounter the wrong being done to innocent souls. Currently, 1 in 113 people around the world are internally displaced, many of which have experienced torture in the process (Huber). This is a problem of global scale. An oddity of music is that it has been used both as torture and as rehabilitation from torture. Music has a powerful influence, but when this power is misused and manipulated it can lead to great harm. The nature of music as torture expresses a relationship, “characterized by complete power of one over the other- an unequal relationship which obviously always exists between the torturer and the victim� (Grant). The focus of music as torture is most often in the constant exposure to loud sounds. This effects more than just the ears, but also the mind. There are also cases where singing or dancing is forced upon people for prolonged periods of time to the point of physical exhaustion and humiliation. The forced action of singing or dancing can occur while people have been physically beaten. These actions have been linked to Post-Traumatic Stress Disorder. It is hard to distinguish if all of the victim’s symptoms are linked to music torture when other forms of torture have been used as well (Grant). There are other traumatic happenings that are a part of being a refugee that need to be healed even if one has not experienced torture. It is important to note that refugees of all kinds experience loss of people, home, culture, and the familiarity of their former life (Sutton, 120). Also, icarious traumatization can possibly occur for any person close to a survivor of political torture (Herman, 140). In 2016, a survey was done of the top countries that people were fleeing from, and why they were leaving. Each country and community of people have unique cultural differences. These contrasts come amidst a global scale problem, but music has the ability to mediate the tension and pain that exists.
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e ea st ri c an ern in in flu hi flu gh en e nc er ce e nu lo m w be er ro nu f m be refu ge ro es fr ef ug ee s
dl
af
id m
figure 1. top refugee countries in 2016
albany, california
Empowered & Connected
Disempowered & Disconnected
>displacement around the world _ Syria -- There are 4.8 million refugees trying to escape Civil War and ISIS forces since 2011 alone (Huber). _ Afghanistan -- There are 2.6 million refugees fleeing increased violence (Huber). _ Somalia -- There are 980,000 refugees fleeing instability of the area (Huber). _ South Sudan -- There are 727,000 refugees fleeing the ongoing violence and food insecurity (Huber). _ Sudan -- There are 641,000 refugees running from conflict and instability (Huber). _ Democratic Republic of the Congo -- There are
people fleeing mass executions, mutilations, and rape by armed militants (Tisdall). _ Myanmar (Burma) -- There are many Rohingya people fleeing government persecution (Woodruff). _ Central African Republic -- The are thousands escaping increasing violence of the two opposing militias (Schlein). _ Iraq -- There are people fleeing ISIS, as well as continued ethnic tension between Sunni/Shia and Arab/Kurd groups (Jansen). _ Eritrea -- The people are under a repressive dictatorship and militant government (Jansen).
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MUSIC THERAPY
research
>healing impact Despite the global scale issues and the cultural differences, there are anatomical similarities that exist in all people. When brought to the human scale, music is able to mediate the vast differences. Music has a powerful yet intangible impact on all people. “Music activates more parts of the brain than any other function that people perform” (“Music and Learning”). Even without the use of all five sense, music can still heal. Music can engage the nucleus accumbens and amygdala to create emotional reactions, as well as reduce the risk of depression and anxiety. The prefrontal cortex is in charge of behavior, expression, and decision making, in addition to releasing dopamine to help make people feel good. The corpus callosum is engaged in the music making process and it connects the creative right hemisphere with the logical left hemisphere of the brain (“Music and Learning”). The motor cortex activates movement in response to music often in the form of dancing or playing an instrument. The sensory cortex is responsible for the tactile feedback of the movements made in dancing or creating music. The auditory cortex activates listening to sounds, as well as perceiving and analyzing the tones of the music that is heard (“Music and Learning”). The hippocampus creates and stores music memories, experiences, and context to be called upon later. The visual cortex is responsible for the reading of music and lyrics, as well as looking at one’s dance moves. The cerebellum coordinates the movement of dancing and playing an instrument, and the emotional reaction one has to the process. The brain stem controls breathing and heart rates, and most importantly reduces the perception of pain (“Music Therapy and Pain”). Some may believe that music only has a psychological impact on people, but study of the physiology of the brain reveals the power of music to also heal physically. This is important for political torture survivors to receive care that indirectly improves their quality of life physically and psychologically.
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motor cortex
sensory cortex
corpus callosum
auditory cortex
hippocampus
prefrontal cortex
visual cortex
cerebellum
nucleus accumbens & amygdala
brain stem
figure 2. musical impact on the brain
>stages of healing “Creativity is resistance to oppression... Creating something new is an act of defiance in the face of destruction. Survivors of devastating experiences often talk about finding their voice and their power” (Sutton, 76).
The healing process and recovery include, “the empowerment of the survivor and the creation of new connections” (Herman, 133). Finding one’s voice again involves nurturing, protecting, and collaborating in order to regain control of one’s life. 99
healing environment research >wholeness Healing is wholeness. A solution provided for the body or mind alone is not capable of complete healing. According to Wilbert M. Gesler in, “Healing Places,� taking a multidimensional approach to healing integrates physical and mental components along with spiritual, emotional, and social elements (2). The codependency of these elements creates wholeness, yet the pieces become irrelevant without an inner willingness to heal (4). Consequently, healing is also an attitude. To support a healing attitude, a purpose must be identifiable. Wholeness is achieved when physical, mental, spiritual, emotional, and social well-being is paired with a willing attitude to assume a meaningful regimen. Therefore, to understand healing; physical, mental, spiritual, emotional, and social health needs to be defined. Physical health is a body fueled by a balanced diet and exercise, and lacking in disease or fatigue. Mental health is a mind in positive spiritual, emotional, and social state. Spiritual health is a peace that comes from a source greater than one’s self. Emotional health is the ability to cope with the normal stress and challenges in life. Social health is gained from contributing meaningfully to a community. Considering these aspects of healing, and translating them to architecture means informed design. A healing environment will include a built, natural, symbolic, and social environment (7). The California Center for Torture Survivors needs to heal all users by contributing to their overall wellbeing. Healing is one aspect of wellbeing, but the center must also empower, reconnect, and protect its users.
100
According to Wilbert M. Gesler in, “Healing Places,” a healing environment will include a built, natural, symbolic, and social environment (7) --
>built environment The goal of the built environment is to create a soothing environment in which winding circulation, coordinated with structure and light, will create a harmonious and healing rhythm. figure 3. built environment
>natural environment The goal of the natural environment is to weave together the interior and exterior spaces seamlessly, so that access to nature is undeniable.
figure 4. natural environment
>social environment The goal of the social environment is to allow for planned and serendipitous gatherings between refugees, staff, and community members that lead to a sharing of voices. figure 5. social environment
>symbolic environment The goal of the symbolic environment is to embody the idea of, “Everyone gather together in peace,” as expressed by the djembe.
figure 6. symbolic environment
101
>site selection The process of selecting a site for the California Center for Torture Survivors changed over the course of study due to a variety of factors including a site visit in early November of 2016. The site location, urban strategy, impact of the contextual parameters, and site strategy all grew out of the opportunities and challenges that were identified on the designated lot and surrounding context. Several options were presented at different locations on the site. The following chapter defines the process of coming to the optimal location based on several factors, so multiple building forms were tested and evaluated.
SECTION II >site selection
contextual parameters site selection >analysis When conducting site analysis a variety of opportunities and challenges arose. These parameters aid in making decisions as how to place the building on site as well as what existing programs and conditions to pull from.
figure 1. access primarily east & west
police & fire station school & church ohlone circle
university housing
figure 2. bus transportation north, east, south, & west
104
figure 3. context
id ild i op ng en ma sp ss ac e vo
bu
figure 6.
N
W
figure 4. winds primarily north & west
S figure 5. southern sun
figure 6. figure/ground
105
urban strategy site selection >community outreach The best way to engage the urban context is to have a direct community connection. Currently located on the site is a community garden. In order to respect the existing program, it will remain. The center will expand on its services to better connect to the community. There are four main fields that are being used for productive gardens and research. The fields can be rotated to accommodate a new building along the road, then the services can continue and be embraced by the new center. This creates an automatic user group tied to the building. The food produced in the gardens can be brought to the center as donations, and be distributed through the market to refugees and other community members in need. The nutritious food will end up on the tables of those who need it the most, and they will hopefully return to the facility later on to experience other program services.
>>>
figure 7. community garden to market to table
106
>>>
ar ea le
s
ild
ab
fie ld
bu
le ab
id
ea l
gr ow figure 8. existing fields
1
figure 9. buildable opportunity
BUILD
2 3
4
?
>>>
2 3
4
1
>strategy The fields identified above are currently used as part of the Gill Tract in Albany, CA. Fields one through three are primarily used for crop research at the University of California, Berkeley. Field four is being used as a community garden with many volunteers. There is a children’s area, herb garden, and various plots maintained by community members.
If field one would be shifted down to the plot of land that is not regularly used, then space would be left for the center. This location at the northwest corner allows for seamless public engagement. A positive urban strategy is one that plays off of the strengths of the site to enhance them.
107
design optionssite selection
figure 10. nest
figure 11. bend
>nest
>bend
+ centrally located
+ addresses the urban context
+ preserves views of fields
- removes existing trees
- does NOT address the urban context
- ignores west side
>evaluation The evident parameters and urban strategy left room for a variety of site location options and building forms. A
108
different location along the nine acre site was tested and evaluated to reveal the strongest possibility for further expansion.
figure 12. scattered
figure 13. drum
>scattered
>drum
+ addresses west side
+ connects to the school for collaboration
+ near the creek
+ connects to police station for protection
- lacks community connections
+ views of field for nurturing
109
site strategy site selection >development The building is situated at the northwest corner to engage the urban context and build community connections. There is a parking lot that ties in with the road that connects to the school parking. The existing community gardens will be kept with the addition of pathways throughout to better connect the overall site. A variety of courtyards will exist around the building to create private and intimate exterior space. Access pathways will be made at the major corners and edges of the site to include the northwest and northeast street intersections as well as the west edge along the school and the east edge along San Pablo Ave. These access paths are near to the bus stops around the perimeter of the site. The location of the building will allow for the channeling of the predominately west and northwest winds across the site and through the building.
figure 14. northwest of site
110
?
figure 15. site development plan
111
>program & evaluation The program of the California Center for Torture Survivors is what makes the building sing. The center can only address the grand need of its users if it has appropriate spaces and services to offer them. Not only are the spaces and service important, but they must be meaningfully arranged to speak to something greater. It is a center that knits together many different facets into one unified structure that serves the community. The following chapter explores the spatial pieces and how they should be ordered.
SECTION III >program & evaluation
conceptual approachprogram & evaluation “anke djé, anke bé” spirit of the maker
spirit of the animal
spirit of the tree figure 1. djembe
djembe spirits >>>
3 spirits
=
1 djembe 1 building
114
collaborate identities >
skin >
protect identity >
wood >
nurture identity >
sharing spaces
>>>
rope >
>>>
listening & creating spaces
embodiment of spirits
=
healing process >>>
serving & thinking spaces
embodiment of healing
3 materials
>djembe Drums are among the oldest instruments known to mankind. They can be found as a source of music and ritual in every culture of the world.
The djembe is an African drum that received its name from the saying, “Anke djé, anke bé,” which translates to, “Everyone gather together in peace” (DiLullo). 115
architectural idea program & evaluation >rhythmic vessel The architecture will support the concept of the djembe through the idea of a rhythmic vessel. My proposal is to create a rhythmic vessel in which music therapy restores the unique voice of each person while mediating differences, so that everyone can gather together in peace.
figure 2. flowforms in nature
116
figure 3. sound creation
figure 4. flowform circulation
>djembe in section
>rhythmic circulation
An exploration of the djembe in section leads to an understanding of voice. Depending on the thickness of the wood and the depth of the bowl, a great variety of sounds are created (Tauber).
The notion of compression and release of sound smoothly translates to the idea of creating rhythm. Rhythm is the result of unity and variety. The architecture of the Center has unity in the linear shape of the structure, as well as variety in the circular circulation of interior spaces, which is comparable to the motion of water in flow forms. The movements of nature are healing rhythms that should be inherently present in the design.
Sound originates from an exterior input on the skin of the drum causing the voice to build inside the bowl of the drum in an intimate place, and then is released as an exterior output through the base of the drum.
117
BUILDING CODE program & evaluation >parking In Chapter 20 of the Albany Land Development Code, it specifies a 1/400 ratio for buildings with spaces identified as “Cultural Activities.” For every 400 square-feet of gross floor area in the building there must be one parking space. The building proposal calls for 14,150sf of building program with an additional 9,050sf of circulation all classified as “Cultural Activities.” Therefore, there must be 57 parking spots. The 2015 International Building Code calls for 3 of those parking spaces to be handicap accessible for every 51-75 parking spaces available.
>plumbing fixtures The International Building Code Council specifies that the plumbing fixtures in the building be accounted for by group type. There are A-4, Assembly; B, Business; E, Educational; I-2, Visitor; I-4, Childcare; M, Mercantile; and S, Storage type spaces in the building. According to the occupancies of each space there must be a total of 10 male water closets, 13 female water closets, 14 lavatories, 4 drinking fountains, and 3 service sinks available to the building users.
>space requirements On the following page are the space requirements per occupancy type according to the 2015 International Building Code. Space
Total SF Parking
Serve/Think
Water Closets (M) (F) Lavatories (M) (F) Drinking Fountain Service Sink
Serve/Think 3850
9
Listen/Create 6050
15
3 3
2
1
3 3
2 2
1
1
Share 4250
33
14150
57
Total
figure 5. parking and plumbing requirements
118
3 3 Listen/Create
Share
Total
Space
4 7
2 2
1
1
10 13
7 7
4
3
Space
Occupants
Occupancy Type
Occ. Load Factor
Code Occupancy
Quantity
Sq. Ft.
Net Sq. Ft.
Serve Entry
1
Standing Space
5
5
1
25
25
Lobby
20
Unconcentrated Assembly
15
300
1
300
300
Break Room
15
Unconcentrated Assembly
15
225
1
225
225
Storage
1
Accessory
300
300
1
300
300
Janitor
1
Other
25
25
1
25
25
Bathrooms
1
Other
50
50
2
50
100
Subtotal
39
7
925
975
Think Reception
10
Unconcentrated Assembly
15
150
1
150
150
Consultation Room
15
Unconcentrated Assembly
15
225
1
225
225
MT Offices
4
Shops/Vocational Room
50
200
4
200
800
CBT Offices
4
Shops/Vocational Room
50
200
4
200
800
Interpretors Office
2
Business
100
200
1
200
200
Group Therapy Room
20
Classroom Area
20
400
1
400
400
Music Therapy Director
2
Business
100
200
1
200
200
Bathrooms
1
Other
50
50
2
50
100
15
1625
Subtotal
58 97
2875 3850
Listen Private Listening Rooms
1
Reading Rooms
50
50
4
50
Librarian’s Office
1
Business
100
100
1
200
200 200
Music Library
15
Stack Area
100
1500
1
1500
1500
Music Lounge
30
Reading Rooms
50
1500
1
1500
1500
Subtotal
47
7
3250
3400
Create Group Creating Classrooms
20
Classroom Area
20
400
2
400
Resource/Community Director Office
2
Business
100
200
1
200
200
Instrument Making Room
20
Shops/Vocational Room
50
1000
1
1000
1000
Childcare Area
10
Daycare
35
350
1
350
350
Childcare Provider
2
Business
100
200
1
200
200
Bathrooms
1
Other
50
50
2
50
Subtotal
55
8
2200
102
800
100
2650 6050
Share Ticketing Area
50
Unconcentrated Assembly
15
750
1
750
Facility Director’s Office
1
Business
100
100
1
200
750 200
Auditorium
200
Assembly
7
1400
1
1400
1400
Stage
20
Stages and Platforms
15
300
1
300
300
Market
20
Mercantile
60
1200
1
1200
1200
Drop-Off Area
1
Accessory
300
300
1
300
300
Bathrooms
1
Other
50
50
2
50
Subtotal
293
8
4200
Total Occupancy
Total Quantity
492
45
100
4250 Total Sq. Ft. 14150
figure 6. space requirements
119
building program program & evaluation
Zone 1
3,850 sf
97 occupants
27%
+ Zone 2
6,050 sf
102 occupants
43%
+ Zone 3
4,250 sf
293 occupants
30%
= 100%
120
14,150 sf
492 max occupants
>serving spaces
>thinking spaces
Entry -- 25sf The main entrance for all user types. It is a powerful and clear space with great light and visibility.
Lobby -- 300sf The lobby is for all user types. It engages the urban context, and encourages s e re nd i p i to u s interactions. Provides orientation to the other services in the building.
Reception -- 150sf A space for people to wait before any therapy sessions. There should be plenty of movable chairs and tables. The views should be out, but not necessarily in.
Consultation -- 225sf A small room for consultations that can double as a room for therapy staff meetings. It would hold 10 people at the most.
Break Room -- 225sf A space to honor staff and care for them in their time not serving. It would be near all offices and have a connection to the outdoors.
Storage -- 300sf
M Therapy Offices -- 200sf These are individualized offices for therapists conducting Music Therapy; receptive, improvisation, recreative, and composition. They are fun and loud.
CB Therapy Offices -- 200sf These are individualized offices for therapists conducting CognitiveBehavioral Therapy. They are for 2 to 3 people, and have a view out.
Bathroom -- 50sf
Janitor -- 25sf
Interpreters’ Office -- 200sf A flex office space that can be used for volunteers and the interpreters that come through the facility. It would be near the break room.
Group MT Room -- 400sf A larger space for 10 to 15 people of any age to perform group Music Therapy. There is nice storage for instruments and great lighting. It can hold a piano and drums.
Bathroom -- 50sf
Therapy Director -- 200sf A slightly larger office with a view out, and is close to the other therapy offices.
zone 1> semi-quiet, “you”
= 3,850 sf = 97 max occupants
121
>listening spaces
>creating spaces
Listening Rooms -- 50sf These are small nodes where individuals can be alone to listen to one of the mediums of music from the library.
Librarian’s Office -- 200sf A small and quiet space with a view. Here the librarian can manage, organize, and collect the materials.
Creating Class -- 400sf Individuals or small groups can use the room to make music, sing, and dance. They hold 20 people, have great light and are loud. They can hold a piano and other instruments.
Resource Director -- 200sf A more public office with direct connection to the creating spaces and childcare areas. A space to coordinate the use of the instrument, creating rooms, and market.
Music Library -- 1500sf A quieter space with books, records, tapes, CDs, and digital streaming areas. People are welcome to discover all sorts of genres of music from around the world.
Music Lounge -- 1500sf A large public space that will act as a reception into the listening and creating spaces. It can be loud, and has great views in and out. People can pass through, and sit and stay for a while.
Instrument Room -- 1000sf This public space will hold 20 people, and is a place where people can make their own drum as well as play music. There will be a lot of storage.
Childcare Area -- 350sf A louder and fun space for children to engage with instruments and nature.
Childcare Provider -- 200sf A quiet space for the provider to relax, yet still maintain control over the play area
Bathroom -- 50sf
zone 2> semi-loud, “you & us” 122
= 6,050 sf = 102 max occupants
>sharing spaces
Ticketing Area -- 750sf A waiting area outside of the main auditorium. A space that is open and sociable, but acts as a buffer between the exit and the auditorium.
Facility Director’s -- 200sf Office for the one who coordinates events and keeps the building up and running. The office is near the front with easy access, but also can be closed off for office work.
Auditorium -- 1400sf A community center for multi-cultural and inter-generational sharing. Singing, dancing, and playing music occur. It will have a visual connection to the urban context and outdoors.
Market -- 1200sf An open and public space for instruments and food to be shared with the community. Food from the community garden can be dropped off and distributed here.
Drop-Off Area -- 300sf This space is support and storage for the market.
Bathroom -- 50sf
zone 3> loud, “us”
Stage -- 300sf
= 4,250 sf = 293 max occupants
123
program analysis program & evaluation
serve
think
listen
outdoor space
share
figure 7. outdoor space
124
create
Entry Interpreters’ Office Mechanical/ Storage
Group Therapy
Therapy Office
Break Room
Therapy Office Therapy Office
Reception
Directors’ Office
Lobby
Janitor
Therapy Office Consultation Room
Outdoor Amphitheater
Ticketing Area Librarian
Auditorium
Music Lounge
Instrument Making Room
Music Library
Market
Resource Office Drop-Off
Childcare Area
Listening
Listening Listening
Provider’s Office
Group Creating Room Group Creating Room
figure 8. program adjacency
125
quiet
semi-quiet
semi-loud
loud
Music Library
Music Lounge
Auditorium
Therapy Office
Directors’ Office
Listening Consultation Room
Instrument Making Room Market
Entry Group Creating Room Reception Outdoor Amphitheater Lobby Break Room
Group Therapy
>sound experience The flow of noise in a space must be monitored to promote a healing environment. 126
Childcare Area
private
semi-private
semi-public
Listening
public
Entry
Music Library
Music Lounge Lobby
Therapy Office
Childcare Area
Directors’ Office
Instrument Making Room
Auditorium
Group Creating Room Market
Consultation Room
Group Therapy
Break Room Reception
Outdoor Amphitheater
>privacy gradient The flow of spaces from public to private should also relate to the flow of sound in the Center. 127
>receiving therapy
>providing therapy
>working
Entry
Entry
Entry
Lobby
Lobby
Lobby
Consultation Room
Break Room
Break Room
Reception
Group Therapy
Conference Room
Therapy Office Group Therapy
>flow of structured functions The movement of people, material, and information from location to location based on activity. 128
Therapy Office
Directors’ Office
Conference Room
Therapy Office
>participating in a class
>giving a performance
>watching a performance
Entry
Entry
Entry
Lobby
Lobby
Lobby
Instrument Making Room
Group Creating Room
Outdoor Amphitheater
Auditorium
Auditorium
Stage
Market
Stage
Outdoor Amphitheater
129
>practicing with a group
>practicing alone
>creating alone
>creating with a group
Entry
Entry
Entry
Entry
Lobby
Lobby
Lobby
Lobby
Music Library
Music Library
Group Creating Room
Creating
Listening
Creating
Music Lounge
Group Creating Room
>flow of unstructured functions The movement of people, material, and information from location to location based on activity. 130
>coming to the market
>waiting area
>cleaning
Entry
Entry
Entry
Lobby
Lobby
Lobby
Mechanical/ Storage Market
Music Lounge
Janitor
Bath
Music Library
Listening
131
>therapy session
>creating instruments
Reception
Bath
Instrument Making Room
Market
Therapy Office
Consultation Room
Group Therapy
Bath
>practicing songs, dances, music
>writing songs, dances, music
Group Creating Room
Creating
Listening
Music Library
Bath Bath
>proximity The shortest distance required for services. 132
Creating
>working in the office
>giving a performance Bath Mechanical/ Storage
Directors’ Office
Ticketing Area
Break Room Therapy Office
Auditorium
Bath
>waiting
>listening to songs or music
Reception Market Music Lounge
Lobby
Music Library
Music Lounge Listening
133
building users program & evaluation >occupants Staff & Therapists -- They have come to help the refugees heal. All will need support to maintain their own wellness through self-care. They oversee the therapy of refugees, connect them to resources, maintain the facility, run the market, advocate to the community, and care for themselves. Refugees -- They have fled their homes in other countries due to political unrest. Some have been tortured, many have witnessed torture, and few escaped without trauma. Language is a barrier. Cultural customs and beliefs differ and conflict. Age ranges through all generations. They may come alone, with families separated, or with the whole family. They all need resources; food, home, education, asylum, support, and healing. Some will need therapy, while others will spend time waiting on their loved ones, participating in community activities, and caring for themselves. Community -- They are potentially unaware of the refugee cause, somewhat aware and uneducated, or aware and well researched. They have a different culture to share, different vantage points, and may need healing themselves. They have no initial reason to be in the center, but are invited to share in the purpose of healing and strengthening the sense of togetherness. The daily operations will include three staff members, seven therapists, fortyeight refugees, and twenty community members. On average there will be a total of seventy-eight building occupants throughout one day. The office and class hours are 9am - 5pm, while the building is open 8am - 10pm.
community
refugee
therapist 134
refugee
staff
figure 9. georgia’s circulation
Sun Mon Tue Wed Thu Fri Sat
figure 10. john’s circulation
Sun Mon Tue Wed Thu Fri Sat
figure 11. ava’s circulation
Sun Mon Tue Wed Thu Fri Sat
figure 12. georgia
figure 13. john
figure 14. ava
>georgia, 29
>john, 59
>ava, 35
Georgia has been working as a music therapist for several years, and works 9-5 to provide music therapy to groups of refugees.
