Escaping in architecture
Reimagining the chemotherapy treatment room
By Launa Visser
In a world flooded with concerns, encompassing politics, climate crises, work-related stress and societal expectations, maintaining a constant focus on the positive core values of life can be a challenge. In today’s digital age, individuals increasingly find solace and enjoyment in social media, games, movies and series, providing an escape from the pressures and monotony of daily life.
My thesis and graduation project focus on ‘escapism’, the psychological urge to seek escape from reality. It is a desire to temporarily forget the burdens of everyday life, allowing problems, negative emotions and obligations to fade into the background . My own desire for escape can be traced back to my formative years when experienced a significant loss, my mother’s passing, at the age of 14. To get through this period of anxiety, sadness and listlessness, I started seeking comfort in the creation of new realities. Which mostly found in digital realms such as games, movies and series. Now, a decade later, I still occasionally find myself teetering on the edge of those hard emotions, certain days resurface where I struggle to grasp reality. Instead of confronting my emotions, I seek solace in escaping to these alternate, digital realities.
My head is looking for something positive and that’s where the substance dopamine comes in. Dopamine, often hailed as the brain’s anticipation to “feel good”, is a chemical messenger that plays a pivotal role in numerous aspects of human experience. It is a tiny molecule with an outsized impact, influencing our mood, motivation, learning and movement2 In today’s digital world, receiving new, fast-paced dopamine impulses is no longer a big deal. Digitization is, in many ways, a blessing but it can also become a problem. We have become addicted to these brief impulses we gain online and can hardly live without them.
Since the COVID-19 pandemic, more and more daily activities have begun to take place online3 The impersonal and flat aspect of these recent developments extinguishes the spark of imagination in many people. This detachment with reality manifests itself as reduced physical activity, social isolation and a diminished appreciation for the natural environment, impacting mental health, social interactions and environmental consciousness.
So, this pervasive culture of digital escapism has led to a paradoxical situation: while these virtual experiences provide temporary joy and relief, they often result in a detachment from the tangible reality and a loss of meaningful connection with the physical world4 Is there a way to translate the potentially positive elements of digital spaces into the physical realm, fostering more meaningful, comforting and maybe even healing experiences?
Escaping reality
Escaping from the pressures of everyday life is something people have been doing for a very long time. Before computers and phones, they found ways to take a break from reality through different activities. I began exploring ways to escape the physical world without relying on my usual digital tools. This “Digital Escapism Detox” experiment entailed refraining from any form of digital escapism for a full week. Engaging in activities like sports and cleaning provided a way to occupy my time and temporarily ease my thoughts, but they didn’t quite offer the same sensation of being transported to another world. Therefore, I tried to find solace in an escapist tool that has an even longer history: reading. This ignited something within me, as diving into the story provided a gateway to my imagination, offering a foundation for a more immersive escape.
What surprised me most was the contradiction discovered when I decided to remove all escapism methods, whether physical or digital. As simply sat and absorbed the physical environment around me, I found solace in the existing stimuli. For instance, the echoing footsteps of my roommate above my bed or the play of flickering candlelight in the darkness, casting intricate shadows throughout my room, both spatial elements
that triggered my imagination. The examination of an imaginary realm shrouded in the physical world is also a topic in the book The Wall and the Shadows’ by Fjodor Sologoeb, penned over 120 years ago. The narrative recounts the tale of a young boy who delves into a fantasy world, driven by his enchantment with shadows dancing on the wall.
Creating stories and embracing fantasy to escape reality have been familiar practices throughout human history. Today’s digitization offers enhanced opportunities for visualizing these imaginative realms, making it easier to escape into these new worlds. Yet, it sacrifices something invaluable - engagement in our physical surroundings. The physical, spatial features in my room that ignited my imagination highlight the potential for a more immersive and mindful form of escape in space. Is it possible to create a landscape filled with stimulating spatial elements, allowing people to immerse themselves in fantasy and escape reality more mindfully?
I think so and this is the point where my love for architecture becomes present. Architecture’s unique capacity to engage with the physical space can also serve as a conduit for stimulating the imagination. By using different components and designing methods, architecture has the ability to impact our senses, evoke powerful emotions and craft immersive atmospheres. My research delves into how architectural design can stimulate a feeling of escapism and create a profound connection with the physical environment that we are losing because of the miracles from the digital world.