John has been a therapist for many years, and works 9-5 every day of the week to provide cognitivebehavior therapy to refugees.
She specializes in the receptive method of music therapy, and is appreciative of the wide variety of material available in the music library on site.
He enjoys being able to eat his lunch in a variety of garden spaces as well as in the break room.
Ava has been a facility director for many years and takes alternating shifts to keep the center open between 8am-10pm to provide services to the community.
She takes the BART and then arrives by bus.
He drives to work each day.
She also coordinates the evening performances in the auditorium with local schools and churches. She is responsible for sourcing the materials for the drum-making. She drives to work each day. 135
figure 15. nadia’s circulation
Sun Mon Tue Wed Thu Fri Sat
Sun Mon Tue Wed Thu Fri Sat
figure 17. ammar’s circulation
Sun Mon Tue Wed Thu Fri Sat
figure 18. nadia
figure 19. kamal
figure 20. ammar
>nadia, 30
>kamal, 7
>ammar, 36
Nadia is from South Sudan; she knows much about being hungry and has watched violence ensue back home.
Kamal is Nadia’s son. He was enslaved as a child solider, but was able to be reunited with his mother.
Ammar is from Syria; he was tortured because of his beliefs.
She attends cognitivebehavior therapy once a week on Tuesdays, and enjoys stopping by the market to pick up food for the rest of the week. She brings her son in for an additional music therapy session on Thursdays, and she spends time carving her own drum or discovering new music. 136
figure 16. kamal’s circulation
Since coming to California, he attends music therapy twice a week, Tuesdays and Thursdays, one session is individual the other is group. He often enjoys exploring the gardens as his mom picks up food from the market. He and his mom walk from the University housing.
He attends group music therapy as a way to reengage with others, but he does not talk much. He prefers only to play his drum he brought from back home. He arrives by bus, and enjoys the stroll through the community gardens.
figure 21. jacob’s circulation
Sun Mon Tue Wed Thu Fri Sat
figure 22. laura’s circulation
Sun Mon Tue Wed Thu Fri Sat
figure 23. daniel’s circulation
Sun Mon Tue Wed Thu Fri Sat
figure 24. jacob
figure 25. laura
figure 26. daniel
>jacob, 12
>laura, 26
>daniel, 50
Jacob comes to the Center after school two days a week to practice his trumpet.
Laura comes to the Center on her day off of work, Thursday, to practice her clarinet and collaborate with others on composing new music.
Daniel works at the community garden most days of the week and volunteers at the market on Saturdays to provide food to the local community.
He frequently practices with other classmates in the creating classroom, and performs with his class in the auditorium. He walks from his school to the Center, and takes the bus home.
She enjoys the music lounge where she can listen to music for inspiration and meet new people. She occasionally watches the performances on Friday nights.
He enjoys seeing the fruits of his labor positively impacting others. He drives community utilizes the parking.
to
the garden Center’s
She walks to the Center from the neighborhood north of the site. 137
>finding my voice “I made a djembe. It represents far more than just wood, skin, and rope, but a unique voice of healing. All of my chiseling and carving turned into a therapeutic experience, I began to realize that what I was creating mattered. It mattered to my wellbeing, to my mental-health, and I should share the effect. All I thought I was doing was experimenting and trying to see what I could learn about architecture by shaping the shell of a drum for my thesis. Instead, I learned more about myself and the fear that was building inside of me. There were many voices that I was suppressing, because I was scared to face them. Anger was the way my fear was manifesting itself, and this became evident in how I handled the mallet and the chisel. I would swing with such force I was not aware that I had. But these voices needed to come out. I was anxious about my future and all the challenges that lay ahead, and the fear of facing them alone.” “However, no one is truly alone. God made this apparent to me as He came alongside me and took my hands, my heart, and my mind. As I was carving away at the wood, He was shaping me. My thought-process had turned dark ever since I had lived in New York City a year ago, and even coming back home to Kansas and seeing a counselor could not realign me. I needed truth and I needed love. As I stood by myself in the wood shop, singing to the music, an inner-strength was restored to me. God has given every person a unique voice, but you must fight to find it, preserve it, and give your voice to the world for the glory of God. There are forces at work against each person, trying to distract us from what God has called us to do. These are the voices of fear, but God’s voice is the one of love and light that leads to greatness. I was reminded of this by taking time to use my hands and create something different. We were all made for something special, and to not fear our unique potential to add to the world.” -- Written January 11, 2017 and shared on Facebook
SECTION IV >finding my voice
WOOD WORKINGfinding my voice >how to build a djembe The preparation for building a djembe is just as important as the carving and tuning. Begin by selecting a tree whose base is just larger than the desired diameter of the djembe. The tree should be a hardwood tree, the following example was made from a Hackberry tree in Manhattan, KS. The tree was chosen by my grandpa Bob, and it had already fallen and was dying. Once the tree has been selected, it needs to be cut to a manageable length and set aside to dry. Ideally the tree trunk should dry for at least a week to allow for shrinkage to occur. In the meantime, locate a goatskin roughly double the diameter of the planned djembe, as well as black paracord rope and two tuning rings the same size as the diameter of the djembe. All of these materials can be bought online. Tools such as a rasp, chisels in a couple sizes, and a mallet will be handy for shaping a smaller sized djembe. The wood carving tools I used cam from my grandpas, great-grandpa, and are over 150 years old. Gloves are also necessary to avoid splinters. I would suggest hefty tools if the djembe being made is much larger than 6” in diameter. The following djembe started from a tree that was 6.5” x 8” x 14” and the final product was 6” x 6” x 12”.
figure 1. tools
140
figure 2. tree stump
>step one After the tree trunk has had time to dry, it should be ready to peel off the bark. Pulling it off may not work alone, so I suggest using some sort of tool like a chisel or screwdriver to pry off the bark. From here it is easier to gage the actual size of the hardwood that is usable.
figure 3. day one bark
>step two Since the tree I was using was an oval, roughly 2� needed to be cut away from one side of the tree. A table saw is handy in this scenario to remove a bulk of the wood quickly. Thankfully my grandpa had a full wood shop equipped with many sharp objects perfect for cutting.
figure 4. day one sawing
>step three Next, I suggest beginning to chisel a dent into the top and bottom of the djembe. This way I was able to gauge how long (how many days) it might take to get to the other side.
figure 5. day one chiseling
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>step four There is still plenty of extra bulk on the exterior of the drum, so my grandpa and I attempted to spin the wood. Spinning the wood against a blade aided in removing some bulk, but the weight of the trunk was too much to fully rely on the machine.
figure 6. day two shaping
>step five Next, we used a jig to remove the knots on the exterior of the wood. The jig works much quicker than a chisel does since the grains of the wood are so tight on the knots.
figure 7. day two jig
>step six Now that the knots have been removed it is a good idea to designate where the waist of the djembe will be. I put the waist directly in the middle, so I also needed to label which side was the top and which was the bottom. I made the decision based on the grain of the wood. The side that chiseled smoother became the top for my djembe.
figure 8. day two waist
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>step seven Once I knew where the waist was I began to chisel away more of the waist. I stood the djembe on its head, and chiseled away at the base so that I left most of the bulk for the top basin.
figure 9. day three definition
>step eight I started to like the look I was getting with the shallow scoops of the chisel, so I continued that language across the entire base of the djembe. To create contrast, I used the rasp to heavily sand off and smooth out the top of the djembe basin.
figure 10. day four sculpting
>step nine After I finished the look of the exterior, I moved back to removing more of the bulk of the interior. I did this both with a hand chisel and a hand drill. Just for fun, I purchased a wood burner and inscribed the phrase for which the djembe gets its name, “Anke djé, Anke bé -- Everyone Gather Together in Peace.”
figure 11. day five hollowing
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>step ten Now that I was more familiar with the structural integrity of the shell, I felt comfortable enough to drill to the other side. A djembe has the greatest voice only if the top basin is hollowed all the way through to the base.
figure 12. day six all the way through
>step eleven After drilling all the way through, and because of fluctuations in temperature and humidity there were several cracks in the shell that needed to be filled. I used a waterproof wood glue to fill in all the cracks, as well as cover the entirety of the base to even out the color and texture. I then let the glue dry.
figure 13. day six cracks
>step twelve Once the glue had dried, it was time to begin tying. Starting with the top ring, I created a series of evenly spaced knots. This ring has eleven. I used my wood burning tool to fuse the two ends of the paracord rope together.
figure 14. day seven ring
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>step thirteen I also created a smaller ring out of rope to attach around the waist of the djembe. Then I tied the same type of eleven knots around the waist of the djembe.
figure 15. day seven seven knots
>step fourteen Before I could add the rope to tighten the knots, the goatskin needed to be added. I soaked the goatskin in warm water for several hours before placing it over the djembe. I placed the goatskin over the head, and placed the first empty ring over it to secure it in place. Then I took the second ring with the knots and fed the goatskin up through it.
figure 16. day seven skin
>step fifteen Then I began to feed the extra paracord rope between the upper and lower knots on the djembe. I could feel the tension on the goatskin building. I referred to instructions I found online for how to tune a djembe (“Tuning A Rope Djembe.�).
figure 17. day seven tuning
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>step sixteen I noticed that the goatskin was not as tight as I would like it to be, so I attempted what is called the Mali Weave. The instructions for this additional tightening were also found online (“Tuning A Rope Djembe.�).
figure 18. day seven weave
>step seventeen The final step was for me to cut the excess goatskin off with a pair of scissors. As the goatskin dried, I could tell that the tension had grown. The voice of the djembe becomes greater with this increase in tension.
figure 19. day seven excess
figure 20. before and after
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figure 21. final product
>what was learned _ thicker walls, quieter voice _ thinner walls, louder voice _ drum head has a 1:1 ratio; drum waist 1:3; drum base 1:2 _ more knots/twists = more tension _ rougher texture on the Inside creates a richer voice
_ sound is created, condensed, and released _ top is closed where the sound is created, but is open at the bottom _ if the bottom is closed, the sound is not as effective _ skin is stronger than expected _ voice is created even with cracks
_ in section, the exterior does not have to match the interior 147
>proposal The following design proposal walks through the various schemes as they evolved over a two semester time period. The first review is a schematic design iteration of the foundational conceptual and architectural idea. The second review is another pass at a schematic design that represents rhythm. The third review is a design development scheme that furthers the second iteration. All of this is the beginning of a process to discover what is the best composition for the California Center for Torture Survivors.
SECTION V >proposal
REVIEW ONE proposal >unified building The first iteration strives to take the three material and spatial elements, and weave them into one Center for Torture Survivors. The djembe represents the gathering together in peace, and the architecture will support this notion by knitting together the three separate pieces into one building. Just as the building users are vastly different from one another, the architecture will speak to the peaceful unity of different elements. Just as the djembe is a tensile structure, the building will be also. The djembe’s voice is dependent on how tight the skin is pulled around the drum head with a series of knots in the rope. The variety of tightness that exists creates the variety of voices.
figure 1. site geometry
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figure 3. three in one
figure 2. parti
RMA
SEMI
-PUB
L
PUBLIC
SE
M
Fo
I-P
RM
AL
LIC
MAL I-FoR
PUB
SEM
>>>
LIC
RI VA TE
IN-Fo
SERV E
PRIVACY
SE
RV E
E SERV
ANT SERV
SE
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T AN V R
SERVA
NT
figure 4. spatial gradients
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courtyards
ampitheater
garden pathways parking
gardens
shaded tree path
figure 5. site plan
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CREATING LOUNGE CREATING
LIBRARY
LISTENING
AUDITORIUM
BREAK ROOM OFFICE
LOBBY
OFFICE OFFICE OFFICE
THERAPY
MARKET
WAITING
figure 6. building floor plan
>site scale
>building scale
When the site is broken into building and landscape, the possibilities for both grand and intimate spaces arise.
When the building is broken into bars, and further down to individual spaces, the mixing of program is possible.
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COMPRESSION Load-Bearing
TENSION
TENSION
figure 7. structure
figure 8. sectional variety
>building organization
>healing environment
The building sorts the program into three bars to hold the three primary zones. The node between each bar acts as an access point into the variety of programmatic spaces including the central outdoor amphitheater.
Built -- plenty of sun, views, and choices
The building will utilize a tensile structural system to create a visual understanding of the interdependency and weaving together of the three parts that make one whole. The structure underneath is an independent load-bearing system. In another iteration, all of the parts will be interconnected with no independent pieces.
Social -- promote community sharing
The next iteration of the design will also need to create one powerful and clear entrance rather than three equal ones. This move will help to create hierarchy. Not every piece of the building is equal, so the hierarchy will aid in clarifying the spaces. 154
Natural -- variety of green space
Symbolic -- create the spirit of the djembe
NURTURE
PROTECT
COLLABORATE
>>> THERAPY
BREAK ROOM
WAITING
OFFICES
LIBRARY
LISTENING
MARKET
OUTDOOR AMPHITHEATER
LOUNGE LOBBY
CREATING
AUDITORIUM
figure 9. axonometric
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figure 10. milwaukee art museum
figure 11. jean-marie tjibaou cultural center
figure 12. timber and cables
figure 13. native redwood
>precedents The expression of the djembe and what is represents will be similar in nature to two other precedent buildings. Both the Milwaukee Art Museum by Santiago Calatrava and the Jean-Marie Tjibaou Cultural Center by Renzo Piano embody the spirit of a community’s notable symbol. The Art Museum was created to replicate a sail opening its wings along Lake Michigan (“Quadracci Pavilion”). The Cultural Center was made as a translation of the Kanak huts (Langdon). Both buildings are in tension which relates to the voice that is being recreated in the 156
California Center for Torture Survivors. This voice will be pronounced with the use of a wood-cladded structure with a steel frame. The metal cables elaborate on the tensile nature, and the wood will bring warmth and depth. The wood used will be the hard redwood that is native to the Berkeley area. It is important that the spirit of California is embodied in the building. All users should be able to sense something is different and have a positive visceral reaction to the materials that are expressing the form and concept of the djembe.
figure 14. northwest corner
figure 15. southwest corner
figure 16. west elevation
>models The first model was crafted with canvas paper and thread. In order to emphasize the concept of tension, the roof structure was sewn together with the taught rope extending down and connecting to the ground.
The canvas paper rests as a canopy over the three separate structures as well as over the courtyard space in the middle. The tread weaves between the canvas pieces to hold them tight as one.
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REVIEW TWO
proposal
>part of the process Following the first review, the section of the djembe needed to be explored further. A series of clay and paper models were made to capture the compression and release of sound through the body of a djembe.
Grand Release
Compression Intimate
figure 17. compression and release
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figure 18. clay study model one
figure 19. clay study model two
figure 20. push-pin study model
figure 21. clay study model three
figure 22. parti model without roof
figure 23. parti model with roof
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>>>
figure 24. new building geometry
1:2
1:1 figure 25. structural grid
figure 26. axonometric
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1:3
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figure 27. site plan
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STRUCTURE proposal >fanga The “Fanga” rhythm originated from Liberia in West Africa. It is a song of welcome that was sung in exchange between traveling tribes entering a new village. Music is the universal language, so this song was the common denominator between the various African tribes and their many different languages (Nas). In the song, the travelers would sing, “Fanga-Alafiya,” which means welcome and we come in peace. The people of the village would respond with, “Ashe, ashe,” which means so be it. The chant goes back and forth, and truly embodies the essence of peace, friendship, as well as hospitality (Nas). The following is an English translation of the full song:
“I come to you with outstretched hands, gracefully. From my mouth, I welcome you. From my heart, I reach out to the Earth. I reach out to the creator. From the East to the West, North to the South, all are welcome. There are no splinters for you to walk on. When I was hungry, you gave me foot to eat. When I was tired, you gave me a place to rest. From the bottom of my heart, fanga” (Wilson).
To play the fanga on a djembe, one must know the three notes. Djembes are unique because they have the greatest range of voice. There is the bass, tone, and slap notes. Each can be created by hitting the djembe with a certain part of your hand on either the edge of center of the drum head.
REST
figure 28. structural notes
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BASS
TONE
SLAP
figure 29. light
figure 30. fanga
>structure as a song The process of turning a song into a structure required a creative and systematic approach. Each note has been given a certain angle and height, so that when placed next to one another light can come through the space in-between. The Rest note was kept level at the roof, and given a slight bow along the wall edge. Each note increases its pitch to emphasize the actually sound created when that note is played.
The Slap note creates the highest pitch sound when played; therefore, it has the steepest pitch of a roof. The notes create only part of the structural system. Each note is paired with an angled roof to cover the majority of the programmatic spaces.
Metal Gutter Drip Edge
Finish Face -- Corrugated Sheet Metal Air Gap Waterproof Moisture Barrier Sheeting Insulation Finish Face -- Gympsum Dry Wall
Light Wood Beam Light Wood Column
Glazing
Drip Edge Light Wood Decking Floor Slab
Drain Pipe Gravel
figure 31. wall structure
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figure 32. step one
figure 33. step two
figure 34. step three
figure 35. step four
figure 36. step five
figure 37. step six
figure 38. section one
figure 39. section two
figure 40. final
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PRECEDENTS proposal >grace farms The community center by SANAA is located in New Canaan, CT. When it comes to structure, the wood underside of the ceiling is detailed to conceal all of the equipment hidden in the roof. A curved I-beam has also been utilized to support the edges of the curved form and keep the interior fairly transparent (“Grace Farms / SANAA.”).
>hazelwood school The school by Alan Dunlop is located in Glasgow, Scotland. The structure contains wood covered beam ribs placed along the main hallway. Many of the windows are in floor to ceiling casings that allow light in. The roof is an undulating butterfly roof system (Rinaldi).
>st. benedict chapel The chapel by Peter Zumthor is located in Sumvitg, Graubünden, Switzerland. It has a simple structural system similar to the hull of a boat with beautiful wood detailing. The exterior is clad with wooden shingles and snips that are typical in the local village. The interior has wood columns with a light glass clerestory (Meriin).
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figure 41. grace farms exterior
figure 42. grace farms interior
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figure 43. hazelwood school exterior
figure 44. hazelwood school interior
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figure 45. st. benedict chapel exterior
figure 46. st. benedict chapel interior
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REVIEW THREE proposal >next steps Following the structure exploration, a floor plan needed to be created. Taking the existing geometry from review two, and rotating it so that north was up allowed for new possibilities in spatial arrangements to occur. The third proposal will be simplified leading up to the final review. The notes that play along the circulation spaces will be quieted in order for the three major spaces; the auditorium, music lounge, and instrument making; to be elevated. The end conditions of the building form will also be revised moving forward.
figure 47. axonometric
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figure 48. parti
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figure 49. geometry
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figure 50. site plan
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Lobby
Auditorium
Instrument Making Office
Office Storage Breakroom
Child Care
Classroom
Drop-Off MT
MT
Office
MT
MT
Market Listen Rooms
Reception Librarian
CBT CBT CBT Lounge
CBT
Office Library
Office
GT
Lounge
Consultation
figure 51. floor plan
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figure 52. north elevation
figure 53. south elevation
figure 54. east elevation
figure 55. west elevation
>elevations The elevations begin to express the simple materiality of the Center. The floors would be light wood.
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The walls are white dry wall painted melon and light wood accents. The metal roof is held up with steel beams wrapped in wood.
figure 56. model top view
figure 57. model west elevation view
figure 58. entry way perspective
figure 59. hallway perspective
figure 60. section
>section The section is cut through the Instrument Making space on the left, and the Auditorium on the right.
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bibliography chapter III SECTION 1 -- TEXT
28 June 2016. Web. 22 Oct. 2016.
Connor, Phillip. “Key Facts About the World’s Refugees.” Pew Research Center. 5 Oct. 2016. Web. 18 Oct. 2016. Gesler, Wilbert M. “Healing Places.” 1941. Print. Grant MA, PhD, M.J. “The Illogical Logic of Music Torture.” Torture Volume 23, 2013. Print. Herman M.D., Judith. “Trauma and Recovery.” 1997. Print. Huber, Chris. Forced to Flee: Top 5 Countries Refugees are Coming From. World Vision. 28 June 2016. Web. 22 Oct. 2016. Jansen, Michael. Syria, Iraq, and Eritrea: Why People are Fleeing. Irish Times. 11 Sept. 2015. Web. 5 Dec. 2016. “Music and Learning.” OnlineCollege.net. 2012. Web. 19 Oct. 2016. “Music Therapy and Pain.” Advanced Management. 24 June 2014. Web. 19 Oct. 2016.
Pain
Schlein, Lisa. Thousands Flee Central African Republic to Escape Escalating Violence. VOA News. 8 Jul. 2016. Web. 5 Dec. 2016. Sutton, Julie P. “Music, Music Therapy and Trauma: International Perspectives.” 2002. Print. Tisdall, Simon. Tens of Thousands Flee ‘Extreme Violence’ in Congo. The Guardian. 31 May 2012. Web. 5 Dec. 2016. Woodruff, Judy. Why Thousands of Rohingya Refugee have Fled Myanmar. PBS. 15 May 2015. Web. 5 Dec. 2016.
SECTION 1 -- IMAGERY figure 1. Grimm, Brianna. “Top Ten Countries of Origin for Refugees in 2016.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. with reference to Huber, Chris. Forced to Flee: Top 5 Countries Refugees are Coming From. World Vision.
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figure 2. Grimm, Brianna. “Musical Impact on the Brain.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. with reference to “Music and Learning.” OnlineCollege. net. 2012. Web. 19 Oct. 2016. and “Music Therapy and Pain.” Advanced Pain Management. 24 June 2014. Web. 19 Oct. 2016. figure 3. “Built Environment.” Freepik. 2016. Digital. figure 4. “Natural Environment.” Freepik. 2016. Digital. figure 5. “Social Environment.” Freepik. 2016. Digital. figure 6. “Symbolic Environment.” Freepik. 2016. Digital.
SECTION 2 -- TEXT --
SECTION 2 -- IMAGERY figure 1. Grimm, Brianna. “Access.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 2. Grimm, Brianna. “Bus Transportation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. with reference to Google Maps. figure 3. Grimm, Brianna. “Context.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 4. Grimm, Brianna. “Winds.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 5. Grimm, Brianna. “Southern Sun.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 6. Grimm, Brianna. “Nolli Map.” Kansas State University. Voice: Healing Architecture as Music Therapy . Manhattan, KS, 2016. Digital.
figure 7. “Community Garden to Market to Table.” Freepik. 2016. Digital. figure 8. Grimm, Brianna. “Existing Fields.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. with reference to Google Earth. figure 9. Grimm, Brianna. “Buildable Area.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. with reference to Google Earth.
figure 5. Grimm, Brianna. “Parking and Plumbing Requirements.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 6. Grimm, Brianna. “Space Requirements.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 7. Grimm, Brianna. “Outdoor Space.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital.
figure 10. Grimm, Brianna. “Nest.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital.
figure 8. Grimm, Brianna. “Program Adjacency” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital.
figure 11. Grimm, Brianna. “Bend.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital.
figure 9. Grimm, Brianna. “Georgia’s Circulation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital.
figure 12. Grimm, Brianna. “Scattered.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital.
figure 10. Grimm, Brianna. “John’s Circulation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital.
figure 13. Grimm, Brianna. “Drum.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital.
figure 11. Grimm, Brianna. “Ava’s Circulation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital.
figure 14. Wilson, Blake. “Northwest Site.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Photograph.
figure 12. “Georgia.” Google Images, 2016. Photograph.
figure 15. Grimm, Brianna. “Site Development Plan.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital.
figure 14. “Ava.” Google Images, 2016. Photograph.
SECTION 3 -- TEXT “2015 International Building Code.” International Code Council. 2015. Web.
figure 13. “John.” Google Images, 2016. Photograph.
figure 15. Grimm, Brianna. “Nadia’s Circulation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 16. Grimm, Brianna. “Kamal’s Circulation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital.
“Albany, CA Land Development Code.” Coded Systems Powered By ClerkBase. 2017. Web.
figure 17. Grimm, Brianna. “Ammar’s Circulation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital.
DiLullo, David. “Drum Circles.” Global Drum Circles. 2016. Web. 8 Nov. 2016.
figure 18. “Nadia.” Google Images, 2016. Photograph.
Tauber, Allan. “History of the Djembe.” Boston’s Djembe Drumming Community School and Shop. 2016. Web. 18 Oct. 2016.
SECTION 3 -- IMAGERY figure 1. “Djembe.” Pocoyo Wiki. Photograph. figure 2. Lee, Maggie. “Flowforms in Nature.” Flowforms, The Rhythmic Power of Water. Flower Essence Society. 2003. Photograph. figure 3. Grimm, Brianna. “Sound Creation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 4. Grimm, Brianna. “Flowform Circulation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital.
figure 19. “Kamal.” Google Images, 2016. Photograph. figure 20. “Ammar.” Google Images, 2016. Photograph. figure 21. Grimm, Brianna. “Jacob’s Circulation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 22. Grimm, Brianna. “Laura’s Circulation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 23. Grimm, Brianna. “Daniel’s Circulation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 24. “Jacob.” Google Images, 2016. Photograph. figure 25. “Laura.” Google Images, 2016. Photograph.
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figure 26. “Daniel.” Google Images, 2016. Photograph.
SECTION 4 -- TEXT “Tuning a Rope Djembe.” Drum Circles. Web 2017. <http://www.drumcircles.net/Djembe%20Drum%20 Tuning.pdf>
figure 16. Grimm, Brianna. “Day Seven Skin.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph.
SECTION 4 -- IMAGERY
figure 17. Grimm, Brianna. “Day Seven Tuning.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph.
figure 1. Grimm, Brianna. “Tools.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph.
figure 18. Grimm, Brianna. “Day Seven Weave.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph.
figure 2. Grimm, Brianna. “Tree Stump.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph.
figure 19. Grimm, Brianna. “Day Seven Excess.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph.
figure 3. Grimm, Brianna. “Day One Bark.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph.
figure 20. Grimm, Brianna. “Before and After.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph.
figure 4. Grimm, Brianna. “Day One Sawing.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph.
figure 21. Grimm, Brianna. “Final Product.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph.
figure 5. Grimm, Brianna. “Day One Chiseling.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph.
SECTION 5 -- TEXT
figure 6. Grimm, Brianna. “Day Two Shaping.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 7. Grimm, Brianna. “Day Two Jig.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 8. Grimm, Brianna. “Day Two Wasit.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 9. Grimm, Brianna. “Day Three Definition.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 10. Grimm, Brianna. “Day Four Sculpting.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 11. Grimm, Brianna. “Day Five Hollowing.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 12. Grimm, Brianna. “Day Six All the Way Through.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 13. Grimm, Brianna. “Day Six Cracks.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 14. Grimm, Brianna. “Day Seven Ring.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph.
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figure 15. Grimm, Brianna. “Day Seven Knots.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph.
“Grace Farms / SANAA.” Arch Daily. 14 Oct 2015. Web. 2017. Langdon, David. “AD Classics: Centre Cultural JeanMarie Tjibaou/Renzo Piano.” Arch Daily. 4 Aug. 2015. Web. 15 Dec. 2016. Merin, Gili. “AD Classics: Saint Benedict Chapel / Zumthor.” Arch Daily. 25 Aug. 2013. Web. 2017. Nas, Paul. “Fanga.” WAP Pages. 30 Apr. 2004. Web. “Quadracci Pavilion.” Milwaukee Art Museum. Web. 15 Dec. 2016. Rinaldi, Marco. “Hazelwood School Glasgow by Alan Dunlop Architect.” A as Architecture. 30 Sep 2016. Web. 2017. Wilson, Sule Greg C. “Fanga.” Rhythm Bridge. 2017. Web.
SECTION 5 -- IMAGERY figure 1. Grimm, Brianna. “Building Geometry.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 2. Grimm, Brianna. “Parti.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 3. Grimm, Brianna. “Three in One.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 4. Grimm, Brianna. “Spatial Gradients.” Kansas
State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 5. Grimm, Brianna. “Site Plan.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 6. Grimm, Brianna. “Building Floor Plan.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 7. Grimm, Brianna. “Structure.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 8. Grimm, Brianna. “Sectional Variety.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 9. Grimm, Brianna. “Axonometric.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Digital. figure 10. “Milwaukee Art Museum.” Google Images, 2016. Photograph. figure 11. “Jean-Marie Tjibaou Cultural Center.” Google Images, 2016. Photograph. figure 12. “Timber and Cables.” Google Images, 2016. Photograph. figure 13. “Native Redwood.” Google Images, 2016. Photograph. figure 14. Grimm, Brianna. “Northwest Corner.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Photograph. figure 15. Grimm, Brianna. “Southwest Corner.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Photograph. figure 16. Grimm, Brianna. “West Elevation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2016. Photograph. figure 17. Grimm, Brianna. “Compression and Release.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 18. Grimm, Brianna. “Clay Study Model One.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 19. Grimm, Brianna. “Clay Study Model Two.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 20. Grimm, Brianna. “Push-Pin Study Model.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 21. Grimm, Brianna. “Clay Study Model Three.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 22. Grimm, Brianna. “Parti Model Without Roof.” Kansas State University. Voice: Healing Architecture
as Music Therapy. Manhattan, KS, 2017. Photograph. figure 23. Grimm, Brianna. “Parti Model With Roof.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 24. Grimm, Brianna. “New Building Geometry.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 25. Grimm, Brianna. “Structural Grid.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 26. Grimm, Brianna. “Axonmetric.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 27. Grimm, Brianna. “Site Plan.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 28. Grimm, Brianna. “Structural Notes.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 29. Grimm, Brianna. “Light.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 30. Grimm, Brianna. “Fanga.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. with reference to Wilson, Sule Greg C. “Fanga.” Rhythm Bridge. 2017. Web. figure 31. Grimm, Brianna. “Wall Structure.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 32. Grimm, Brianna. “Step One.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 33. Grimm, Brianna. “Step Two.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 34. Grimm, Brianna. “Step Three.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 35. Grimm, Brianna. “Step Four.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 36. Grimm, Brianna. “Step Five.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 37. Grimm, Brianna. “Step Six.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 38. Grimm, Brianna. “Section One.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 39. Grimm, Brianna. “Section Two.” Kansas State
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University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 40. Grimm, Brianna. “Final.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 41. Kaufman, Dean. “Grace Farms Exterior.” 2017. Photograph. figure 42. Kaufman, Dean. “Grace Farms Interior.” 2017. Photograph. figure 43. Dunlop, Alan. “Hazelwood School Exterior.” 2017. Photograph. figure 44. Dunlop, Alan. “Hazelwood School Interior.” 2017. Photograph. figure 45. Camus, Felipe. “Hazelwood School Exterior.” 2017. Photograph. figure 46. Camus, Felipe. “Hazelwood School Interior.” 2017. Photograph. figure 47. Grimm, Brianna. “Axonometric.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 48. Grimm, Brianna. “Parti.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 49. Grimm, Brianna. “Geometry.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 50. Grimm, Brianna. “Site Plan.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 51. Grimm, Brianna. “Floor Plan.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 52. Grimm, Brianna. “North Elevation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 53. Grimm, Brianna. “South Elevation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 54. Grimm, Brianna. “East Elevation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 55. Grimm, Brianna. “West Elevation.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 56. Grimm, Brianna. “Model Top View.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph. figure 57. Grimm, Brianna. “Model West Elevation View.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Photograph.
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figure 58. Grimm, Brianna. “Entry Perspective.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 59. Grimm, Brianna. “Hallway Perspective.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital. figure 60. Grimm, Brianna. “Section.” Kansas State University. Voice: Healing Architecture as Music Therapy. Manhattan, KS, 2017. Digital.
GENERAL CITATIONS *All Icons from “Flat Icon.” Freepik. *All unmarked images & diagrams by Brianna Grimm
THANK YOU!
WATER
>healing architecture for survivors of political torture chapter IV
>foreword The studio project will explore the relationships between human well-being and architecture through design of a facility, the purpose of which is to support the rehabilitation of torture survivors. The current refugee crisis is making headlines everywhere and can no longer be ignored. Political turmoil in underdeveloped countries have taken a turn for the worst for the citizens. In todayâ&#x20AC;&#x2122;s headlines we witness monstrosities currently taking place in Syria, but in reality it is taking place all over the world. Majority of the survivors taking refuge in the United States are coming from Central and Eastern Africa and the Middle East. The most common reason for their relocation is political unrest. (Center for Victims of Torture). Approximately 5,000 to 10,000 refugees are living in Alameda County, California where the proposed site is located. There are currently no facilities specifically designed for this user group. The only facility in the United States is located in Minneapolis and acts as an appropriate precedent study for what services a center such as this might entail. The Center for Survivors of Torture is retrofitted into a Victorian home which allows it to fit in with the context and not to draw too much attention to itself or its clients. The goal of the studio is the investigation into the requirements, qualities, and characteristics through which an architectural setting can provide torture survivors with a healing sanctuary and help them rebuild their lives.
THE AUTHOR chapter IV >nicole harris Architecture has the potential to shape our everyday lives and contribute to our sense of self and sense of community. Our environments contribute to our over all well-being just as much as any other element. Therefore, the design of a facility no matter its typology should be designed for the occupants as the first priority. This project is the first health-related building I have ever designed. Because it has no precedent typology, it had a different, more challenging process than projects before that. Refugee status is an uncomfortable subject in todayâ&#x20AC;&#x2122;s time and so before we get to design a facility, we have to really understand what it means to be a refugee. As a designer, I had to first out myself in a their shoes think about what kind of environment will be most healing for me. It proved difficult to distance myself from the emotional aspects of the topic but I drove forward with the notion that this would be how I stepped up for the refugee community. Sincerely,
Nicole Harris
TABLE OF CONTENTSchapter IV SECTION I_ research & analysis _ effects of torture _ benefits of hydrotherapy _ wilbert gesler _ program _ precedent studies SECTION II _ site selection _ site location _ site strategy SECTION III_ program & evaluation _ design strategies SECTION IV _ proposal BIBLIOGRAPHY
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>research & analysis It is important to understand the user group that we are designing for; torture survivors. Torture is defined as the intentional infliction of severe mental or physical suffering. (Amnesty International). These survivors are usually highly educated and targeted by their government or rebel powers as a way of intimidation or other malicious motives. The survivors may escape as refugees but they never truly escape from what has happened to them. Long term and short term effects of both physical and mental nature take place within themselves and resurface along with the traumatic memories long after the torture as seized. Political refugees are fleeing from mostly central and east African countries as well as middle eastern countries. They flee from human rights abuses and various degrees of political unrest. Refugees are often split up from their families and communities and struggle to reconnect with them out of fear. Interacting with the community is essential to healing and establishing the home within that community is key. Refugees are coming from various refugee camps which are limited in both safety and resources. (CVT). There is no immediate typology of architecture one can reference when designing a healing environment for architecture. Currently there is one facility in the United States dedicated to healing torture survivors from other countries, The Center for Victims of Torture located in Minnesota. CVTâ&#x20AC;&#x2122;s services include basic medical treatment, agency referrals, social services, and many more. (CVT).
SECTION I >research & analysis
EFFECTS OF TORTUREresearch & analysis >mental impairments Every case and every patient is different when it comes to their long term and short term effects of torture and should ultimately be treated as such. A trusting relationship must be formed between the practitioner and the survivor before talk of the trauma occurs and before the practitioner and the survivor can determine the next steps towards healing. The said practitioner should phrase questions in a nonbias or accusatory manor but rather ask what concerns the survivor. _ post traumatic stress disorder -- flashbacks -- severe anxiety -- insomnia -- nightmares -- depression _ guilt and shame _ re-experiencing trauma _ hyper arousal _ damaged self-concept _ distanced behavior _ trust issues figure 1. children of war
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(psychological torture).
evidence
of
>physical impairments It is easier for health care professionals to identify the physical issues that a torture victim might suffer from than a mental issue because it is more obvious and in most cases, easier to talk about. Regardless of how fast the physical impairment comes out in the open, the patient should always be included in planning of their own healing process. Wounds are able to heal in conjunction with talking about how they came to be and repairing them or making the main easier to cope. _ immediate pain _ sexual dysfunction _ psychosis _ substance abuse _ neurological impairment _ phantom limb syndrome _ somatic complaints _ neurological impairment (psychological torture).
evidence
of
figure 2. leave no human behind -- human rights watch
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BENEFITS OF HYDROTHERAPYresearch & analysis >why hydrotherapy? Hydrotherapy is an ancient, natural remedy that was used to cure health issues by immersing the body in a certain temperature of water dependent on the issue. It has historically been a method of physical healing of the body but only recently has it become a realistic practice for healing the mind. Presently, there are numerous studies proving the effectiveness that hydrotherapy offers to those suffering from Post Traumatic Stress Disorder which is often an affect torture survivors face. When survivors are free of their torturous situations, they begin to acknowledge the short term and long terms effects of their torture. Every twinge or ache of physical pain might bring back horrifying memories of their torture and cause psychological pain. Hydrotherapy helps to create a safe environment for survivors to first feel safe and welcomed (Aquatic Bodywork). A watsu therapist acknowledges the safe and trusting element that the pool offers, â&#x20AC;&#x153;Characteristically, survivors of torture have lost the ability to think with clarity and to trust; unless the person is able to relax and open up, the basic medical and psychological history will never fully emergeâ&#x20AC;? (Aquatic BodyWork). By introducing certain methods of hydrotherapy activities in conjunction with certain water temperatures, patrons can begin to heal holistically in a nurturing and trusting environment.
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figure 3. hydrotherapy / spa thailand
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>watsu therapy
>healing dance therapy
Specifically in healing survivors of torture, aquatic bodywork or watsu therapy, gently invites traumatic memory in awareness, calms the nervous system, reduces hyperarousal, and reprograms the nervous, emotional, and energetic systems towards health.
Healing dance therapy is another form of aquatic therapy and reaps the same benefits as watsu therapy. Healing dance allows for a larger variety of activities to take place dependent on the needs of the survivor.
When a watsu therapist is holding the survivor in water and memories of trauma come to surface, the energy of the trauma is let go through the nurturing and unconditional care coming from the professional. The water creates an environment drastically different from the traumatizing even. Through movement, expression, and transformation, the trauma becomes a distant memory which begins to resurface fewer and fewer. (Aquatic Bodywork).
figure 4. watsu
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These activities include: dance movements, massage, craniosacral therapy, soma-to-emotional release, and total immersion of the client underwater. The practitioner continues to gently hold the survivor and move through the warmer temperature of water. This again, evokes the experience of torture and all the unconscious material that comes with it is brought into awareness. The movement through the water engages the parasympathetic nervous system for an overall calming of the activated sympathetic nervous system. (Aquatic Bodywork).
figure 5. healing dance
>thalassotherapy
>sensory reduction therapy
Thalassotherapy is the use of seawater for health treatments. This therapy can occur in various types of pool settings including: spa bath, seaweed bath, multi-jetted tub, effusion shower, jet shower, underwater jets and showers, and hand and foot treatments. The ideal temperature for these treatments would be thirty-seven degrees Fahrenheit.
Float spas have started popping up all over the country at alarming rates. Float therapy is used for a variety of mental and physical issues. Formally called, restricted environmental stimulation therapy (REST), Sensory reduction slows down and quiets the areas around the cortex, allowing the user to slip into a deep meditative state that provides peace, calm, perspective, and clarity.
Thalasso therapy does not require a practitioner unless safety concerns for the survivor call upon it. Users immediately feel relaxed and calm. The salty water helps the survivor to breathe more clearly and calm down in times of aggression. (Brittney Tourism, Wellness).
The pool includes hundreds upon hundreds of pounds of Epsom salt which firstly allows the body to effortlessly float but also dramatically lowers and regulates cortisol levels, promoting the bodyâ&#x20AC;&#x2122;s production of serotonin, ultimately reducing muscle and joint inflammation and subduing pain. Users experience a variety of stimulation form this therapy, including: vivid memories, beautiful colors, stillness of the mind, stress and anxiety reduction, mood enhancement, pain reduction, and over all better sleep quality. (Float Kansas).
figure 6. thalassotherapy
figure 7. sensory reduction
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WILBERT GESLERresearch & analysis >gesler & architecture as a healing environment Wilbert M. Gesler calls the healing process multi-dimensional, not limited to a physical cure. Each dimension is entangled within one another. In order for these dimensions to work effectively together, the healing space must facilitate a nurturing space for the appropriate type of cooperation to occur. Multidimensional characters can be defined as: physical, mental, spiritual, emotional, and social elements. When all of these facts are working together it allows the patient to feel a sense of wholeness, connectedness, and integrity. he mind affects autonomic, endocrine, and immunity. Positive attitude greatly affects the biochemistry. Gesler claims that healing can come from within, that we have the innate capacity to heal ourselves. In order to facilitate this humanistic experience of healing, the design must keep an ongoing process of meaning into oneâ&#x20AC;&#x2122;s everyday life. A healing sense of space can be created use these environments: natural, built, symbolic, and social. A health care facility enhances the dignity and autonomy of patients and professionals alike. Physical cures need to be facilitated in a sterile and clean environment but afterwards the goal is to return to your normal daily life. In order to make that transition smoothly, the patient has to be gradually introduced back into the sequence of home life. Thatâ&#x20AC;&#x2122;s when the wholeness idea comes in. The patient should begin to feel secure and gain the freedom of choice. By allowing the patient to reside in a place that honors that, they ease past the first step. 198
figure 6. healing environments in healthcare
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>natural environment The design of the natural environment in which healing takes place should feel remote and separate from the urban environment. Designing with the integration of nature allows for the occupants to heal in a calm and fresh environment. In the proposed Center for Healing, users are transported from their reality of the urban environment to the facility and is physically done so as they travel over a bridge over the reflection pool. This offers a sense of remoteness, privacy, and security. Users can then begin to experience the natural environment from the safety of the facility.
figure 8. central atrium
>built environment The design of the built environment begins with the understanding of moral treatment which states that one should treat the patient as a human as well as treating their mental, physical, and psychological disability. Healthy and hygienic features promote the wellbeing of users just as much as providing a comfortable space in which users can interact with users freely and not feel confined. The design implications for this subject suggest occupancy control, access to fresh air, and appropriate daylighting. Access to the natural environment is imperative to the success of the facility. The proposed facility will integrate natural ventilation strategies such as operable window panels for user control and night flushing. The main entrance and event space is enveloped by a nana wall system that will be open during open hours. This allows users to experience the outdoors in a controlled setting and ventilation for the interior spaces. The envelope of the building is primarily a curtain wall system and a wood privacy screen implemented to control heat gain. This will allow light to dance on the interior spaces simulating the movement of water. The private session pools are located directly under the reflection pool. Light-wells penetrate through the earth from the reflection pool to provide natural mood lighting over the pools. Color could potentially be added to the lightwells to create certain atmospheres in the space, similar to Zumthorâ&#x20AC;&#x2122;s more intimate baths. 200
figure 9. therme vals
>symbolic environment The design of the symbolic environment must include physical objects that have the ability to evoke intense feelings in survivors of political torture. Their attitude and behavior could change depending on their surroundings. It is integral to understand where these users come from and how can we respect a variety of cultures in one facility.
figure 8. chapel
It is a design goal to create meaning beyond to surface of the architecture and create relate-able artwork that allows the users to feel more comfortable and at ease. This starts before the user even enters to facility. A garden of trees surrounds the building creating an intimate environment and all is reflected upon the reflection pool. Users are meant to feel as a ship would coming into harbor. Knowing that they will be safe and protected as soon as they cross that bridge.
>social environment The design of the social environment has much to do with the organization of spaces. The healing facility should be organized in a way which survivors can easily distinguish zones of public space to private space and feel comfortable in either. The architecture alone should define the occupancy of a space. This can be done with the delineation between small and large corridors. In these corridors, nooks are created to encourage serendipitous social interactions. It is human nature to feel more comfortable with our backs up against something and know our exits. Minimizing the amount of doors and creating a spaces in which most circulation as well as spontaneous social gathering occurs rather than literal single loaded or double loaded corridors will help to minimize the feeling of being trapped and encourage the idea of choice. figure 9. buena vista
Trust is imperative between the therapist and survivor and encourages the success of the building. Less barriers between staff and patient will help to encourage a conversation rather than a discussion. Spaces in which formal counseling/therapy will take place should be informal in nature. 201
PROGRAM
research & analysis
>architectural idea Water signifies life and growth, so what better way to heal the wounded than with one of our essential elements. Throughout history in many cultures, water was used in numerous ways as a life sustaining and enhancing force. The use of water will emphasis the program as an extension of itself. The architectural idea is a beacon on the water. The beacon on the water typology starts with a central focus point - the biologically filtered pool for example - and from that point flows throughout all corners of the building. Formal program will grow around these spaces as support spaces to the hydrotherapy. Designed paths will parallel the movement of the water. Where there is little circulation, the stream is slow moving and slim, where there is ample circulation, the stream turns into a water basin of sorts. No matter where a user is on their journey throughout the center, they will be able to orient themselves based upon the landscaping and built environment. Water will be used to emphasis the journey throughout the Center for Survivors of Torture. It will be used to peak the users sensors in all spaces. Users can smell and breathe in the clear salt water from the thalassotherapy pool, touch the water in trickling fountains, listen to the flow of the streams, drink from the numerous fountains, and use the water to guide them through the facility.
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figure 10. lighthouse
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PRECEDENT STUDIESresearch & analysis >therme vals Therme Vals sparked the question, “how is a spa or bath house considered healing in all aspects, and can it be introduced as a form of therapy for survivors of torture?” Zumthor was greatly inspired by the natural Vals surrounding context. The building is an extension of the mountains. All the textures , materials, and aesthetics play into this concept. figure 11. therme vals
The floor plan is divided into mass versus void. The mass encompasses all of the private spaces and the void spaces primarily hold the more public spaces. Zumthor does an amazing job at offering a journey to the users. He enforces circulation when it comes to security and sanitation, and choice when it comes to the users individual journey. The bath house is always at a controlled occupancy so that the user’s spiritual growth is never disrupted.
figure 12. therme vals
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>windhover contemplative center The Windhover Sanctuary at Stanford is a meditative experience. It serves as a precedent because of its use of natural materials and indoor to outdoor relationships. The parti is defined as two simple elongated bars which shift past each other to create unique interior circulation spaces as well as service spaces. A reflection pond is adjacent to one of the bars and plays with the reflection pattern of the privacy screen wall seen in figure 13.
figure 13. windhover
The center feels very open and yet very private and peaceful which is done through materiality. One of its primary materials is rammed earth. This provides solidity, protection, and privacy but also lightness.
figure 14. windhover
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>site selection It is important to understand the user group that we are designing for; torture survivors. Torture is defined as the intentional infliction of severe mental or physical suffering. (Amnesty International). These survivors are usually highly educated and targeted by their government or rebel powers as a way of intimidation or other malicious motives. The survivors may escape as refugees but they never truly escape from what has happened to them. Long term and short term effects of both physical and mental nature take place within themselves and resurface along with the traumatic memories long after the torture as seized. Political refugees are fleeing from mostly central and east African countries as well as middle eastern countries. They flee from human rights abuses and various degrees of political unrest. Refugees are often split up from their families and communities and struggle to reconnect with them out of fear. Interacting with the community is essential to healing and establishing the home within that community is key. Refugees are coming from various refugee camps which are limited in both safety and resources. (CVT). There is no immediate typology of architecture one can reference when designing a healing environment for architecture. Currently there is one facility in the United States dedicated to healing torture survivors from other countries, The Center for Victims of Torture located in Minnesota. CVTâ&#x20AC;&#x2122;s services include basic medical treatment, agency referrals, social services, and many more. (CVT).
SECTION II >site selection
SITE LOCATION site selection
figure 20. gill tract community
figure 19. national map
figure 21. ohlone circle
>site location & history
sought out for its good soil. The land is primarily used for agriculture research while a small portion is occupied by the community garden as a peace offering to protesters. The green space South of the site was also part of the occupied land from the community but was built on as a grocery store and parking lot.
The site is located in Albany county in the East bay of California. The context for the most part is comprised of single-family residential and small scale commercial businessâ&#x20AC;&#x2122;. It is a large site surrounded by busy streets regardless of their residential nature. Upon visiting the site, noise pollution seemed to be a primary concern and would need to be addressed accordingly.
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The Gill Tract has previously been a site of conflict. The land is owned by the university and is well
Native Indians practiced on that South Lawn and now occupy the Southern tip of the site with a native Ohlone circle.
figure 22. north
figure 23. south
figure 24. east
figure 25. west
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SITE strategy site selection >site strategy 1 -- catwalk The program is separated into 4 bars and the primary circulation occurs solely on the exterior. A canopy provides protection and unity to the facility. The site is largely left untouched so as not to disturb the community any further. pros - _ canopy adds sense of security _ canopy adds sense of security _ multiple areas of access
figure 26. strategy one
cons - _ spread out circulation _ less protected _ multiple areas of access
>site strategy 2 -- boardwalk The program is separated into 4 bars and the primary circulation occurs solely on the exterior. Each program bar has a dedicated green space. The parking is more integrated in the building design. The biopool is segregated from the program. pros - _ full use of site _ multiple access points _ privacy of trees
figure 27. strategy two
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cons - _ spread out circulation _ less protected _ less security
>site strategy 3 -- canopy The program is placed closer to one another and the primary circulation is located on the interior in order to establish significant protection. The entire facility is covered by a canopy structure with punched holes dependent open natural light and access to the site. pros - _ less waisted circulation space _ community integration _ added sense of protection cons - _ less efficient use of the site figure 28. strategy three
>site strategy 4 -- hybrid The hybrid is a combination of all three previous strategies. The canopy serves as a unification between the bars of programing which are shifted so as to create a variety of outdoor spaces all oriented towards the site. pros - _ canopy adds sense of security _ canopy adds sense of security _ multiple areas of access
figure 29. strategy four
cons - _ spread out circulation _ less protected _ multiple areas of access 211
>vision statement The building should be a direct reflection of nature. the main concept is to forget where the interior space ends and the exterior space begins. The Center for Survivors of Torture is introducing hydrotherapy as an effective tool to holistic healing of political torture survivors. The ultimate test is if a torture victim has had negative experiences with water, they will be able to be successfully reintroduced to the natural element through series of exercises and programs that the facility offers. In order for the Center for Survivors of Torture to work effectively the regular, out of water, therapy sessions will need to flow seamlessly with the hydrotherapy sessions. Some materials that can be implemented are more natural materials such as woods and other non-distracting materials. Each space must be designed to express a homey and comfortable setting. Spaces should flow together just like water. Clients of the Center for Survivors of Torture will enter the facility and be paired with a case therapist and physical therapist. They will begin their healing process through a series of face to face sessions and hydrotherapy sessions that suit their specific needs. clients can take self reflection time at any point during the session or at any other time in the various isolation and meditation spaces.
SECTION III >program & evaluation
n hy ity dr sp ot ac he e ou ra py s td oo su r sp ac pp es or t
tio
un
m
is tra in
co m
m ad
rooms/spaces
size
occupancy
qualities
250 sqft 250 sqft 250 sqft 250 sqft 250 sqft 300 sqft 300 sqft 200 sqft 250 sqft 150 sqft 300 sqft
3 persons 2 persons 3 persons 4 persons 3 persons 3 persons 8 persons 3 persons 6 persons 2 persons 6 persons
_ includes: desk, table, + chairs for meetings _ includes: desk, table, + chairs for meetings _ includes: desk, table, + chairs for meetings _ includes: desk + chairs for waiting patrons _ includes: desk, table, + chairs for meetings _ flexible space for dietary specialists, or others _ includes: desk, table, + chairs for meetings _ intimate space for interdisciplinary discussions _ large table w/ flexible seating _ large table w/ flexible seating --
250 sqft 250 sqft 200 sqft 300 sqft 200 sqft 400 sqft 300 sqft 250 sqft 300 sqft
2 persons 2 persons 6 persons 8 persons 8 persons 25 persons 10 persons 8 persons 8 persons
_ includes: reception counter _ warm space w/ ample seating possibilites _ integrated seating, very private _ private, no furnishings, comfortable flooring _ “heart” of community space + cooking activities _ includes: flexible seating _ includes: large table + chairs _ adjacent storage for chairs & tables --
150 sqft 250 sqft 150 sqft 1200 sqft
2 persons 3 persons 3 persons 12 persons
_ includes: sensory reduction tanks _ small with integrated seating _ small with integrated seating _ social swiming & social healing with staff
1200 sqft 300 sqft 300 sqft 150 sqft
2 persons 12 persons 10 persons 8 persons
_ private + serene spaces for individual reflection _ includes: large table & seating _ flexible open space _ transition area
200 sqft 150 sqft 200 sqft 200 sqft 200 sqft 200 sqft 300 sqft 150 sqft 200 sqft 150 sqft 300 sqft 200 sqft 150 sqft
2 persons 2 persons 2 persons 2 persons 2 persons 2 persons 2 persons 2 persons 2 persons 10 persons 2 persons -150 sqft
_ adjacent to parking and service spaces ------_ includes: (2+) washer + dryer machines _ includes: varius file cabinets + work stations ----
> general administration + staff _ director of operations office _ director of program’s office _ financial coordinator’s office _ physical therapist’s office space _ nurse practitioner _ open office (2) _ conference room _ collaboration room _ break room _ work room _ staff restrooms (2)
> community spaces _ reception _ entry lounge _ kitchen _ living area _ dining area _ multi-purpose gathering _ resource center _ group therapy room (2) _daycare
> hydrotherapy _ sensory tank (2) _ dedicated watsu pool _ salwater showers _ biologically-filtered pool
> outdoor _ garden w/ walking paths _ outdoor dining _ pergola _ entry bridge
> support _ parking _ trash pick-up _ data/wifi equiptment _ electrical _ plumbing _ mechanical _ water filtration _ janitorial closet _ laundry _ medical records _ locker room (2) _ maintanence
figure 33. proposed program chart
214
rooms/spaces
s
> general administration + staff
administration
conference: ~ 300 sqft total: ~ 300 sqft
collab. room: ~ 200 sqft total: ~ 200 sqft
~ 3,500 nsf
director of operation’s office: ~ 250 sqft assistant’s office ~ 150 sqft total: ~ 400 sqft
open office: (2) @ ~ 200 sqft total: ~ 400 sqft
director of program’s office: ~ 250 sqft assistant’s office: ~ 150 sqft total: ~ 400 sqft
reception: ~ 250 sqft total: ~ 250 sqft
break room: ~ 250 sqft total: ~ 250 sqft
financial coordinator: ~ 300 sqft total: ~ 300 sqft
work room: ~ 150 sqft total: ~ 150 sqft
staff restrooms (2) @ ~ 150 sqft total: ~ 300 sqft
nurse practitioner ~ 250 sqft total: ~ 250 sqft
physical therapist ~ 300 sqft total: ~ 300 sqft
community
~ 2,900 nsf
> community spaces _ reception _ entry lounge _ kitchen _ living area _ dining area _ multi-purpose gathering _ resource center _ group therapy room (2) _daycare
restrooms: (2) @ ~ 200 sqft total: ~ 200 sqf
ingle counseling (3) @ ~ 200 sqft total: ~ 600 sqft
group therapy: (2) @ ~ 250 sqft total: ~ 500 sqft
entry lounge: ~ 250 sqft total: ~ 250 sqft
_ director of operations office _ director of program’s office _ financial coordinator’s office _ physical therapist’s office space _ nurse practitioner _ open office (2) _ conference room _ collaboration room _ break room _ work room _ staff restrooms (2)
> hydrotherapy flexible event space: ~ 400 sqft total: ~ 400 sqft
living room: ~ 350 sqft total: ~ 350 sqft
kitchen: ~ 300 sqft total: ~ 300 sqft
resource center: ~ 300 sqft total: ~ 300 sqft
daycare: ~ 300 sqft total: ~ 300 sqft
hydrotherapy
~ 2,250 nsf
_ sensory tank (2) _ dedicated watsu pool _ salwater showers _ biologically-filtered pool
> outdoor formal hydrotherapy: (3) @ ~ 250 sqft total: ~ 750 sqft
senosry tank: (2) @ ~ 150 sqft total: ~ 300 sqft
bio-filtered pool rec. pool: ~ 1200 sqft total: ~ 1200 sqft
saltwater showers @ ~ 150 sqft total: ~ 150 sqft
outdoor spaces
~ 1,900 nsf
_ garden w/ walking paths _ outdoor dining _ pergola _ entry bridge
> support
outdoor dining: ~ 250 sqft total: ~ 250 sqft
garden: ~ 1200 sqft total: ~ 1200 sqft
pergola: ~ 300 sqft total: ~ 300 sqft
bridge: ~ 150 sqft total: ~ 150 sqft
support
water filtration: ~ 300 sqft total: ~ 300 sqft
~ 2,200 nsf
electrical: ~ 200 sqft total: ~ 200 sqft
plumbing: ~ 200 sqft total: ~ 200 sqft
laundry: ~ 200 sqft total: ~ 200 sqft
lockers: (2) @ ~ 250 sqft total ~ 500 sqft
interior spaces circulation interior gross exterior spaces
total
data/wifi: ~ 150 sqft total: ~ 150 sqft
janitor’s closet: ~ 150 sqft total: ~ 150 sqft
medical records: ~ 150 sqft total: ~ 150 sqft
maintenance: ~ 200 sqft total: ~ 200 sqft
mechanical: ~ 150 sqft total: ~ 150 sqft
+
_ parking _ trash pick-up _ data/wifi equiptment _ electrical _ plumbing _ mechanical _ water filtration _ janitorial closet _ laundry _ medical records _ locker room (2) _ maintanence
~ 12,750 25% @ ~ 3,188 ~ 15,938 ~ 1,900 ~ 17,838
figure 34. building program adjacencies
215
n hy ity dr sp ot ac he e ou ra td py s oo rs su pa pp ce or s t cr iti ca l de adja si ce ra nc bl y e no a dj nac ex en is te cy nt ad ja ce nc y
tio
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figure 35.
garden w/ wlaking paths
dining
electrical
biologically filtered pool
pergola
saltwater showers
sensory tank
water filtration
laundry
plumbing
data/ wifi
maintenence
watsu pool
lockers kitchen
physical therapy
event space living room
restrooms
resource center
group therapy
records
counseling
entry lounge
figure 35. adjacency diagram
216
restroom
reception
collab. room
directo’rs office
conference
director’s office
nurse
financial’s office
informal
>user types
formal
watsu therapy
biologically filtered pool
lockers
physical therappy
sensory tank
saltwater shower
START figure 36. pool adjacencies
>pool adjacencies The seven selected pools are divided by informal use and formal use. They are linked by the locker rooms which are essential to the design and flow of the hydrotherapy spaces.
Users are split into four distinct categories: formal clients, informal clients, administration staff, and service staff. User interactions vary and the facility must be designed to make sure the desired interactions run smoothly and undesirable interactions do not impede on one another. There should almost be as much professional facilitators as formal clients in the building at one time so that clients always feel supported and staff. Informal clients, on the other hand do not require any interaction with the administrative staff because they would ideally have already completed their session and are using the facility in a membership-like way. This is so users can continue to heal with the copying mechanisms they learned in their formal sessions. The service staff should have little to no interaction with the other three user groups.
The biologically-filtered outdoor pool and the room temperature indoor pool are for recreational swimming and are very public.
formal formal users users
informal informal users users
The watsu, saltwater, hot, cold, and sensory pool require a practitioner for use and users would prefer a lot more privacy performing these activities. formal formal users users informal informal users users
administration administration staff staff
service service staff staff
administration administratio
figure 37. use groups
217
DESIGN STRATEGIES
program & evaluation
>biophilic design benefits Implementing biophilic design strategies is essential for the physical and mental well-being of the users. Biophilia is defined as the integration of nature or other natural elements into interior architecture. This is a response to the harsh living conditions introduced by the industrial revolution when families were crammed into small windowless apartments in cities. A connection was identified between the decline of health and the lack of access to green space. Studies show that direct access to nature decreases stress, promotes recovery from mental fatigue, enables better focus, mental stamina, and overall productivity.
figure 8. biophilic design
Human development is greatly influenced by our interactions with nature and its spatial qualities. When humans are deprived of access to nature, they go through a variation of sensory deprivation. (Mocha Casa).
>sustainable design strategies California is constantly in a drought and so it would be a direct concern for the design to integrate a sustainable water conservation strategy due to the fact that the proposed facility focuses on water therapy. A large portion of the facility would be populated with solar panels oriented towards the South. The panels would ideally take majority of the electrical needs as there will be a large portion due to the systematic needs of each of the pool system.
figure 9. rainwater collection
Other strategies such as cross axial ventilation and green roof systems would be implemented as well as the other two listed above.
218
figure 10. solar panels
figure 30. chinese garden
figure 31. japanese garden
figure 32. ancient roman bath
>typologies
Both Chinese and Japanese gardens emphasis the journey through the meticulously designed landscape. They do a wonderful job allowing choice in circulation by offering a variety of designed baths. How these paths intersect or co-exist with water elements are particularly interesting.
There is no specific architectural typology for a center committed to healing survivors of political torture. After studying healing architecture through water, three specific typologies come to mind: a Chinese water garden, a Japanese garden, and roman baths.
Roman baths are the history beginning to public healing. Baths served as much more than just a sanitary system for the public, it also allowed social, mental, and physical healing.
219
>architectural expression The building should be a direct reflection of nature. the main concept is to forget where the interior space ends and the exterior space begins. The Center for survivors of torture is introducing hydrotherapy as an effective tool to holistic healing of political torture survivors. The ultimate test is if a torture victim has had negative experiences with water, they will be able to be successfully reintroduced to the natural element through series of exercises and programs that the facility offers.
TERRACED GREEN SPACE
OPEN GREEN SPACE
PICNIC PAVILION
figure 39. parti COMMUNITY GARDENS PARKING 40 SPOTS 4 HANDICAP
LARGE OUTDOOR GATHERING SPACE
OHLONE CIRCLE
CANOPY
REVITALIZED RIVER BANK
figure 38. site strategy 4
SECTION IV >proposal
is tra tio m n un hy ity dr sp ot ac he e ou ra py s td oo su r sp ac pp es or t
in m ad
co m
RESOURCE CENTER
JANITOR’S CLOSET
BIOLOGICALLY FILTERED POOL
PLUMBING LIVING AREA
WOMEN’S BATH
MECHANICAL
KITCHEN MEN’S BATH ELECTRICAL VOLUNTEER’S OFFICE
DATA/WIFI
LOUNGE
ASSISTANT’S OFFICE VOLUNTEER’S OFFICE
DIRECTOR OF PROGRAMS
ROOM TEMP. POOL
WOMEN’S LOCKERS MULTI-PURPOSE
MEN’S LOCKERS
PHYS. THERAPIST
LIVING AREA
RECEPTION
PHYS. THERAPIST
MEN’S BATH
PHYS. THERAPIST PHYS. THERAPIST
MEDICAL NOOK RECORDS
NURSE PRACTITIONER
SALTWATER POOL
FAMILY BATH
WATSU POOL
WOMEN’S BATH INDIVID. THERAPY
INDIVID. THERAPY INDIVID. THERAPY
INDIVID. THERAPY
figure 40. first floor plan
222
GROUP THERAPY
LOUNGE
GROUP THERAPY
WATER FILTRATION
COLD POOL HOT POOL
COLD POOL
COLD POOL
HOT HOT POOL POOL
(2) PERSON SENSORY TANK SENSORY TANK
SENSORY TANK
MEN’S BATH
OPEN OFFICE
WOMAN’S BATH
OPEN OFFICE
LARGE CONFERENCE FINANCIAL COORDINATOR
(2) ASSISTANTS
DIRECTOR OF OPERATIONS
SMALL CONFERENCE COLLAB. ROOM
WORK ROOM
figure 41. second floor plan
>spatial organization The program is split into three shifting bars which are categorized as: the administration bar, community bar, and the hydrotherapy bar. Users will enter through the administration bar first in order to make sure they receive guidance if necessary and from there they can remain in the wing and use the traditional therapy services.
The community bar is located in the center because it is the most generally used space, as one can identify in the avatar diagram. There are three central outdoor spaces which are defined by the shifting bars. The first is very public and serves as the entry and meeting zone. The second is the largest and most private because it is the most protected. The third is where the biologically filtered pool is located and faces the rest of the site and where other community activities happen. 223
GREEN ROOF SOLAR PANELS _ JOISTS _ INSULATION _ SOUTHERN FACING PANELS
_ JOISTS _ SOIL _ GRASS
SKYLIGHTS _ JOISTS _ INSULATION _ 2’ X 6’ OPENING
COLUMNS _ WOODEN 1’ X 1’
>massing & canopy The program is divided into three parallel bars that shift to create unique outdoor spaces. Each bar takes a different height in order to address its programmatic needs. The administration and general therapy bar is the tallest of the three in order to fit into the urban street grid and provide a vertical gradient of privacy. The canopy interacts with each bar differently. It wraps around the administration bar, towers above the community bar, and becomes the ceiling for the hydrotherapy bar.
figure 42. canopy
>texture The canopy allows for a variety of textures to take place on top of it. The type of texture is determined by the goings on of what is underneath that particular area. In the community space, for example, might have some skylights oriented towards the South as well as solar panels. By playing with the overhead textures, the exterior space in particular, can be defined as a more public or private space which is important for survivors who seek protection.
figure 43. canopy texture
GREEN ROOF
>structure
SOLAR PANELS _ JOISTS _ INSULATION _ SOUTHERN FACING PANELS
_ JOISTS _ SOIL _ GRASS
GREEN ROOF
The canopy structure is a simple wood post and beam system. Panels are inserted in the 5’ x 10’ system allowing for three different types of infill other than open air. The three systems include: skylights, solar panels, and green roof; all apart of the sustainable initiative.
224
SOLAR PANELS _ JOISTS _ INSULATION _ SOUTHERN FACING PANELS
_ JOISTS _ SOIL _ GRASS
SKYLIGHTS _ JOISTS _ INSULATION _ 2’ X 6’ OPENING
COLUMNS _ WOODEN 1’ X 1’
SKYLIGHTS _ JOISTS _ INSULATION _ 2’ X 6’ OPENING
COLUMNS _ WOODEN 1’ X 1’
figure 44. canopy structure
ce s
sp a
pr
iv at
e
rs pa
ce s
oo
td
ou
ce s
ce s sp a e
sp a
ic
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bl
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figure 47. & 48.
>figure ground
LIC
ISEM LIC PUB
PUB
It is important to address the urban context and its edge. With such a large site, it is easy to treat the building as a singular object rather than a unified piece of the community. The facility will address the street and invite the community to see what the facility has to offer.
ATE PRIV
figure 45. figure ground
>views ISEM LIC PUB
Views are categorized into two different types: security and pleasure. Each room the survivor uses is oriented towards an outdoor space or other interior spaces dependent upon their privacy needs. The security views are oriented to view many public spaces from one spot for optimal efficiency. LIC
PUB
ATE PRIV
figure 46. views
>private vs. public The administration spaces are mostly located in the first bar but are also spread out in the other two bars dependent upon what spaces need practitioners. The vertical gradient that the two bars offer, allow for more private spaces. Hydrotherapy can be very public or very private such as the float tank rooms. Pools create a lot of sound and providing that sound barrier creates much needed privacy. The administration rooms on the second floor should not be accessed at all by visitors in contrast to the first floor.
figure 48. private vs. public
LIC
ISEM LIC PUB
PUB
ATE PRIV
figure 47. private vs. public
225
figure 51. dr. hayward
>physical therapist -- dr. hayward Dr. Hayward is a University of California Berkeley alumni and physical therapist at the Center for Survivors of Torture. ROOM TEMP. POOL
He rides his bike to work everyday and enters through a secondary staff entrance. Dr. Hayward moves towards the second floor for a meeting with some counselors then makes his way to the hydrotherapy bar where he will use majority of the rooms with his clients.
MEN’S LOCKERS
PHYS. THERAPIST
ROOM TEMP. POOL WATSU POOL
SALTWATER POOL
MEN’S LOCKERS
WATER FILTRATION
PHYS. THERAPIST
WATSU POOL
SALTWATER POOL
WATER FILTRATION
START
figure 49. watsu START RESOURCE CENTER
LIVING AREA
figure 52. kahlila
KITCHEN
LOUNGE
ROOM TEMP. POOL
START
RESOURCE CENTER
>first time user -- kahlila
WOMEN’S LOCKERS
LIVING AREA
KITCHEN
RECEPTION
START
LIVING AREA
PHYS. THERAPIST
LOUNGE
ROOM TEMP. POOL
WOMEN’S BATH
WATSU POOL
NURSE PRACTITIONER
WOMEN’S LOCKERS
INDIVID. THERAPY
RECEPTION
LIVING AREA
PHYS. THERAPIST
WOMEN’S BATH
WATSU POOL
NURSE PRACTITIONER
INDIVID. THERAPY
figure 50. healing dance BIOLOGICALLY FILTERED POOL WOMEN’S BATH
226
KITCHEN
LOUNGE
ROOM TEMP. POOL
START
WOMEN’S
Kahlila is a political refugee from Syria. She moved to the Berkeley area because of the strong community presence.Kahlila suffers from severe PTSD and has some joint stiffness issues. She uses the BART transportation system and enters through the front courtyard into the reception and living room area where a counselor will meet her to begin formal sessions. After Kahlila finishes up with her counselor she meets with Dr. Hayward for some formal hydrotherapy sessions. Before she returns home, Kahlila visits the community bar and mingles with some other refugees and volunteers.
ROOM TEMP. POOL
LOUNGE
START
ROOM WOMEN’S TEMP. LOCKERS POOL
START
WOMEN’S LOCKERS
RECEPTION
RECEPTION
LIVING AREA
PHYS. THERAPIST
LIVING AREA
PHYS. THERAPIST WOMEN’S BATH
WATSU POOL
NURSE PRACTITIONER WOMEN’S BATH
WATSU POOL
NURSE INDIVID. PRACTITHERAPY TIONER
INDIVID. THERAPY
figure 55. bari family
>informal routine users -- bari family BIOLOGICALLY FILTERED POOL WOMEN’S BATH
BIOLOGICALLY FILTERED POOL KITCHEN
WOMEN’S BATH
KITCHEN LOUNGE
ROOM TEMP. POOL
LOUNGE
START
ROOM WOMEN’S TEMP. LOCKERS POOL
MULTI-PURPOSE
START
The Bari family are refugees from Uganda. The eldest daughter is the only family member being treated for PTSD. Her formal sessions are at 10 AM on Tuesdays and Thursdays.
MEN’S LOCKERS WOMEN’S LOCKERS MULTI-PURPOSE
MEN’S LOCKERS
RECEPTION
RECEPTION
LIVING AREA
LIVING AREA
They are visiting today as informal users and use the BART transportation system. They enter through the front courtyard and make their way to the hydrotherapy bar for some informal swimming. The Bari family spends the rest of their day in the community Bar taking yoga classes and interacting with other members.
figure 53. watsu
START
figure 56. abraham
START
RESOURCE CENTER
BIOLOGICALLY FILTERED POOL
LIVING AREA RESOURCE CENTER
MEN’S BATH
BIOLOGICALLY FILTERED POOL
KITCHEN LIVING AREA
VOLUNTEER’S MEN’S OFFICE KITCHENLOUNGE BATH ASSISTANT’S OFFICE
VOLUNVOLUNTEER’S TEER’S OFFICEOFFICE
DIRECTOR ASSIS- OF TANT’S PROGRAMS OFFICE
VOLUNTEER’S OFFICE DIRECTOR OF PROGRAMS MULTI-PURPOSE
LOUNGE
>volunteer -- abraham Abraham is a long time volunteer and a graduate student in human studies at the University of California, Berkeley.
MULTI-PURPOSE
LIVING AREA
LIVING AREA
figure 54. healing dance
He volunteers at the Center for Survivors of Torture every week day after 3 PM. He drives his car and parks in the parking lot and enters through the front courtyard and into the living area where he will welcome some new members. Abraham spends most of his time in the community bar teaching cooking classes and interacting with other volunteers, the director of programs, and refugees. 227
bibliographychapter IV IMAGERY -figure 1. N.p., n.d. Web. 16 Dec. 2016. <http://www.slj. com/wp-content/uploads/2013/09/SLJ1309w_FT_ FocusOn.jpg>. figure 2. N.p., n.d. Web. 16 Dec. 2016. <https://www.hrw. org/sites/default/files/styles/open_graph/public/ multimedia_images_2015/2015-12-disabilitiesconflict-eur3.jpeg?itok=9CbSSsde>. figure 3. N.p., n.d. Web. 16 Dec. 2016. <http://www. chivasom.com/images/CS032_456x330.jpg>. figure 4. N.p., n.d. Web. 16 Dec. 2016. <http://www.spain-spain.com/blog1/wp-content/uploads/2012/11/ watsu3.jpg?w=300>. figure 5. N.p., n.d. Web. 16 Dec. 2016. <https://i. ytimg.com/vi/WlD_9FJl_fI/hqdefault. sp=68&sigh=5wFDdra7RmXXC2M6p66GaT_64oI>. figure 6. N.p., n.d. Web. 16 Dec. 2016. <http://www. global-international-tours.com/article/92/ Thalassotherapieg.jpg>. figure 7. N.p., n.d. Web. 16 Dec. 2016. <https://smedia-cache-ak0.pinimg.com/236x/f4/b3/24/ f4b324b2ea6994189c16c99bd581e677.jpg>. figure 8. N.p., n.d. Web. 16 Dec. 2016. <http:// greenplantsforgreenbuildings.org/wp-content/ uploads/2015/04/Joe-Zazzera_header-740x414.jpg>. figure 9. N.p., n.d. Web. 16 Dec. 2016. <https://smedia-cache-ak0.pinimg.com/originals/55/68/ c0/5568c09b4369099d657e8d7b101293be.png>. figure 10. N.p., n.d. Web. 16 Dec. 2016. <http://cdn2. collective-evolution.com/assets/uploads/2016/09/ Solar-759x500.jpg>.
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figure 11. “Austerity and Sensuality – Therme Vals.” A Magazine. N.p., 15 July 2015. Web. 16 Dec. 2016. <http://amagazine.com.au/austerity-and-sensualitytherme-vals/>. figure 12. Nicole Harris. Kansas State Univeristy. Manhattan KS, 2016. Digital figure 13. https://windhover.stanford.edu/sites/ default/files/styles/page-width/public/matthewmillman-cover-page.png?itok=vLUnkmkB figure 14. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital figure 15. N.p., n.d. Web. <https://c3.staticflickr. com/3/2723/4293188589_8c3a8d10e5_z.jpg?zz=1>. figure 16. Nicole Harris . Kansas State University. Manhattan KS, 2016. Digital figure 17. N.p., n.d. Web. 16 Dec. 2016. <http:// www.9fi5th.com/wp-content/uploads/2015/04/ Amangiri-Canyon-Point-Utah-700x400.jpg>. figure 18. N.p., n.d. Web. 16 Dec. 2016. <https://smedia-cache-ak0.pinimg.com/736x/33/02/ a7/3302a7fceac15b4cd5092f2e04bfc657.jpg>. figure 19. Brianna Grimm. Kansas State University. Manhattan KS, 2016. Digital. figure 20. N.p., n.d. Web. 16 Dec. 2016. <https:// www.indybay.org/uploads/2014/06/01/gilltractcommunityfarmday_20140426_003.jpg>. figure 21. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital figure 22. Ethan Moulder. Kansas State University.
Manhattan KS, 2016. Digital
Manhattan KS, 2016. Digital
figure 23. Ethan Moulder. Kansas State University. Manhattan KS, 2016. Digital
figure 40. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital
figure 24. Ethan Moulder. Kansas State University. Manhattan KS, 2016. Digital
figure 41. Nicole Harris . Kansas State University. Manhattan KS, 2016. Digital.
figure 25. Ethan Moulder. Kansas State University. Manhattan KS, 2016. Digital
figure 42. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital
figure 26. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital
figure 43. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital
figure 27. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital
figure 44. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital
figure 28. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital
figure 45. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital
figure 29. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital
figure 46. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital
figure 30. N.p., n.d. Web. 16 Dec. 2016. <http://www. wanderingearl.com/wp-content/uploads/2011/02/ Chinese-Garden-Sydney-3.jpg>.
figure 47. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital
figure 31. “LSA Technology Report Volume 1.” Issuu. N.p., n.d. Web. 16 Dec. 2016. <https://issuu.com/roch/ docs/technology_report_volume_1_reduced>. figure 32. N.p., n.d. Web. 16 Dec. 2016. <http://www. crystalinks.com/RomanBathhouse2.jpg>. figure 33. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital figure 34. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital figure 35. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital figure 36. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital figure 37. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital figure 38. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital figure 39. Nicole Harris. Kansas State University.
figure 48. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital figure 49. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital figure 50. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital figure 51. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital figure 52. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital figure 53. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital. figure 54. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital. figure 55. Nicole Harris. Kansas State University. Manhattan KS, 2016. Digital. figure 56. “Natural+environment - Google Search.”
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Natural+environment - Google Search. N.p., n.d. Web. 08 Apr. 2017. <https://www.google.com/ search?q=natural%2Benvironment&rlz=1C1GGGE___ Used=0ahUKEwiOi9LGzIbTAhUBTGMKHZYQCZAQ_ q=biophilic+design&*&imgrc=A1rvgaTa6QGgAM:>. figure 57. N.p., n.d. Web. <https://smedia-cache-ak0.pinimg.com/ inals/2b/42/8e/2b428e2b4528d6e7052e21db1093a8a1. jpg>. figure 58. McKenzie, Sheena. “How Do You Design a Building When Your Client Is God?” CNN. Cable News Network, 23 Dec. 2013. Web. 08 Apr. 2017. <http:// www.cnn.com/2013/12/23/world/how-do-youdesign-a-building/>. figure 59. N.p., n.d. Web. <http://www.buenavistaarchitecture.de/images/slide_02.jpg>. figure 60. N.p., n.d. Web. <https://i1.wp.com/ alternativeengineeringandconsulting.com/ wp-content/uploads/2015/08/EGM-architecten_ studie_HAGA-ziekenhuis_Healing-Environment_ planetree_04.jpg>.
TEXT -“Float Kansas - FAQ.” Float Kansas. N.p., n.d. Web. 16 Dec. 2016. <https://www.floatkansas.com/faq.html>. “Göteborg Bathing Culture / Raumlabor.” ArchDaily. N.p., 24 Oct. 2015. Web. 16 Dec. 2016. <http://www. archdaily.com/775677/goteborg-bathing-cultureraumlabor>. “Healing Complex Trauma & PTSD.” Healing Complex Trauma & PTSD. N.p., n.d. Web. 16 Dec. 2016. <http:// www.healingfromcomplextraumaandptsd.com/ hydrotherapy-for-pain>. Http://www.facebook.com/serenewellness?ref=hl. “8 Ways to Cleanse Your Mind, Body & Soul with Water.” Mindbodygreen. N.p., 01 Aug. 2012. Web. 16 Dec. 2016. <http://www.mindbodygreen.com/0-5659/8-Ways-toCleanse-Your-Mind-Body-Soul-with-Water.html>. N.p., n.d. Web. 16 Dec. 2016. <http:// scholarworks.umass.edu/cgi/viewcontent. cgi?article=2225&context=theses>.
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N.p., n.d. Web. 16 Dec. 2016. <http:// surface.syr.edu/cgi/viewcontent. cgi?article=1066&context=architecture_theses>. Systems, EZ. “What Is Thalassotherapy?” Http:// wellness.brittanytourism.com. N.p., n.d. Web. 16 Dec. 2016. <http://wellness.brittanytourism.com/ thalassotherapy/what-is-thalassotherapy>. Taking the Waters || Massage Therapy Articles.” Massage Therapy: Everybody Deserves a Massage. N.p., n.d. Web. 16 Dec. 2016. <http://www. massagetherapy.com/articles/index.php/article_ id/323/Taking-the-Waters>. “The Center for Victims of Torture.” The Center for Victims of Torture. N.p., n.d. Web. 16 Dec. 2016. <http://www.cvt.org/>. “The Hydrotherapy Guru.” The Hydrotherapy Guru. N.p., n.d. Web. 16 Dec. 2016. <http://tyanermilem. wixsite.com/thehydrotherapyguru/for-veterans>. Western Libraries - Western University. N.p., n.d. Web. 16 Dec. 2016. <https://www.lib.uwo.ca/archives/ virtualexhibits/londonasylum/hydrotherapy.html>. XxIrisxXxRaexX. “Hydrotherapy and PTSD.” Hydrotherapy and PTSD. N.p., 01 Jan. 1970. Web. 16 Dec. 2016. <http://gsjfc922.blogspot.com/2014/12/ hydrotherapy-and-ptsd.html>. Yawar, Athar. “Healing in Survivors of Torture.” Journal of the Royal Society of Medicine. The Royal Society of Medicine, Aug. 2004. Web. 16 Dec. 2016. <https://www.ncbi.nlm.nih.gov/pmc/articles/ PMC1079554/>.
THANK YOU!
CREATION >promoting craft through healing architecture chapter V
>foreword The studio project will explore the relationships between human well-being and architecture through design of a facility, the purpose of which is to support the rehabilitation of torture survivors. Throughout history, mankind has always crafted items by hand. What once was a necessity has become hobby for much of the world. Through industrialization, standardization and mass production, the human touch has been lost in most of our daily lives. Crafting objects and working with onesâ&#x20AC;&#x2122; hands is a innate process which brings the craftsman a sense of accomplishment and self worth upon completion. As survivors process their trauma they grow and craft themselves into stronger individuals. The atmosphere of a creative studio continually morphs itself to fit the current users. Survivors working in the space have the opportunity to build a community of their own, providing a sense of security and dignity.
THE AUTHOR chapter V >mathew heatherly Growing up I was always making something. From summer art classes and taking over my momâ&#x20AC;&#x2122;s kitchen with glue and popsicle stick to spending chilly days in the shop building pinewood derby cars with my dad. Then there were monster lego creations with my brothers. There were always projects strewn throughout the house. As I have grown, my hobbies matured and led to attending Kansas State University and finishing Graduate School with a Masters in Architecture with a Minor in Art and an emphasis in Ceramics. This studio provided the opportunity to provide the same bonds I formed with my own family to others who may be without a solid home life. The California Center for Torture Survivors cannot only help heal an individual but, also build relationships and memories for those who utilize the space. Through the research and design process I have learned of current events around the world. My hope is the information this studio has assembled may one day be used to help those individuals in need. Sincerely yours,
Mathew Heatherly
TABLE OF CONTENTS
chapter V
section I _ case studies & research _ jacobs center _ form inspiration _ theories & intentions section Ii _ program development _ the center _ design propositions _ avatars BIBLIOGRAPHY
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>case studies & research As a continuation of research presented in Volume I “Survivors” each therapy type was researched in-depth. Presenting the California Center for Torture Survivors as a space of recreational therapy through making came about after visiting the Jacobs Center in Berkeley, California. To extrapolate the focus of healing spaces, holistic design and biophilic research was also focused on the connection of natural, social, built and symbolic environments. The California Center for Torture Survivors focuses on the natural need humans have for ‘craft’ and the development of self-worth (Change). The following chapter covers case studies, interviews and philosophies of crafting healing architecture.
SECTION I >case studies & research
jacobs center case studies & research >description The Jacobs Institute of Design Innovation is located on the University of California, Berkeley campus. The Institute brings students of all academic disciplines together and serves as a “welcoming hub where all can collaborate in a hands-on co-curricular program (About Us).” _ project -Jacobs Institute for Design Innovation _ location -2530 Ridge Road, Berkeley, CA 94709
figure 1. jacobs center location site
jacobs center
_ architect -Leddy Maytum Stacy Architects _ square footage 24,000 Sq Ft _ owner -University of California, Berkeley _ stats -Designed to reduce energy use by 90% LEED Platinum Certified (LMS Arch.) figure 2. jacobs center
”One of the things we want to do is change the way that engineering education is done… we are going to build a community around this building, around this concept of design and making.” - Paul Jacobs during opening celebration (LMS Arch.) 242
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>jacobs center plan The simple mass clearly separates the creative studio space from the supportive spaces around it. The design also separates the sensitive equipment from the hustle and bustle of the active spaces. Circulation is simple though users do pass through public spaces to navigate from one space to another. The open floor plan allows for students and faculty to work together across disciplines (Survivors).
figure 3. jacobs center plan diagram
>jacobs center concept
Sutardja Center for Entrepreneurship + Technology + the Jacobs Institute Collaboration motivated students + intellectual potential
user needs & poduct deďŹ nition technology teams business and societal alignment
figure 4. jacobs center concept
real world impact
Recently the center partnered with the Sutardja Center for Entrepreneurship. This partnership changes the approach to design according to Ikhlaq Sidhu of the Sutardja Center â&#x20AC;&#x153;...user-centric domain with technology, which is well beyond traditional approach to design... (Yeri)â&#x20AC;? The center will benefit its users and the surrounding community through collaborative work environments and interdisciplinary teachings (About Us).
>jacobs center cross section
figure 5. jacobs center cross section
The center was designed to surpass the AIA 2030 target. The result was 90% less energy than the national median for university buildings. Features such as a simplified massing, high-performance skin and photovoltaic array along with natural ventilation create an extremely efficient building. In addition the site uses 100% of the rainfall and half the water of a typical building (Jacobs). 243
form inspiration
case studies & research
>gooseberry falls visitor center The maker space require shadow free lighting to make working easier. By integrating natural light from above the space will have evenly dispersed light. The Gooseberry Falls Visitor Center structural system also embodies craft though the timber joints and unions with steel saddles.
figure 6. gooseberry falls visitor center
>jones retreat
figure 7. jones retreat
The Jones Retreat is a prime example of bringing the natural, built, social and symbolic environments together. Providing social seating, building shading devices, social gathering opportunities and proper material selection creates a welcoming and relaxing environment.
>kickstarter headquarters This circulation path at the Kickstarter Headquarters brings nature indoors through natural views, vegetation and balanced lighting. The curtain wall separates work space without blocking views and allows the spaces to breathe and blend into one. figure 8. kickstarter headquarters
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figure 9. organic farm
>organic farm (above)
>the lodge at woodloch (below)
A major influences in the design of the California Center for Torture Survivors was the Organic Farm. Its form condones community gathering in the central courtyard and provides opportunities for natural lighting through voids in the form.
Visual connections are key, the Lodge at Woodloch is very open. Sliding glass doors open to a central space and windows on the exterior facade allow views through the built environment into the natural environment beyond.
figure 10. lodge at woodloch
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theories & intentions case studies & research > example of need
> wilbert m. gesler’s four environments
South Sudan’s current civil unrest has required humanitarian aid agencies to respond at an exuberant rate, so much so that it has become one of the world’s worst humanitarian disasters. Two years after South Sudan gained independence from Sudan in 2011, a civil war broke out, and tens of thousands have been killed and refugees fleeing the country are approaching 200-thousand. In the first few weeks of September 2016, twentythousand refugees have arrived in Uganda; Ethiopia, Kenya, Sudan, Congo and Central African Republic are also receiving tens of thousands of fleeing refugees. Over 1.6 million are trapped within South Sudan though, “hopes have shattered for a real breakthrough and triggered to waves of displacement and suffering,” Leo Dobbs a spokesperson for the UN refugee agency. (Aweil)
Healing and holistic design should create a welcoming and inviting environment. The built environment should possess views to the landscape as well as built space within. Unlike traditional hospital and healthcare facilities, healing architecture should disregard windowless, white walled, vinyl covered rooms. There should be a commitment to community welcoming and interaction, socialization, and education. The Natural Environment should provide spaces of solidarity, peacefulness, and relaxation this allows guest to get away and heal. The Built Environment should be an extension of nature. With views to the exterior, adequate lighting, and fresh air. Social engagements are crucial for healing environments. Talking about ones concerns and experiences helps process the finer details. This allows users to grow through their past and strengthen them selves. Symbolic incorporations such as labyrinths, water, and animals provide healing though their use (Gesler).
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>natural environment The community courtyard to the right is separated from the private courtyard on the left. These built spaces provide structured access to nature. The community garden and walking paths also provide access to nature and healing.
figure 11. natural environment concept
>social environment The studio spaces provide great opportunity for social interaction. Similar to being part of a club or other extracurricular, bonds are formed and friendships are started.
figure 12. social environment concept
>built environment The courtyard space where individuals can move a table or desk outside and work provides a direct connection between nature and the user. figure 13. built environment
>symbolic environment These elements will be utilized throughout the site to create a walking path(s) around the center and existing community garden. figure 14. symbolic environment
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>research questions _ Does crafting objects provide healing of mind and body? Humans have a natural need for ‘craft’. Making with hands leads to stronger connections with nature, and development of self-concept and self-esteem. Through self development one learns responsibility, and growth of personal balance through self analysis (Change). Through therapy individuals practice skills and mindsets to satisfy occupational needs. “A group of veterans working with leather, wood, and painting discovered a sense of pride and purpose, through developing relationships and camaraderie within the crafting space (Reclaiming).”
_ Does a connection to nature have positive effects on recreational therapy? Similar to tourist seeking new views, architecture should include unspoiled, natural landscapes to captivate users. therapist have asked patients to ‘picture themselves’ in relaxing environments, now architects should be creating these environments (Burns). “When I looked outside right into the depth of Nature and God, then I was happy, really happy,” Anne Frank. Until recent, humans have lived within nature. Now with modern tools and design, we find ourselves enclosed in artificial environments. In response we crave nature and have created ‘grassroots programs’ (Nebbe).
_ What architectural materials create an atmosphere of mindful quality craft and heritage? From sewing to woodworking, craft revolves around the Arts and Crafts philosophy. The quality of craft was lost with mass production and is the main principle of the philosophy. Therefore materials must be organic in nature and manipulatable by the human touch. (Lonsinge). Hand-crafted stone and wood is commonly found in American Craftsman architecture. Made famous by Greene & Greene. Exemplifying simplicity is key, through exposed structure, low angles and simple geometries and the connections there of (Sidler).
_ application of research questions -- The center will cover several types of crafts -- Users will develop calming habits, mental stability, and develop fine motor functions -- Biophilia incorporates nature into architecture and thus should be considered. -- Programs like Outward Bound, The National Parks Service Heritage Shop, create destinations out of nature. The Center should be a destination. -- Wood timbers, Copper roof, Stone pavers, Art Glass windows, -- Simple Connections and Geometry
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>biography of a master joiner Dr, James E. Price is an anthropologist, archaeologist, and joiner. Dr. Price specializes in making boxes and chests. Through apprenticeship he presents lessons in order to pass on traditional wood working to the next generation. “Price’s 1986 lesson plans included the exploration of “the philosophy of why we should construct something by hand in the machine age,”” (Price).
figure 15. dr. james e. price
figure 16. box for two english smoothers
Working in the National Parks Service Heritage Shop at Ozark National Scenic Riverways has given Dr. Price the opportunity to work with all ages and backgrounds. He has worked directly with two Navy veterans continually. The veterans state that the shop environment is relaxing and always make plans to return often. The process of making provides a break from their daily stresses. The environment also promotes selfworth and taking pride in oneself (Price). “In May, 1988, Dr. Price told Dr. Erika Brady, ‘Without using any fossil fuel source, I can take a pile of boards and make them into an object of beauty. The tools are the instrument, and the piece becomes a kind of permanent music. If it doesn’t burn or blow away, it can last a thousand years - it will be impossible to pull apart’ (Price).”
>relevance
figure 17. national parks service heritage shop at ozark national scenic riverways - fourth grade school visit
The strength of ones self worth can be symbolized in crafting objects that may last thousands of years. Through making, the user becomes part of the music that Mr. Price discusses. Just as Navy veterans spoke of the calming environment and desire to return; the refugees will need a safe place to relax. The center will provide the safe haven within the larger community as they grow individually. 249
>program development Programing the California Center for Torture Survivors revolves around the user. Separating the hustle and bustle of the maker space from the quiet and reserved cognitive therapy spaces is crucial. All of the human senses must be taken into consideration, especially controlling the noise and visual distractions for those seeking cognitive therapy or just wanting to relax in a calming environment. The following pages explore preliminary building forms and order as a process through which the final design was derived.
SECTION II >program development
The center program development >introduction
>reasons
The Albany Center for Torture Survivors welcomes all members of the community to seek refuge here. The objective of the center is to provide the clients the ability to join their community at any level and during any activity.
_ Recreational Therapy - restores and rehabilitates a personâ&#x20AC;&#x2122;s level of independence (FAQ).
Through holistic healing and rehabilitation the staff at the Albany Center for Torture Survivors strives to work through both physical and emotional distress of clients seeking refuge at the center. The center provides the ability for clients to become independent. Utilizing specialized treatment and education, staff can support the client in a safe and secure environment. Recreational Therapy is a sub-branch of Occupational Therapy. The center is focused on healing and involvement within the community. Through therapy and education clients can grieve, cope, and overcome past life events. The center provides the opportunity to increase motor functions after traumatic events. Working with prosthetics, or damaged limbs in environments that might otherwise be dangerous.
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_ Recreational therapists are an interdisciplinary treatment team designed to address both physical and psychosocial needs of the patient (DeVries). _ Recreational Therapy is the therapeutic recreation field which encompasses trained professionals to provide outcomebased recreation services to all citizens (Bureau of Labor Statistics).
>services _ progressive muscle relaxation _ biofeedback-based relaxation techniques _ adapted sports _ manual, visual, and expressive arts _ horticulture _ a therapeutic outing designed to meet specific goals for community integration _ a therapeutic exercise therapy session
>vision The Center for Torture Survivors provides a healing environment to address its clients’ psychological and physical health through creative release within making studios.
>healing environments - according to wilbert m. gesler Healing and holistic design should create a welcoming and inviting environment. The built environment should possess views to the landscape as well as built space within. Unlike traditional hospital and healthcare facilities, healing architecture should disregard windowless, white walled, vinyl covered rooms. There should be a commitment to community welcoming and interaction, socialization, and education (Gesler). Gesler states that healing environments should address the following five concepts: _ multidimensional character – physical, mental, spiritual, emotional, social _ wholeness, connectedness, integration _ healing from within _ an ongoing process with meaning in ones everyday life _ Healing as a humanistic approach
>biophilia A hypothetical human tendency to interact or be closely associated with other forms of life in nature (Merriam).
>sustainability A method of harvesting or using a resource so that the resource is not depleted or permanently damaged (Merriam).
>conclusion Applying Gesler’s model, biophilia and sustainability will result in a healing environment suitable for the refugees and also community at large. The Center for Torture Survivors should be a jewel for the community, providing a safe and desirable destination for those seeking help. The center should provide physical therapy, cognitive behavioral therapy and a place of creative expression. Through this clients will also have the opportunity to meet with community members and become further involved outside the center.
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CIRCULATION - 24 %
RECREATIONAL THERAPY - 22%
SUPPORT - 22 %
ADMINISTRATION - 16 % COGNATIVE THERAPY / MEDICAL - 9% NUTRITION / COMMUNITY GATHERING - 7% figure 1. proportion of spaces
>building program The figure represents the total square footage of 18300 (program) + 5900 (circulation) for a total of 24200. The spaces represent the proportion throughout the building.
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Circulation is the largest in order to promote spontaneous interaction, followed by the focus on recreational therapy consisting of the maker spaces. Due to cognitive therapies, small scale it requires a minimum portion of the built environment. The remaining space supports the two therapy methods.
PRIVATE
SEMI - PRIVATE
SEMI - PUBLIC
PUBLIC
physical therapist office prostatic adaptation office nurse office therapist office therapy room finacial / career assistance religious solitude social worker office chaplain office administration office medical record storage
food prep confrence room daycare shop foreman office research library storage janitor office
modern tools studio metals studio wood working studio textile studio material storage public restrooms
dinning room classroom gathering space
HIGH NOISE
MEDIUM NOISE
LOW NOISE
UNOCUPIED
modern tools studio daycare
metals studio dinning room food prep classroom gathering space confrence room shop foreman office
wood working studio textile studio physical therapist office prostatic adaptation office nurse office therapist office therapy room finacial / career assistance religious solitude social worker office chaplain office administration office
medical record storage public restrooms storage janitor office
figure 2. comparison of noise and privacy
>noise & privacy Noise is unavoidable when dealing with work spaces such as a metal shop and wood shop. The separation of this disturbance from the therapeutic areas is a must.
In the same regard the making spaces should be private and a place of meditation for the refugees. As they work and process their past, the environment should be free of distractions.
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ROOM
AREA
OCCUPANCY
CIRCULATION
5,906 sqft
RECREATIONAL THERAPY modern tools studio metals studio wood working studio textile studio
SUPPORT
material storage research library medial records stroage day care storage public restrooms food prep janitor office entry / reception
ADMINISTRATION administration office confrence room daycare shop foreman
17 34 34 23
cnc, laser, tablesaw, 3d printer forge, anvil, power hammer treadle lathe, shaving horse sewing machines, spinner
1762 871 120 163 1256 500 308 297
6 25 1 1 3 1 15
shelving, hoist, moving cart study tables, computers, books files, safe, shelving shelving plumbing fixtures stove, oven, mixer, washer mop sink, shelving desk, computer
978 910 1293 652
10 61 65 7
desk, computers table, chairs, buffet toys, play tables work bench, computer
8 8 8 8 8 73 8 8
exam table, seating exam table, seating seating, books seating, table seating, computer, books tables, projector, copmuter seating, table seating, books, table
57 31
tables, seating tables, seating
127 physical therapist 127 nurse 127 therapist office 127 therapy room finacial / career assistance 127 1463 classroom 127 religious solitude 127 social worker / chaplain
dinning room gathering space
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5,410 sqft
852 1714 1714 1130
COGNITIVE THERAPY / MEDICAL
NUTRITION / COMUNITY
FURNISHINGS
856 617
5,277 sqft
3,507 sqft
2,352 sqft
1,473 sqft
RECREATIONAL THERAPY
metal studio 1714 sqft
wood studio 1714 sqft
5,410 Square Feet
textile studio 1130 sqft
modern tools studio 852 sqft
SUPPORT/ CIRCULATION
11,183 Square Feet
material storage 1762 sqft
circulation 5906 sqft
restrooms 1256 sqft
research library 871 sqft
food prep 500 sqft
janitorial 308 sqft
ADMINISTRATION
daycare 1293 sqft
confrence room 910 sqft
therapist office 127 sqft
metal shop foreman 163 sqft
wood shop foreman 163 sqft
textile shop foreman 163 sqft
modern tools shop foreman 163 sqft
reception 128 sqft
medical record storage 120 sqft
manager assistant accountant program 163 sqft manager 163 sqft manager 163 sqft 163 sqft
2,352 Square Feet
therapy finacial nurse physical social room career 127 sqft therapist worker / 127 sqft assistance 127 sqft chaplain 127 sqft 127 sqft
COMMUNITY GATHERING / NUTRITION
dinning 856 sqft
daycare storage 163 sqft
3,507 Square Feet
COGNATIVE THERAPY / MEDICAL
classrooms 1463 sqft
entry 169 sqft
religious solitude 127 sqft
1,473 Square Feet
gathering space 617 sqft
>spatial requirements & comparison
figure 3. spatial comparison
total interior space total exterior space developed space
23,925 square feet 9.6 acre site 5.72%
The five categories above organize display the proportion of space, their uses and compare the spatial requirements of the building program. This also allows furnishings to be adequately support the occupancy. 257
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figure 4. views
figure 7. noise
_ Mount Tamalapais is 16.5 miles away _ San Pablo Ridge is approximately 1000 feet tall _ The base of the 310 Albany Hill is located across the street
_ The intersection of Buchanan and San Pablo brings two arteries together in preparation to enter and exit to I-80 to the east. The roads are full and unpleasant to look at.
40’ 35’ 30’
bike path
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bus stop
figure 5. public access
figure 8. topography
_ There are three public transit stops within the same block. Additionally further connections can be found in the surrounding community, linking the city to the site.
_ The site is sloped from east to west going down hill towards the bay. There is approximately 12 feet of elevation change across the 730 foot east west axis.
figure 6. existing agricultural developments
figure 9. wind
_ The site is comprised of three planting zones. From west to east they are - experimental fields for UC Berkeley, community garden crops, and a circular herb garden.
_ Southern breeze is blocked by a grove of trees during the summer. Winter winds off the bay are scattered by University Village.
>site location
DING BUIL SITE
figure 10. optimum location
Based on the site assets and challenges, the optimum location for The Center for Torture Survivors would be the south east corner. Located across from University Village and away from the busy intersection of San Pablo Ave. and Marin Ave. During the site visit this part of the Gill Tract was peaceful and set by the wayside. This space could be utilized without disturbing the existing farm.
figure 12. building location
BUILDING SITE
figure 11. site panoramic
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design propositions program development
figure 13. tesla power pack
figure 16. tesla solar roof
_ After collecting solar power from the roof, these pack could store power long term to sustain though low light situations.
_These solar shingles or any other solar power source have the potential to sustain the site without the electric grid.
warm air rises our of sturcture
cover pipe opening with bench
100 â&#x20AC;&#x2DC; = 10-20 degree drop in temp.
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figure 14. earth air tube ventilation
figure 17. trespa
_This method of air condition cost very little. This principal uses the earthâ&#x20AC;&#x2122;s constant temperature as a base.
_This is a very durable product that would work great in any high impact situation .
figure 15. solar energy
figure 18. accessible gardens
_If the solar roof is not enough then the remaining energy should be sourced form environmentally friendly sites.
_Everyone should have equal opportunityâ&#x20AC;&#x2122;s at the center. This should include exterior activities
>proposition one Proposition one became a brick. With three lays of space. Administration followed by counseling and then work therapy. This solid form does not work with the site well and circulation is poor. figure 19. building form proposition one
>proposition two Proposition two brought about a second to separate the administration and staff break room. The noise of work therapy became an issue for relaxing during therapy sessions and this would not function well. figure 20. building form proposition two insurance development processing director office office director of opperations managers coo office office office
staff break room
staff outdoor
staff outdoor
wood working
individual work space
entry atrium reception security
individual work space
>proposition three
finance ceo director director office of health office services grant cultural writer specialist office research womens lab restroom
daycare restroom
daycare
conference and classroom
daycare storage
medical record storage
storage
therapist office
therapist janitorial office refuse recycling therapy treatment
digital fabrication studio
storage loading dock
Proposition three developed variations in space size and began to develop a form. The manipulation of the bar began to separate the therapy from the work spaces.
individual work space
metal working
individual work space
digital stuido home crafts
mens accessible restroom restroom
auditorium
physical adaptation physical therapist
physical therapy gym
therapy treatment nurse office
therapist office
social home worker health chaplain therapy
therapist financial office career
figure 21. building form proposition three insurance development processing director office office director of opperations managers coo office office office
staff break room
staff outdoor
staff outdoor
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no va tio co n sp m m ac un e st i t y af sp fs ac pa e co ce gn (s ec iti ve on be d flo ha or vi or ) al th er ap y
in
figure 22.
9
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figure 22. site elements
>site strategy Providing access to Jackson Street proves to be the best access for vehicular traffic do to Buchanan and San Pablosâ&#x20AC;&#x2122; traffic density. In addition the wind breaks and shading will regulate natural ventilation allowing sustainable development. With public transit surrounding the site, it is available for the entire community to utilize. The building site is also in the quietest part of the site in order to provide a relaxing peaceful environment. 262
_1--Parking _2--Loading Dock _3--The Center for Torture Survivors _4--Accessible Walkable Garden _5--Outdoor Meditation Space _6--Community Garden (Existing) _7--Walking Path to Garden / Bus Stop _8--New Sidewalk _9--Ocean View Bikeway (Existing)
insurance development processing director office office director of opperations managers coo office office office
staff break room
staff outdoor
staff outdoor
wood working
individual work space
finance ceo director director office of health office services grant cultural writer specialist office entry atrium reception security
individual work space
research womens lab restroom
daycare restroom
daycare storage
daycare
conference and classroom
medical record storage
storage
therapist office
therapist janitorial office refuse recycling
therapy treatment
digital fabrication studio
storage loading dock
individual work space
metal working
individual work space
digital stuido home crafts
mens accessible restroom restroom
physical physical adaptation therapy gym auditorium physical therapist
therapy treatment nurse office
therapist office
social home worker health chaplain therapy
therapist financial office career
figure 23. conceptual plan
>conceptual plan The conceptual plan maintains the diagrammatic bar but separates the noisiest aspect from the core structure. By creating a courtyard this also provides a space to gather privately outside.
Therapy is held opposite the work space with large gathering spaces in between. Administration can be found upstairs along with staff break room and an outdoor space for staff to get away and relax 263
avatars program development >roy
_ journey
_ master joiner and maker space staff
Roy is a master craftsman who works in the wood shop. He commutes to work on BART and works every day. His passion runs deep and his skill even deeper. He has worked in a shop all his life and enjoys teaching others. During his time at the center Roy holds workshops to discuss different methods. Typically his classes start in the conference room with a presentation, followed by hands on exercises and ultimately an individual project in the shop. The refugees that work with Roy continually speak of his peaceful and friendly demeanor. They find the environment relaxing and welcoming. The shop has become a safe place to get away from the past and grow physically and mentally.
figure 24. roy
wood working
individual work space
entry atrium reception security
individual work space
research womens lab restroom
daycare restroom
daycare storage
daycare
conference and classroom
medical record storage
storage
therapist office
therapist janitorial office refuse recycling
therapy treatment
digital fabrication studio
storage loading dock
individual work space
metal working
figure 25. royâ&#x20AC;&#x2122;s path
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individual work space
digital stuido home crafts
mens accessible restroom restroom
physical physical adaptation therapy gym auditorium physical therapist
therapy treatment nurse office
therapist office
social home worker health chaplain therapy
therapist financial office career
_ journey
>kijai
Kijai escaped Uganda and left her family behind in search of a better life for her baby girl, Jendyose. She comes to the center for cognitive behavioral therapy twice a week. Typically Kijai takes BART to commute. When she arrives Jendyose goes to the daycare and Kijai can focus knowing her baby girl is safe. Kijai then goes to an individual therapy session followed by an appointment with the career councilor.
_ mother with a baby girl from uganda
In addition she also spends time in the wood working lab and home crafts space. During her time there she has found peace during the making process. So much so, that she is seeking employment at a local upholstery shop.
wood working
figure 26. kijai and jendyose
individual work space
entry atrium reception security
individual work space
research womens lab restroom
daycare restroom
daycare storage
daycare
conference and classroom
medical record storage
storage
therapist office
therapist janitorial office refuse recycling
therapy treatment
digital fabrication studio
storage loading dock
individual work space
metal working
individual work space
digital stuido home crafts
mens accessible restroom restroom
physical physical adaptation therapy gym auditorium physical therapist
therapy treatment nurse office
therapist office
social home worker health chaplain therapy
therapist financial office career
figure 27. kijaiâ&#x20AC;&#x2122;s path
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>dori
_ journey
_ refugee from jordan
Dori comes to the center after leaving Jordan. He was abducted and sustained injuries that have placed him in a wheelchair for the remainder of his life. Doriâ&#x20AC;&#x2122;s friend typically drives him to the center and they arrive early to relax in the garden prior to a physical therapy session three times a week. After his therapy he attends a cognitive therapy session to assist with his PTSD. Dori spends time in the research lab where he explores his passion for ornithology. He has also held workshops in the evening to share his love and teach others at the center about local birds that live in the garden.
figure 28. dori
wood working
individual work space
entry atrium reception security
individual work space
research womens lab restroom
daycare restroom
daycare storage
daycare
conference and classroom
medical record storage
storage
therapist office
therapist janitorial office refuse recycling
therapy treatment
digital fabrication studio
storage loading dock
individual work space
metal working
figure 29 doriâ&#x20AC;&#x2122;s path
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individual work space
digital stuido home crafts
mens accessible restroom restroom
physical physical adaptation therapy gym auditorium physical therapist
therapy treatment nurse office
therapist office
social home worker health chaplain therapy
therapist financial office career
_ journey
>betsey
Betsey is a cognitive therapist who focuses on communication. She lives in University Village and walks to work. She works one day a week while she is in school. The center hopes to hire her full time upon graduation.
_ cognitive behavioral therapist
She works with refugees to communicate verbally. Discussing their past and how to cope. Her goal is that everyone can speak freely and remove the weight of the emotional burdens. The majority of her time is spent in the therapy treatment space and in the garden walking with the refugees. figure 30. betsey
wood working
individual work space
entry atrium reception security
individual work space
research womens lab restroom
daycare restroom
daycare storage
daycare
conference and classroom
medical record storage
storage
therapist janitorial office refuse recycling therapy treatment
therapist office
digital fabrication studio
storage loading dock
individual work space
metal working
individual work space
digital stuido home crafts
mens accessible restroom restroom
physical physical adaptation therapy gym auditorium physical therapist
therapy treatment nurse office
therapist office
social home worker health chaplain therapy
therapist financial office career
figure 31. betseyâ&#x20AC;&#x2122;s path
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BIBLIOGRAPHYchapter V SECTION 1 -- TEXT
Educational Media Corp., 1995. Print. “Price, James E.” Telephone interview. 12 Dec. 2016.
“About Us.” Jacobs Institute for Design Innovation. UC Berkeley, n.d. Web. 11 Dec. 2016.
Price, James E. ”Working with Hands.” W K Fine Tools “Survivors: Healing Architecture in Response to Political Torture.” Kansas State University. March 2017. Print.
Aweil. “More than a million refugees have fled South Sudan, UN says.” News24. News24, 16 Sept. 2016. Web. 23 Feb. 2017. Burns, George W. Nature-guided therapy: brief integrative strategies for health and well-being. Philadelphia, PA: Brunner/Mazel, 1998. Print. Change.” The Indian Journal of Occupational Therapy XLI.2 (2009): 43-47.Web. 25 Jan. 2017. Dalley, David, Village Surrey, Sharon Buydens, and Lindaprai. “Energy & Transportation Archives Village Surrey Transition Initiative.” Village Surrey Transition Initiative. N.p., 12 Feb. 2016. Web. 13 Dec. 2016. “FAQ About RT/TR.” FAQ About RT/TR | American Therapeutic Recreation Association. N.p., n.d. Web. 11 Dec. 2016. Gesler, Wilbert M. Healing Places. Lanham, MD: Rowman & Littlefield, 2003. Print. “Jacobs Institute for Design Innovation.” Jacobs Institute for Design Innovation | AIA Top Ten. AIA, n.d. Web. 11 Dec. 2016. Lonsinge, Ken. “Celebrating 19 Years on the Web.” Craftsman Perspective: A Visual Guide to Arts and Crafts Architecture. N.p., n.d. Web. 02 Feb. 2017. LMS Architects. “UC Berkeley Jacobs Institute for Design Innovation.” LMS A. N.p., n.d. Web. 11 Sept. 2016.
“Tesla.” Tesla | Premium Electric Sedans and SUVs. N.p., n.d. Web. 13 Dec. 2016. Yeri. “Berkeley Engineering Launches the Jacobs Institute of Design - UC Berkeley Sutardja Center.” UC Berkeley Sutardja Center. UC Berkeley, 11 Aug. 2015. Web. 11 Dec. 2016.
SECTION 1 -- IMAGERY figure 1. Jacobs Center Location. Mathew Heatherly. Jacobs Center Location. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016. Digital.with reference to “Albany, Ca.” Map. Google Maps. Google, 15 Apr. 2016. Web. Dec. 11, 2016. figure 2. Jacobs Center. Griffith, Tim. Jacobs Hall. N.d. LMS Architects, Berkeley California. LMS A. Web. 11 Dec. 2016. figure 3. Jacobs Center Plan Diagram. Heatherly, Mathew T. Jacobs Center Plan. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016. Digital. With reference to: LMS Architects. Jacobs Center Cross Section. N.d. AIA, Berkeley California. The American Institute Of Architects. AIA. Web. 11 Dec. 2016
Merriam-Webster. Merriam-Webster, n.d. Web. 11 Dec. 2016.
figure 4. Jacobs Center Concept. Heatherly, Mathew T. Jacobs Center Concept. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016. Digital. With reference to: LMS Architects. Jacobs Center Cross Section. N.d. AIA, Berkeley California. The American Institute Of Architects. AIA. Web. 11 Dec. 2016
Nebbe, Linda Lloyd. Nature as a guide: nature in counseling, therapy, and education. Minneapolis, MN:
figure 5. Jacobs Center Cross Section. LMS Architects. Jacobs Center Cross Section. N.d. AIA, Berkeley
Magazine. N.p., n.d. Web. 12 Dec. 2016. Sidler , Scott. “American Craftsman Style.” The Craftsman Blog. N.p., 02 June 2013. Web. 02 Feb. 2017.
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Reclaiming.” The Open Journal of Occupational Therapy 4.2.13 (2016): 1-6. Web. 25 Jan. 2017.
California. The American Institute Of AIA. Web. 11 Dec. 2016.
Architects.
figure 6. Bastianelli-Kerze, Peter. Gooseberry Falls Visitor Center. N.d. Salem Architecture. Salmela Architect. Web. 15 Jan. 2017. figure 7. Bastianelli-Kerze, Peter. Jones Retreat. N.d. Salema Architecture. Salmela Architect. Web. 15 Jan. 2017. figure 8. Kickstarter’s Headquarters . 2015. USGBC, Brooklyn. Urban Green. Web. 15 Jan. 2017. figure 9. Jin, Wei-Qi. Organic Farm. 2016. Architizer, Hebei Province, China. figure 10. The Lodge at Woodloch. N.d. Hawley, PA. The Lodge at Woodloch. Web. 15 Jan. 2017 figure 11. Natural Environment Concept. Heatherly, Mathew T. Natural Environment Concept. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2017. figure 12. Social Environment Concept. Heatherly, Mathew T. Social Environment Concept. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2017. figure 13. Built Environment Concept. Heatherly, Mathew T. Built Environment Concept. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2017. figure 14. Symbolic Environment Concept. Heatherly, Mathew T. Symbolic Environment Concept. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2017. figure 15. James E. Price “Working with Hands by James E. Price.” W K Fine Tools Magazine. N.p., n.d. Web. 12 Dec. 2016. figure 16. Box for Two English Smoothers. Price, James E. Box for Two Wnglish Smoothers. Nov. 2016. Working with Hands, WK Fine Tools, Naylor, Missouri. figure 17. National Parks Service Heritage Shop at Ozark Nationl Senic Riverways. James E. PriceFacebook n.d. Web. 12 Dec. 2016.
SECTION 2 -- TEXT Bureau of Labor Statistics. “Summary.” U.S. Bureau of Labor Statistics. U.S. Bureau of Labor Statistics, 2015. Web. 07 Apr. 2017. DeVries, Dawn, MPA, CTRS. “The Interdisciplinary Team.” Assisted Living Consult. N.p., May & June 2006. Web. 22 Nov. 2016. “FAQ About RT/TR.” FAQ About RT/TR | American Therapeutic Recreation Association. N.p., n.d. Web. 11 Dec. 2016. Gesler, Wilbert M. Healing Places. Lanham, MD: Rowman & Littlefield, 2003. Print.
Merriam-Webster. Merriam-Webster, n.d. Web. 11 Dec. 2016.
SECTION 2 -- IMAGERY figure 1. Proportion of Space. Heatherly, Mathew T. Proportion of Space. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016. figure 2. Comparison of Noise and Privacy. Heatherly, Mathew T. Proportion of Space. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016. figure 3. Spatial Requirements. Heatherly, Mathew T. Proportion of Space. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016. figure 4. Views. Heatherly, Mathew T. Views. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016.With reference to: ESRI 2011. ArcGIS Desktop. Redlands, CA: Environmental Systems Research Institute, n.d. Web. 19 Sep. 2016. figure 5. Public Access. Heatherly, Mathew T. Public Access. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016.With reference to: ESRI 2011. ArcGIS Desktop. Redlands, CA: Environmental Systems Research Institute, n.d. Web. 19 Sep. 2016. figure 6. Existing Agricultural Developments. Heatherly, Mathew T. Existing Agricultural Developments. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016.With reference to: ESRI 2011. ArcGIS Desktop. Redlands, CA: Environmental Systems Research Institute, n.d. Web. 19 Sep. 2016. figure 7. Noise. Heatherly, Mathew T. Noise. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016.With reference to: ESRI 2011. ArcGIS Desktop. Redlands, CA: Environmental Systems Research Institute, n.d. Web. 19 Sep. 2016. figure 8. Topography. Heatherly, Mathew T. Topography. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016.With reference to: ESRI 2011. ArcGIS Desktop. Redlands, CA: Environmental Systems Research Institute, n.d. Web. 19 Sep. 2016. figure 9. Wind. Heatherly, Mathew T. Wind. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016.With reference to: ESRI 2011. ArcGIS Desktop. Redlands, CA: Environmental Systems Research Institute, n.d. Web. 19 Sep. 2016. figure 10. Optimum Location. Heatherly, Mathew T. Optimum Location. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016.With reference to: ESRI 2011. ArcGIS Desktop. Redlands, CA: Environmental Systems Research Institute, n.d. Web.
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19 Sep. 2016. figure 11. Site Panoramic. Wilson, Blake. UC Berkeley Research Field. Kansas State University. Manhattan, KS, 2016. Photograph. figure 12. Building Location. Wilson, Blake. UC Berkeley Research Field. Kansas State University. Manhattan, KS, 2016. Photograph. figure 13. Tesla Power Pack. “Tesla.” Tesla | Premium Electric Sedans and SUVs. N.p., n.d. Web. 13 Dec. 2016. figure 14. Earth Air Rube Ventilation.. Heatherly, Mathew T. Optimum Location. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016. With reference to: Dalley, David, Village Surrey, Sharon Buydens, and Lindaprai. “Energy & Transportation Archives - Village Surrey Transition Initiative.” Village Surrey Transition Initiative. N.p., n.d. Web. 11 Dec. 2016.
figure 26. Kijai. Mother Toddler and Enhancement. N.d. Union Churhc Early Childhood Program, Hinsdale Illinois. UCECP. Union Church Early Childhood Programs. Web. 9 Dec. 12016. figure 27. Kijai’s Path. Heatherly, Mathew T. Kijai’s Path. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016. figure 28. Dori. Man in Wheelchair. 2014. By Amanda Mills. 2014. Web. 9 Dec. 2016. figure 29. Dori’s Path. Heatherly, Mathew T. Dori’s Path. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016.
figure 15. Solar Energy. “Everything Solar: News, Reviews & Research | Solar Power Authority.” Solar Power Authority. N.p., n.d. Web. 14 Dec. 2016.
figure 30. Betsey. Recreational Therapist. N.d. Murfreesboro, Tennessee. Special Kids. Special Kids Therapy and Nursing Center. Web.
figure 16. Tesla Solar Roofing. “Tesla.” Tesla | Premium Electric Sedans and SUVs. N.p., n.d. Web. 13 Dec. 2016.
figure 31. Betsey’s Path. Heatherly, Mathew T. Betsey’s Path. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016.
figure 17. Trespa. “Trespa.” Trespa. N.p., n.d. Web. 11 Dec. 2016. figure 18. Accessible Gardens. “Terraform Wheelchair Accessible Garden Kit.” Universal Design Style. N.p., 29 Jan. 2013. Web. 12 Dec. 2016. figure 19. Building Proposition One. Heatherly, Mathew T. Building Proposition One. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016. figure 20. Building Proposition Two. Heatherly, Mathew T. Building Proposition Two. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016. figure 21. Building Proposition Three. Heatherly, Mathew T. Building Proposition Three. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016. figure 22. Site Elements. Heatherly, Mathew T. Site Elements. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016.With reference to: ESRI 2011. ArcGIS Desktop. Redlands, CA: Environmental Systems Research Institute, n.d. Web. 19 Sep. 2016. figure 23. Conceptual Plan. Heatherly, Mathew T. Conceptual Plan. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016. figure 24. Roy. Page, Elisha. Jeremy Frislie Woodworker. 12 Nov. 2014. Argus Leader - USA Today Network, Sioux Falls. Argus Leader. USA Today, 12 Nov. 2014. Web. 9 Dec. 2016.
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figure 25. Roy’s Path. Heatherly, Mathew T. Roy’s Path. Kansas State University. Survivors: Healing Architecture in Response to Political Torture. Manhattan, KS, 2016.
THANK YOU!
GROWTH
> healing people through biophilic architecture & horticultural therapy chapter VI
>foreword The studio was tasked with the challenge to design a therapeutic facility that would work to heal those who have been through politically related trauma and torture. Through research and investigation, we have come to understand issues that surround this topic. The California Healing Center is designed to serve these refugees throughout their healing process. A focus in horticultural therapy with intentionality in biophilic architecture creates a healing environment that connects the refugees to the professionals, community, and the natural environment. Connection between the personal, communal, professional, and natural realms facilitates an environment where true growth can occur. The building is rooted in nature and its ability to heal. Horticultural Therapy paired with Cognitive Behavioral Therapy are the main avenues for the healing process. Friends, family, and supporters can come learn, participate, and find connection in the use of the center.
THE AUTHOR
chapter VI
>journi johnson I am a 5th year Master of Architecture graduate student at Kansas State University. My interest in this studio arose from my desire to help people through the platform of architecture. To me, architecture is more than simply the structure, space, and envelope. It is an opportunity to create atmosphere and inspire change. We, as designers, have the opportunity to impact life in a positive and meaningful way. This is a responsibility and a blessing. Designing a healing center for survivors of torture has been both challenging and rewarding. The process has prompted me to think deeply about world issues, the human condition, and relationships. The spaces that we occupy can take away or add to our well-being. Much like the concept of growth for this chapter and the projectâ&#x20AC;&#x2122;s focus in horticultural therapy, I have been growing; lessons in empathy, understanding, and connection are what bring purpose to obligation and task. With gratitude and excitement I share my research, thoughts, and proposal. Sincerely,
Journi Johnson
TABLE OF CONTENTS chapter VI section I _ research _ natural integration _ horticultural therapy _ precedent study _ vision statement section II _ site selection & built context _ site diagrams _ urban strategy section III _ program & analysis _ conceptual approach _ program analysis _ the people & use section IV _ design proposal _ first review iteration _ second review iteration _ third review iteration BIBLIOGRAPHY
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â&#x20AC;&#x153;We need wonder and awe in our lives, and nature has the potential to amaze us, and propel us forward to want to learn more about our world. The qualities of wonder and fascination , the ability to nurture deep personal connection and involvement, visceral engagement in something larger than and outside ourselves, offer the potential for meaning in life few other things can provide.â&#x20AC;? _ Timothy Beatley -- Biophilic Cities
SECTION I >research
Natural Integration research >problem & solution The UN Refugee Agency reported that there were 21.3 million refugees in 2015. These refugees fled their homes because of conflict and persecution. (UNHCR). Many of these people have been tortured and traumatized. As a result, they suffer from physical, mental, and spiritual symptoms that detract from a healthy life. A center that comforts and rehabilitates survivors of political torture is a challenging endeavor. The challenges to be faced include creating spaces that not only caters to groups of people as a whole, but can be customized and tailored to help each patient with their own specific needs. The goal is to provide an overall healing environment that encourages life rehabilitating practice to its users. Nature provides healing qualities to the whole of the human. Cognitive psychologist, David Strayer concludes â&#x20AC;&#x153;At the end of the day, we come out in nature not because the science says it does something to us, but because of how it makes us feelâ&#x20AC;? (Williams) . Integration of natural elements â&#x20AC;&#x201C; being light, air, vegetation, and water, are important in reaching and restoring the mind, body, and soul. Design components representing and incorporating nature will lead to the success of the restorative facility. Through investigation, observation, and education, knowledge about torture methods have been revealed. While disheartening, it is crucial to address the discomforts and sufferings head on in order to find proper means of a healing environment; perhaps for each cruel method, there is a suited treatment that nature in the building context can heal.
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The following conditions are torture methods followed by the opposite and potential design solutions:
beatings > welcoming embrace > softscaped/landscaped entryways; vibrant yet diffused lighting confinement > open space, visible sight lines > permeable materials like wooden slates or greenery constant standing or uncomfortable positioning > restful spaces > nooks embedded in walls/ thickness extreme noise > calming sounds > materials and/or vegetation as sound buffers between spaces harsh temperature manipulation > comfortable temperature control > earth integration; sun shading occupying hard, cold rooms > soft, warm spaces > materials and vegetation to soften; sunlit space sensory deprivation > sensory awareness; sensory celebration > flowers, herbs, garden; textures sleep deprivation > restful spaces; comfortable materials > textures of earthâ&#x20AC;&#x2122;s elements stripping of clothes > privacy > degrees of enclosure using greenery and material water boarding > peaceful presence of water > resting water pools; gentle waterfalls figure 1. problem & solution vine
With the varying procedures of torture comes the long list of psychological and physical ailments. Solutions can be offered through the architectural environment in conjunction with the human facilitated care. Integration of nature provides a focus in the application of the solution. Through further investigation and proposal, elements of nature will provide tangible answers as design solutions.
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>healing places Wilbert M. Gesler, a professor at the University of Carolina at Chapel Hill, explains his research on the environments that he has encountered. He shares his expertise on healing places. Healing spaces are in essence where one feels rejuvenated and uplifted by the environment. The atmosphere adds to the person in a positive manner and promotes growth from past stunting disruptions or life’s interruptions. Healing places are embedded across the lives of people as a whole; they date back to different beliefs, cultures, and symbols that represent our commonality in the desire to feel good (Gesler). Gesler notes nature as being a common response to the question of what humans find healing. (2). This is quite possibly because we get our energy, our nutrients, our DNA, and purpose to live through and for the natural environment around us. The exercising of the senses allow a person to truly resonate with a place. Well-designed spaces should not only look good, they
figure 2. vegetable garden
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should feel good; they should give off an inspirational and positive energy. Gesler speaks regarding another author’s work, “Meaning is achieved through the experiences people have in places. The kinds of meaning that places give people include a sense of identity, of security, of belonging (Pred 1983); places are where people find employment and social support, where they find aesthetic pleasure and feelings of pride” (5). I agree that places are something that someone will wish to claim as their own. When people visit a place time and time again because they want to, they are solidifying the deeper connection that they have with the place. Even more so, when people care about a place, they will invest themselves into it. They will spend their time there, support the facility with their money, and care for the physical building in keeping it clean and at its best. There are four aspects of a healing space that Gesler specifically highlights: natural environment, built environment, symbolic
figure 3. green wall
figure 4. natural ventilation
environment, and social environment. For the natural environment, Gesler brings up the idea of biophilia hypothesis. This concept speaks to the affinity that humans have for nature; it brings comfort. Specific elements in nature heal and have been proven through various studies to have therapeutic effects. He mentions water and earth as being some of the strongest agents of a healing environment. Through the connection of these and other natural elements the overall environment is strengthened in its ability to connect to and impact the user. The built environment can be made a healing place though attention to design in its aesthetics and functionality. Proper use of air ventilation, openings, and organization are some of the key aspects that have a positive impact on human behavior.
figure 5. symbols
Symbols are used to express meaning that we can relate to. A symbolic environment may speak to someoneâ&#x20AC;&#x2122;s experience, culture, or religion. These cues can be utilized as agents to heal when we design purposefully and thoughtfully.
figure 6. social activity
Social environments are made up spaces for different people. A therapeutic community empowers those who could potentially feel marginalized in society and in a patient position. Gesler highlights the importance of making the users feel welcome in the environment that is created.
figure 7. symbolic building gestures
The California Healing Center is to be designed as a healing place; the pure and also symbolic elements of this world we live in can help make that so. Every built thing can be traced back to its beginning. If it reads as though it is more closely rooted in nature, it may in fact, have a stronger impact on the users. For this reason I find it important to be true to the earth, light, wind, and water surrounding the building. Meaningful design with these ideals in mind will achieve the healing aspect that is vital to its success.
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Horticultural therapy research >definitions hor·ti·cul·tur·al ther·a·py - “the engagement of a client in horticultural activities facilitated by a trained therapist to achieve specific and documented treatment goals” (American Horticultural Therapy Association)
_ an active practice _ encourages a desire to be connected with the earth _ utilizes all the senses _ requires personal effort _ provides exercise
hor·ti·cul·tur·al ther·a·pists - “specially educated and trained professionals who involve the client in any phase of gardening - from propagation to selling products - as a means of bringing about improvement in their life” (American Horticultural Therapy Association)
_ guide clients through therapeutic work _ help clients set SMART goals _ encourage collaboration between clients _ licensing and certification not required
hor·ti·cul·ture - “the science of growing fruits, vegetables, and flowers” (Merriam Webster) bio·phil·ia - “the inherent human inclination to affiliate with nature” ( Earth Talk)
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>involvement of the senses & body see
hear figure 8. seeing
smell figure 9. hearing
taste figure 10. smelling
figure 11. tasting
touch
figure 12 . touching
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Precedent Study research >brooklyn botanic garden _ location -- Brooklyn, New York _ completed -- 2012 _ size -- 20,000 sq ft _ client -- Brooklyn Botanic Garden _ users -- Visitors _ architect -- Weiss/Manfredi & HMWhite (landscape) The building glides alongside a changing topographical landscape as it compliments and meshes into its context; from the street front to the gardens, the architectural gestures connect the urban face to the landscaped yard (Brooklyn Botanic Garden). Design elements give clear intention towards horticultural involvement and sustainability.
figure 13. bbg aerial
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figure 15. master plan
figure 14. site axonometric
>attributes
figure 16. soil technology
_ living roof _ storm water channels _ salvaged/recycled lumber _ columns _ structural concrete _ walkway sun shading _ bio-swales
>site application The integration of site with the architectural build furthers the importance of horticulture and the natural environment as significant. It is an uplifting foundation for the users and overall environment. Several systems reiterate this truth.
figure 17. design strategy
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figure 18. ground floor plan
figure 19. first floor plan
>programming The Visitor Center is 20,000 square feet, transitioning from urban architecture to structured landscape (BBG). The arrangement of the program allows the largest and most community-oriented spaces to be prominent and connected 290
to the land. The circulation encourages elongated movement. The long twisting shape with high performance low-E solar glass also allows for ample natural sunlight to fill the spaces. (The Plan). Structural columns line the form while providing freedom for distinction in shape.
figure 20 .bb section
figure 21. cc section
figure 22. axonometric view
figure 23 . city and garden context
>building application The design of this Visitor Center excels in many ways. The California healing center can utilize information regarding systems, program organization, and materiality in order to be successful.
This precedent also provides an influential perspective on well being in relation to horticulture. The process, diagrams, and final drawings unfold more information that can be useful as the progression of the Healing Center advances. 291
>vision statement Through cultivating connection to the natural environment, horticultural therapy heals and revitalizes the users; it embraces communal support and personal growth to facilitate health and well-being.
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â&#x20AC;&#x153;If you look at sustainability, it really is what impact [do] people and their behaviors have on the natural environment, and biophilia turns that on its head and says, what impact does nature have on us.â&#x20AC;? _ Judith Heerwagen -- Biophilic Design: The Architecture of Life
SECTION II >site selection & built context
ce in tra ns re su fo lt rm re at ga io rd n in g in flu en
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figure 24, 25, 26, & 27.
>site diagrams in relation to the building In order to shape the built environment, it became vital to analyze how the environment might respond and interact with important site factors. figure 24. sun influence
figure 25. wind influence
figure 26. access influence
figure 27. natural context influence
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Through a process of examination, movement, and alteration the built environment works to best suit those given assets and challenges. As the form elongates, it allows for opportunity to receive sunlight and use wind for natural ventilation. Access benefits from splitting the form and thinking in terms of proximity to a specific user. Natural contours suggests that the built environment may want to imitate the language of the land in order to become part of the whole space. This investigation provided a more solid foundation for placement and form.
s st op de si re lin d vi e ew vi ew s s to bu s
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figure 32.
>visual connection Certain desired views are vital in establishing context while on the site. They also reassure connection whether inside the built environment or within the perimeter of that site. Visuals to other elements such as bus stops, parking, bike access, and intersections will be important to keep in mind as the building needs to connect with its users.
figure 28. farmland and albany hill
figure 30. ohlone circle
figure 29. university housing
figure 31. trees in south
figure 32. views
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Urban Strategy site selection & built context >relationship The site is large in comparison to the surrounding ratio of land per building. In order to maintain connection to the urban environment, consideration for positioning and scale was necessary.
figure 33. mass void with building context grid
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figure 34.
ocean view park The California Center for Healing Site
golden gate fields
UC Little Village Ballfields
university viliage community garden
fieldling field
san fransico bay
0.8 miles by road/sidewalk 1.8 miles by road
figure 34. greenspace & recreation
>connection Opportunities for connection are found just a short distance from the site. Green space and recreation present collaboration between the California Healing Center and the community in which it belongs. Schools and education centers also sit nearby and hold the potential for partnership programs with the center. figure 35. education centers
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figure 36.
figure 36. three dimensional site context with placement language
>urban front The buildings in proximity to the site for the center have placement next to the streets. The density also compiles to read as an urban neighborhood. The site for The California Healing Center is vast, yet with intentionality can be zone in an effort to match or compliment its context. Placement of the building would be suited on the northeast corner near Buchanan 300
and Jackson streets. It would create a buffer on the site for audio and visual privacy as well as connect the center to the neighborhood.
m un pe ity rs on al ad th m er ap in is y tra tio n
co m
figure 37, 38, & 39.
figure 37. triangle
figure 38. web
figure 39. embrace
figure 40. mid-critique forms
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â&#x20AC;&#x153;Biophilic design is thus about creating good habitat for people in a modern built environment that satisfies their need for beneficial contact with the natural world.â&#x20AC;? _ Stephen Kellert -- Biophilic Design: The Architecture of Life
SECTION III >program & analysis
conceptual approachprogram & analysis >architectural goal The direction of the architectural idea has transformed over the course of the research and design process. The overall goal has remained constant: To connect the built environment with the natural environment and facilitate relationship in a way that caters to the healing of the individuals.
natural environment
green integration
inside space
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land building
figure 41. intertwining environments
figure 42. building & land
figure 43. nodes
figure 44. statement wordle
>service goal The service goal is focused on the people. It is personal and purposeful: To facilitate healing through cognitive behavioral therapy, horticultural therapy, and community interaction. figure 45. service
>connection With these goals in mind it is important to think of them in terms of connecting. Both the architecture and service will work together to create a healing atmosphere.
figure 46. connection
figure 47. connections across groups
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Program Analysis program & analysis Occupancy
Quan�ty
Square Footage (�2)
Net Square Footage (�2)
A�ributes
Entry
2
1
70
70
airlock with clear visuals to recep�on and entry sequence
Recep�on
3
1
200
200
check in desk with wheelchair accessibility; connec�on to entry and lobby; views to entry approach
Lobby
10
1
300
300
variety in sea�ng arrangement; snack inlet
Library
15
1
1500
1500
sea�ng nooks and desks; stacks for reading material
Kitchen
20
1
1000
1000
visual connec�on to gardens and outdoors; includes prep spaces and islands accommoda�ng mul�ple people; equipped with commercial ovens, stoves, and other appliances
Dining/mul�purpose
150
1
2250
2250
open space, flexible sea�ng, connec�on to outdoors
Large classroom
25
1
840
840
movable tables and chairs; suitable for lecture or round table discussions
Small classroom
14
2
280
560
movable tables and chairs; suitable for lecture or round table discussions
Courtyard
8
1
400
400
relaxing/res�ng space with access to ample natural light
Greenhouse
25
1
1000
1000
indoor growing house with shelving for various plants; space for some tools; translucent materials
Chicken coop
4
1
100
100
nooks for chickens and egg produc�on; freely accessible by chickens but protected
Tool shed/gardening prep
5
1
200
200
accesible storage with places for gloves, boots, shovels, hoes, etc. . .
Changing room/showers men
3
1
100
100
showers and changing areas; space to wait; water ringing machines; connec�on to laundry room
Changing room/showers women
3
1
100
100
showers and changing areas; space to wait; water ringing machines; connec�on to laundry room
Men's restroom
5
2
250
500
2 stall and 3 urinal bathroom; connec�on to shower/changing room
Women's restroom
5
2
280
560
4 stall bathroom; connec�on to shower/changing room
Nursing Mother's room
2
1
120
Trash, biohazard, .. .
2
1
70
70
tucked away disposal room; organics bins organics processing to fer�lizer; connec�on to outdoors
Community Spaces
Community Support Spaces
quiet room with a couple chairs
2
1
50
50
303
22
9110
9800
Director's office
6
1
260
260
Assistant director's office
4
1
190
190
desk; small table and some chairs for mee�ngs
Nurse Prac��oner's office
3
1
200
200
prep table, sink and chairs; laptop/computer sta�on
Finance office
2
1
260
260
desks with chairs; mee�ng space
Social Services offices
4
2
260
520
desks with chairs; mee�ng space
Supervised children's playroom
12
1
600
600
play area equip with toys for 2-7; small nursery area for under 2
Volunteer office
8
1
800
800
a large space with personal workspaces and a small collabora�on nook
IT staff
2
1
100
100
data equipment and controls; connected but separate worksta�on
Conference room
10
1
600
600
large mee�ng table and chairs; kitchene�e area; monitor and audio visual connec�vity
Compost
Community Spaces Total Administra�on
306
large desk; small table and some chairs for mee�ngs
Occupancy
Quan�ty
Square Footage (�2)
Net Square Footage (�2)
A�ributes
Janitor's room
2
1
100
100
desk and chair; closeable shelves with cleaning contents
Mechanical room
2
1
150
150
contains mechanical air system, water hea�ng cooling system, other systems
Coat closets
1
2
20
40
hanging racks and shelves
Staff restrooms
2
2
125
250
2 separate unisex bathrooms
Staff lounge
14
1
300
300
kitchen area, hanging herb racks; bar sea�ng and table and chairs; connec�on to outside
Locker room
6
1
210
210
walls of lockers for pesonal gardening equipment/personals; connec�on to changing area
Laundry room
3
1
180
180
commercial washers and dryers; mud scrapers and mop basins; dirty things space
Work room
6
1
120
120
printers/copiers and office material storage
Records room
3
1
190
190
archives for recipes; secure area with shelving for client informa�on
Administra�on, Staff and Support Total
90
21
4665
5070
Head gardener's office
2
1
200
200
desk and chairs; plant and tool shelving racks; access to outside
Assistant gardener's office
2
1
180
180
desk and chairs; plant and tool shelving racks; access to outside
Hor�cultural therapist/instructor's offices
3
3
160
480
desk and chair; plant and tool shelving racks
Cogni�ve Behavior Therapy Offices
4
6
300
1800
desk and chairs; couch and sea�ng area with visuals to garden
Therapu�c Staff and Spaces Total
2660
Total Indoor Rooms Interior Circula�on Total Net Square Footage
25%
17530 4383 21913
Administra�on and Staff Support
Therapeu�c Staff and Spaces
Landscape Vegetable gardens Flower gardens
4
rows for corn, tomatoes, le�uce, herbs, etc. . .
many
many flowers and plants
Orchard
1
apple, tangerine, avocado trees, etc. . . .
Aquaponic fish farm
1
flexible indoor/outdoor pond with �lapia
Walking paths/trails
many
material tbd
2
gathering space to amongst the gardens; permeable and natural structure with sea�ng space
Rotunda Small amphitheater
30
1
open, stepped area, for gatherings/classes
Main security checkpoint
2
1
small indoor/outdoor sta�on with eyes on the site; video surveillance
1
area with faucets and water fixtures; natural ground material for drainage
on-site feature to engage the senses
Calming interac�ve water feature Rinse off area/showers
Landscape Total
52+
10
Other site elements Fire truck lane Delivery pick up Trash area Car park
emergency vehicle access and parking back of house area for deliveries; out of way of main access for larger pickups green parking area on-site; drainage system
>total net square footage: 21,913 307
figure 48. spatial interaction
figure 49. spatial equivalents
check-in
nature walk
figure 51. flow of people
308
figure 50. programs offered
therapy session
nature walk
community involvement
Community Spaces
Changing Small Entry Chicken Nursing Reception Tool/ Lobby 70 coop Garden rooms mothers’ classrooms 300 200 sq ft Prep 100 room sq ft 200 560 sq ft sq ft
Large classroom
120 sq ft
Greenhouse
1000 sq ft
400 sq ft
sq ft
Restrooms 1600 sq ft
1500 sq ft
Dining/Multipurpose 2250 sq ft
Coat Janitor’s IT/Data Work Mech Records Assistant Records Nurse’s Locker Practitioner’s room room director’s room closet room room room room 190 150 210 100 120 40 190 120 office office sq ft
sq ft
Staff restrooms
Finance office
250 sq ft
Therapy Spaces
sq ft
Library
Kitchen
1000 sq ft
840 sq ft
Administrative Spaces
200 sq ft
Courtyard
sq ft
260 sq ft
Director’s office
Assistant Head gardener’s gardener’s office office 180 sq ft
200 sq ft
sq ft
260 sq ft
sq ft
sq ft
Staff Lounge 300 sq ft
Social Services office 520 sq ft
Cognitive behavior therapy spaces (4) 300 sq ft
190 sq ft
sq ft
sq ft
200 sq ft
Supervised Conference Volunteer’s office children’s room room 600 800 600 sq ft
sq ft
sq ft
Horticultural therapists/ Instructor offices 480 sq ft
figure 52. program square footage
309
THE People & useprogram & analysis
Ukraine
Albany, California
Syria Iraq Jordan
Iran
Afghanistan Bhutan Burma
Eritrea Ethiopia Uganda DR Congo
Somalia Kenya
figure 53. origins world map
>origins & journeys The Center in Albany, California caters to many refugees who come from a number of different countries. With information from Pew Research Center, the map shows 14 countries where refugees have been known to come from 2016 and recent years (Igielnik and Krogstad).
310
>hours of operation 12 11
10
2
Gardens
9
12
12 11
1
10
3
11
1
10
2
Community Therapy
9
12 11
1
3
2
Administration
9
1
10
3
2
Individual Therapy
9
3
(kitchen & dining)
8
4
7
5 6
8
4
7
8
4
5
7
6
5
8
4
7
6
5 6
figure 54. the california healing center hours of operation (am to pm, right to left)
Community
Refugees
Administration
figure 55. the people
>people
>programs
The community, refugees, and administration come together to make up the population of the center. The building and site organization allow for portions to be open and closed at different times.
_ gardening _ orchard cultivation _ floral arrangements _ jarring and jamming - orchard _ food to table - harvesting and cooking _ cooking class _ group therapy _ cogitative behavioral therapy _ meditation - individual
311
>paul delgato -- head horticultural therapist
gardener/
I’m a veteran who has come back and dealt with PTSD. A couple years after being back, I found this program when my wife and I were living in New Mexico. The program taught us vets some ways to cope with PTSD. My favorite thing became gardening. Since then, we have moved to California. I work here at the center and I always love to see the impact that the horticultural therapy has on these people.
figure 56. paul delgato
>amber jones -- teenage volunteer I am a junior at St. Mary’s College High School just a couple of blocks away. As part of my service project for the semester, I come to volunteer in the gardens twice a week after school. Somedays I will help out in the office or kitchen. I can’t decide if I like to be out in the garden or cooking up meals in the kitchen better. I’ve made a lot of friends all over the center.
figure 57. amber jones
312
>hamadi & adia obonyo -- kenyan refugees I traveled to the United States from Kenya with my oldest daughter in 2014. My husband was killed during a riot during the period of political unrest. I faced a group that sought to torture me for information about my husband before he was killed. Through a series of miracles my daughter and I fled to protect ourselves and seek to establish a better future. We ended up in Oakland,California. I was referred to The Albany Healing Center by a neighbor that also has a similar history with political unrest in their home country. My daughter and I attend both horticultural therapy together and CBT programs separately. figure 58. hamadi & adia obony
>alonzo alvarez -- chef I graduated from the International Culinary School at The Art Institute of San Francisco in 2002. I have stayed around the Bay Area but have always had a passion for a diverse array of food ranging from around the world. I came to work at the Albany Healing Center two years ago and have loved being there. The environment and cause drew me in and that, paired with the people, have kept me here.
figure 59. alonzo alvarez
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â&#x20AC;&#x153;A great building must begin with the unmeasurable, must go through measurable means when it is being designed and in the end must be unmeasurable.â&#x20AC;? _ Louis Kahn
SECTION IV >design process
First review Iteration design process >embrace The design for The California Center for Healing desires to have an ambiance fitting to the name. It is a place of healing, so its language will be of health. It is a center, so it serves as a hub to connect. Horticultural Therapy will be ingrained in the walls of the building as well as prominent on the site.
figure 60. process diagrams
figure 61. site plan
316
figure 62. ground floor plan
>diagrams & sections Several key aspects will contribute towards the success of the architectural form. Permeability will invite users from different sides of the site and allow trust to grow through visual possibility. Paired with permeability is egress. The building is held to safety standards, yet it is important to go farther and think about connection with the land through accessibility. The public spaces will be grouped together and the private spaces will be grouped with one another. Sustainability, water use, and structure are all important factors that will improve throughout each investigation.
figure 65. permeability
figure 66. front view
figure 67. section aa
figure 63. circulation and egress
figure 68. section bb
figure 64. public vs private
figure 69. sustainability
figure 70. water use
figure 71. structure
317
>moving forward From the first iterations in creating a building form, a process has continued to develop, change, and transform. Some elements have sifted through to the next round of development. The following drawings, diagram, and sketches show a direction for new iterations of the architectural build and site design.
(American Horticultural Therapy Association).
figure 72. sketches
318
figure 73. early building form massing with site context
319
second review Iteration design process >retreat in the garden The idea of creating a retreat in the garden brought about a vision. The building would extend out onto the land and both would compliment one another. The users are surrounded by nature and given a place to rest as well as grow.
figure 74. southeastern side with albany hill in the background
land building
320
figure 75. parti
car park administration
car park garden prep
classrooms
orchard
kitchen herbs; vegetables dining cbt therapy library
entry/lobby herbs; vegetables
corn, oat
herbs; vegetables
greenhouse herbs; vegetables
teff, sorghum
aquaponic fish farm teff, sorghum
ohlone circle
figure 76. site plan
>connect The land serves as a purposeful tool in the healing process. Gardens are divided by type of crop/fruit/vegetable/style and zoned with consideration of use frequency and accessibility. The expanse of green represents greenspace and flower gardens. volunteer office
conference space
assistant
321
B
volunteer office
A
reception
large classroom garden prep
food storage
C
classrooms
conference space kitchen
restrooms
dining reception/lobby
cbt therapy offices
horticulture, health, and wellness library
supervised childrenâ&#x20AC;&#x2122;s space
A
reception/lobby
C
B
figure 77. ground floor plan
>ground floor plan Central to the plan lies the community driven aspect of the healing center. Cooking, dining, classes, and gatherings take place here. A garden preparation space sits partly in the earth just north of the garden; it mediates the outside dirty to clean transition on site. Administration is located in the north most part of the site. It stands as the professional hand to the community of users. Cognitive behavioral therapy takes 322
place in the bar that is nestled in the earth yet reaching towards the sites core. It provides the users with another outlet for therapy.
conference space
assistant
dining and terrace lookout
figure 78. second floor plan
>second floor plan The division of spaces allow for certain buildings or areas to operate while others are closed; privacy and separation of activity is maintained through specific divisions. A second level gives hierarchy within the built form while providing additional space for important program elements.
323
figure 79. north elevation
figure 80. south elevation
figure 81. east elevation
figure 82. west elevation
figure 83. section a-aâ&#x20AC;&#x2122;
324
steel column with wood cladding
rammed earth
wild grass/plant material recycled wood
low e glazing/ protective system
stone with spacing for grass
figure 84. materiality
figure 85. section c-c’
figure 86. section b-b’’
325
third review Iteration design process >reach out The main entry of The California Healing Center invites its users in. The formal gesture reaches out. The gardens begin on this side and stone paths lead one to the front door. They enter in at the lowest space, then are met with the grandeur of the second volume.
figure 87. main entry on north facade
326
figure 88. formal gesture diagrams
>formal strategy The formal composition is a response to site conditions as well as an invitation to the people. The building extends out on the north and south sides, looking to embrace the people and the gardens. The volumes create interstitial spaces and are then
contoured to resemble coming from and giving to the earth. Furthermore the site will continue off this notion of give and take.
figure 89. perspective of reception desk and lobby
>reception & lobby The first interior space fosters the idea of interior vegetation and mediated privacy. The question, â&#x20AC;&#x153;Does the presence of interior vegetation boost physical and mental well-being?â&#x20AC;? stands as an important inquiry. John Dover explains benefits of such in his text, Green Infrastructure. He
concludes that vegetation is useful within the built environment for noise reduction, illness prevention, air conditioning, air quality management, microbial load reduction, and overall health and wellbeing (Dover). Natural systems improve interior spaces. 327
Staff Lounge
Volunteers Room
Restrooms
Courtyard Instructor’s Offices
Scocial Services Offices Reception & Lobby
Finance Office Nurse Practitioner
Tool Sheds
Beginner’s Gardens Large Classroom
Garden Prep Area Car park Drop off Small Classroom
Restrooms
Mech Room
Kitchen
Main Entry
Reception & Lobby
Dining/ Multipurpose
Supervised Children’s Area
Patio
Library
Children’s Play Area & Gardens
Small Classroom
figure 90. ground floor plan
>ground floor plan The plan of the Healing Center organizes the program in order to have main and secondary nodes while allowing circulation to flow freely along the edges. The supervised children’s spaces,
328
library, kitchen, and classrooms occupy extensions of the form while the large dining/multipurpose space maintains hierarchy in the center.
CBTTherapy Offices
Conference Room
CBTTherapy Offices
Director
Assistant Director
Waiting Area
figure 91. second floor plan
figure 92. north elevation
figure 93. south elevation
>second floor plan
>elevations
The therapy rooms have been moved to the second floor allowing for continuity of the form and privacy. Administration also continues on the second floor.
The northern and southern facades show the slope of volume. Materiality including wood cladding and glazing connect with the natural environment.
329
figure 94. the administration building courtyard
>the courtyard This courtyard sits in the center of the administration building. It is a break in the volume that allows employees as well as other visiting users to experience the natural environment within the built context in a different way. The space includes an area for repose - where one might read or lay down to look up at the sky. The courtyard past the stairs and to the open office of the horticultural therapists.
330
figure 95. the childrenâ&#x20AC;&#x2122;s garden
>the childrenâ&#x20AC;&#x2122;s garden This outdoor space for children sits just off of the supervised childrenâ&#x20AC;&#x2122;s interior space. It gives an opportunity for children who may come with their parents to engage in gardening activities with their peers. The space calls for a level of privacy as well as visual connection to the site.
331
>wall section of central space The wall section shows the double height volume of the dining/multipurpose space in connection to the CBT therapy hallway. Partially opaque glazing provides a barrier for noise as well as privacy. The wood columns connect to steel beams. The composition holds a non-occupyable green roof.
>sections The sections show the building in traverse as well as in longitudinal fashion. The bottom section gives context of the site in regards to the building.
figure 97. section a-a’
figure 98. section b-b’’
figure 99. site section c-c’
332
figure 96. wall section
Bibliography chapter VI TEXT --
IMAGERY --
American Horticultural Therapy Association. “American Horticultural Therapy Association Definitions and Positions.” 2012. American Horticultural Therapy Association. Pdf. 11 December 2016.
Figure 1. Johnson, Journi. Crop Field Looking West. Kansas State University. Growth. Manhattan, KS, 2016. Digital. with reference to Unnamed. Vine Money plant leaf transparent image. pngimagesfree.com. Money Leaf Plant. 2016. Digital.
American Society of Landscape Architects. 2013 ASLA Professional Awards. 2016. Website. 13 December 2016. Beatley, Timothy. Biophilic Cities: Integrating Nature into Urban Design and Planning. Washington DC: Island Press, 2010. Book. Biophilic Design: The Architecture of Life. Dir. Bill Finnegan. Perf. Stephen R. Kellert and Bill Finnegan. 2011. DVD. Blomberg, Lindsey. What is Biophilic Design in Architecture? 4 September 2015. Website. 12 December 2016. Brainy Quote. Louis Kahn Quotes. 2017. Website. 2 April 2017. Brooklyn Botanic Garden. Brooklyn Botanic Garden. 2016. Website. 14 December 2016. Gesler, Wilbert, M. Healing Places. Rowman & Littlefield, 2003. Igielnik, Ruth and Jens Manuel Krogstad. “Where Refugees to the U.S. Come From.” 3 February 2017. Pew Research Center. Website. 2 April 2017.
Figure 2. GreatandLittle. Vegetable Garden. 123RF. Stock Photo - Vegetable Garden. 2016. Digital. Figure 3. Johnson, Journi. Green Wall. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 4. Johnson, Journi. Natural Ventilation. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 5. Johnson, Journi. Symbols. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 6. Johnson, Journi. Social Activity. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 7. Johnson, Journi. Symbolic Building Gestures. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 8. Johnson, Journi. Seeing. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 9. Johnson, Journi. Hearing. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 10. Johnson, Journi. Smelling. Kansas State University. Growth. Manhattan, KS, 2016. Digital.
Merriam Webster. Horticulture. 2016. Website. 10 December 2016.
Figure 11. Johnson, Journi. Tasting. Kansas State University. Growth. Manhattan, KS, 2016. Digital.
The Plan. Weiss-Manfredi Brooklyn Botanic Garden Visitor Center. 2017. Website. 6 February 2017.
Figure 12. Johnson, Journi. Touching. Kansas State University. Growth. Manhattan, KS, 2016. Digital.
UNHCR. “Figures at a Glance.” 2017. The UN Refugee Agency. Website. 8 April 2017.
Figure 13. Unnamed. BBG Aerial. Weiss/Manfredi. Brooklyn Botanic Garden Visitor Center. New York, 2016. Digital.
Williams, Florence. “This is Your Brain on Nature.” 2017. National Geographic. Website. 8 April 2017.
Figure 14. Weiss/Manfredi. Site Axonometric. Weiss/ Manfredi. Brooklyn Botanic Visitors Center. New York, 2016. Digital.
333
Figure 15. Booher, Aaron. Master Plan. Brooklyn Botanic Garden . Brooklyn Botanic Gardens Visitor Center. 2016. Digital. Figure 16. Booher, Aaron. Soil Technology. Brooklyn Botanic Gardens. Brooklyn Botanic Gardens Visitors Center. 2016. Digital. Figure 17. Booher, Aaron. Design Strategy. Brooklyn Botanic Garden. Brooklyn Botanic Garden Visitors Center. 2016. Digital. Figure 18. Weiss/Manfredi. Ground Floor Plan. The Plan. Brooklyn Botanic Garden Visitor Center. New York, 2016. Digital. Figure 19. Weiss/Manfredi. First Floor Plan. The Plan. Brooklyn Botanic Garden Visitor Center. New York, 2016. Digital. Figure 20. Weiss/Manfredi. BB Section . The Plan. Brooklyn Botanic Garden Visitor Center. New York, 2016. Digital. Figure 21. Weiss/Manfredi. CC Section. The Plan. Brooklyn Botanic Garden Visitor Center. New York, 2016. Digital. Figure 22. Weiss/Manfredi. Axonometric View. The Plan. Brooklyn Botanic Garden Visitor Center. New York, 2016. Digital. Figure 23. Weiss/Manfredi. City and Garden Context. The Plan. Brooklyn Botanic Garden Visitor Center. New York, 2016. Digital. Figure 24. Johnson, Journi. Sun Influence. Kansas State University. Growth. Manhattan, KS, 2016. Digital.
Figure 33. Johnson, Journi. Mass Void with Building Context Grid. Kansas State University. Growth. Manhattan, KS, 2016. Digital. with reference to Studio, Siepl-Coates. Rhino Site Map. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 34. Johnson, Journi. Greenspace and Recreation. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 35. Johnson, Journi. Education Centers. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 36. Johnson, Journi. Three Dimensional Site Context with Placement Language. Kansas State University. Growth. Manhattan, KS, 2016. Digital. with reference to Studio, Siepl-Coates. Rhino Site Map. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 37. Johnson, Journi. Triangle. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 38. Johnson, Journi. Web. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 39. Johnson, Journi. Embrace. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 40. Johnson, Journi. Mid-Critique Forms. Kansas State University. Growth. Manhattan, KS, 2016. Digital.
Figure 25. Johnson, Journi. Wind Influence. Kansas State University. Growth. Manhattan, KS, 2016. Digital.
Figure 41. Johnson, Journi. Intertwining Environments. Kansas State University. Growth. Manhattan, KS, 2016. Digital.
Figure 26. Johnson, Journi. Access Influence. Kansas State University. Growth. Manhattan, KS, 2016. Digital.
Figure 42. Johnson, Journi. Building and Land. Kansas State University. Growth. Manhattan, KS, 2016. Digital.
Figure 27. Johnson, Journi. Natural Context Influence. Kansas State University. Growth. Manhattan, KS, 2016. Digital.
Figure 43. Johnson, Journi. Mid-Critique Forms. Kansas State University. Growth. Manhattan, KS, 2016. Digital.
Figure 28. Johnson, Journi. Farmland and Albany Hill. Kansas State University. Growth. Manhattan, KS, 2016. Digital.
Figure 44. Johnson, Journi. Statement Wordle. Kansas State University. Growth. Manhattan, KS, 2016. Digital. with reference to Feinberg, Jonathan. Wordle. Wordle. Digital.
Figure 29. Johnson, Journi. University Housing. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 30 . Studio, Siepl-Coates. Ohlone Circle. Kansas State University. Growth. Manhattan, KS, 2016. Digital.
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Figure 32. Johnson, Journi. Views. Kansas State University. Growth. Manhattan, KS, 2016. Digital.
Figure 31. Johnson, Journi. Trees in South. Kansas State University. Growth. Manhattan, KS, 2016. Digital.
Figure 45. Johnson, Journi. Service. Kansas State University. Growth. Manhattan, KS, 2016. with reference to Unnamed. Various icons. icons8. icons . 2016. Digital. Figure 46. Johnson, Journi. Connection. Kansas State University. Growth. Manhattan, KS, 2016.
Figure 47. Johnson, Journi. Connections Across Groups. Kansas State University. Growth. Manhattan, KS, 2016. Figure 48. Johnson, Journi. Spatial Interaction. Kansas State University. Growth. Manhattan, KS, 2016. Figure 49. Johnson, Journi. Spatial Equivalents. Kansas State University. Growth. Manhattan, KS, 2016. Figure 50. Johnson, Journi. Programs Offered. Kansas State University. Growth. Manhattan, KS, 2016. Figure 51. Johnson, Journi. Flow of People. Kansas State University. Growth. Manhattan, KS, 2016. Figure 51. Johnson, Journi. Program Square Footage. Growth. Manhattan, KS, 2016. Figure 53. Johnson, Journi. Origins World Map. Kansas State University. Growth. Manhattan, KS, 2016. Digital. with reference to Mazze, Aaron. World Map. Aaron Mazze. Free World Maps. 2016. Digital. Figure 54. Johnson, Journi. The California Healing Center Hours of Operation. Kansas State University. Growth. Manhattan, KS, 2016. Figure 55. Johnson, Journi. The People. Kansas State University. Growth. Manhattan, KS, 2016. with reference to Unnamed. Various icons. icons8. icons . 2016. Digital. Figure 56. Filimonova, Daria. Farmer Holding Pitchfork and Spade Standing in a Field. 123RF. Stock Photo . 2016. Digital. Figure 57. Unnamed. Happy Hispanic Teenager Portrait. Dreamstime. Stock Images. 2016. Digital. Figure 58. Unnamed. Mother-daughter. SuperSelected. Study Says Mothers Use “More Emotional” Language When Talking to Their Daughters. 2014. Digital.
Figure 64. Johnson, Journi. Public vs Private. Kansas State University. Growth. Manhattan, KS, 2016. Figure 65. Johnson, Journi. Permeability. Kansas State University. Growth. Manhattan, KS, 2016. Figure 66. Johnson, Journi. Front View. Kansas State University. Growth. Manhattan, KS, 2016. Figure 67. Johnson, Journi. Section AA. Kansas State University. Growth. Manhattan, KS, 2016. Figure 68. Johnson, Journi. Section BB. Kansas State University. Growth. Manhattan, KS, 2016. Figure 69. Johnson, Journi. Sustainability. Kansas State University. Growth. Manhattan, KS, 2016. Figure 70. Johnson, Journi. Water Use. Kansas State University. Growth. Manhattan, KS, 2016. Figure 71. Johnson, Journi. Structure. Kansas State University. Growth. Manhattan, KS, 2016. Figure 72. Johnson, Journi. Sketches. Kansas State University. Growth. Manhattan, KS, 2016. Figure 73. Johnson, Journi. Early Building form massing with Site Context. Kansas State University. Growth. Manhattan, KS, 2016. Studio, Siepl-Coates. Rhino Site Map. Kansas State University. Growth. Manhattan, KS, 2016. Digital. Figure 74. Johnson, Journi. Southeastern Side with Albany Hill in the Background. Kansas State University. Growth. Manhattan, KS, 2016. Figure 75. Johnson, Journi. Parti. Kansas State University. Growth. Manhattan, KS, 2016. Figure 76. Johnson, Journi. Site Plan. Kansas State University. Growth. Manhattan, KS, 2016. Figure 77. Johnson, Journi. Ground Floor Plan. Manhattan, KS, 2016.
Figure 59. Unnamed. Chef. WiseGeek. What is a Sushi Chef? 2016. Digital.
Figure 78. Johnson, Journi. Second Floor Plan. Growth. Manhattan, KS, 2016.
Figure 60. Johnson, Journi. Process Diagrams. Kansas State University. Growth. Manhattan, KS, 2016.
Figure 79. Johnson, Journi. North Elevation. Growth. Manhattan, KS, 2016.
Figure 61. Johnson, Journi. Site Plan. Kansas State University. Growth. Manhattan, KS, 2016.
Figure 80. Johnson, Journi. South Elevation. Growth. Manhattan, KS, 2016.
Figure 62. Johnson, Journi. Ground Floor Plan. Kansas State University. Growth. Manhattan, KS, 2016.
Figure 81. Johnson, Journi. East Elevation. Growth. Manhattan, KS, 2016.
Figure 63. Johnson, Journi. Circulation and Egress. Kansas State University. Growth. Manhattan, KS, 2016.
Figure 82. Johnson, Journi. West Elevation Kansas State University. Growth. Manhattan, KS, 2016. Figure 83. Johnson, Journi. Section A-A’. Kansas State
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University. Growth. Manhattan, KS, 2016. Figure 84. Johnson, Journi. Materiality. Kansas State University. Growth. Manhattan, KS, 2016. Figure 85. Johnson, Journi. Section C-C’. Kansas State University. Growth. Manhattan, KS, 2016. Figure 86. Johnson, Journi. Section B-B’. Kansas State University. Growth. Manhattan, KS, 2016. Figure 87. Johnson, Journi. Main Entry on North Facade. Kansas State University. Growth. Manhattan, KS, 2016. Figure 88. Johnson, Journi. Formal Gesture Diagrams. Kansas State University. Growth. Manhattan, KS, 2016. Figure 89. Johnson, Journi. Perspective of Reception Desk and Lobby. Kansas State University. Growth. Manhattan, KS, 2016. Figure 90. Johnson, Journi. Ground Floor Plan. Kansas State University. Growth. Manhattan, KS, 2016. Figure 91. Johnson, Journi. Second Floor Plan. Kansas State University. Growth. Manhattan, KS, 2016. Figure 92. Johnson, Journi. North Elevation. Kansas State University. Growth. Manhattan, KS, 2016. Figure 93. Johnson, Journi. South Elevation. Kansas State University. Growth. Manhattan, KS, 2016. Figure 94. Johnson, Journi. The Administration Building Courtyard. Kansas State University. Growth. Manhattan, KS, 2016. Figure 95. Johnson, Journi. The Children’s Garden. Kansas State University. Growth. Manhattan, KS, 2016. Figure 96. Johnson, Journi. Wall Section. Kansas State University. Growth. Manhattan, KS, 2016. Figure 97. Johnson, Journi. Section A-A’. Kansas State University. Growth. Manhattan, KS, 2016. Figure 98. Johnson, Journi. Section B-B’. Kansas State University. Growth. Manhattan, KS, 2016. Figure 99. Johnson, Journi. Section C-C’. Kansas State University. Growth. Manhattan, KS, 2016.
THANK YOU!
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BIBLIOGRAPHY
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_“Sell your Sheet Music.” Dana Point Music. 2016. Photograph.
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