Many before me, found ways of turning spaces into more than just physical structures. Escapism techniques are seen in spatial elements like alienation (a copy of the Eiffel tower in China ), labyrinths (the myth of the Minotaur in Greek mythology ) and illusion (Palazo Spada in Rome or the Garden of Bomarzo9).
Even stories have been told in architectural designs like the Danteum, where architect Giuseppe Terragni aimed to translate the narrative and themes of Dante Alighieri’s Divine Comedy into an architectural experience. Terragni sought to capture the essence of Dante’s poem through spatial design, intending the building to physically embody the poet’s journey through different realms. The architectural spaces were conceived to evoke the emotions, symbolism and progression found within the Divine Comedy, allowing visitors to physically traverse and experience the emotional and metaphysical aspects of Dante’s narrative.
I can learn from these references of architectural escapism, but am looking for a more diverse research in which I will find answers in the media that made me fall in love with fantasy in the first place. Could there be valuable lessons for me in other media where I’ve felt some kind of escape? What is it about games, movies, art installations and leisure spaces that makes them effective for providing an escape from reality?
The digital space: immersive spaces in games The digital space of games is a marvel of modern technology and creativity. It’s a realm where imagination comes to life, crafted with intricate details and breathtaking aesthetics. The immersive environments found in games are not just visually stunning but are meticulously designed to draw players into another world.
I love how detailed and pretty these virtual landscapes are. Every element, from the lush forests and towering mountains to the bustling cities and serene villages, is crafted with an artistic touch that makes exploration a joy. The attention to detail in textures, lighting, and soundscapes creates an atmosphere that feels alive, inviting players to lose themselves in the beauty of these digital creations.
Games offer experiences that go beyond passive observation, allowing you to interact with and influence the environment.
Whether it’s the thrill of embarking on epic quests, the satisfaction of solving intricate puzzles, or the simple pleasure of wandering through a beautifully rendered landscape, games provide a sense of presence and immersion that is unmatched.
This ability to transport and immerse is what makes games so enchanting. They blend art, technology, and storytelling into an interactive experience that captivates the senses and engages the mind. For me, the allure of these immersive digital spaces lies not just in their visual splendor but in the feeling of being part of a living, breathing world where every adventure is just a step away.
So... what’s the problem?
This very allure can lead to a significant detachment from physical reality. The highly engaging environments and compelling narratives of games have the power to absorb players completely, often causing them to lose track of time and neglect real-world responsibilities and social interactions.
This phenomenon, where the virtual experience becomes so enticing that it overshadows the physical reality, presents a dual- edged sword: it enriches the gaming experience but can also result in adverse effects on one’s physical and mental well-being. Understanding and addressing this balance between virtual immersion and real- world engagement is essential for promoting healthy gaming habits.
Being the NPC
Non-Playable Characters (NPCs) are essential components in video games, contributing to the depth, interactivity, and overall immersion of the game world. Unlike the player character, NPCs are controlled by the game’s artificial intelligence (AI) and serve a variety of roles, enhancing the gameplay experience in numerous ways.
The objective of my experiment was to embody the role of an NPC in a real-world setting. By doing so, aimed to explore the social dynamics of invisibility and presence and observe how people react (or do not react) to someone who deliberately adopts the behaviors and demeanor of an NPC.
The physical space: Paraboxy and Paraboxy 2.0
My interest lies in discovering methods that can facilitate escape in the physical space through the use of spatial design elements. To explore this, I designed and built an installation called Paraboxy, intended to help individuals mentally let go and focus on surrendering to the environment. By integrating the key elements, darkness, height, cold water, sound, narrowness the installation aimed to create a physical and mental escape, allowing participants to momentarily let go of their real-world concerns and immerse themselves entirely in the designed environment.
In the installation Paraboxy 2.0 explored how to bridge the boundary between physical and imaginary spaces, focusing on what lies in-between and how one transitions from one to the other. This project aimed to stimulate imagination, allowing participants to feel transported to another realm. By integrating the key elements height, light and layers, the installation created depth and complexity, inviting participants to be sucked into the space, feeling as though they were transitioning from the physical world to an imaginary one. The white, layered paper environment blurred the boundaries between reality and imagination, encouraging a journey of mental and sensory exploration.
Practice based research: escaping in architecture
In addition to my theoretical research, my artistic exploration through the experiments with Paraboxy and Paraboxy 2.0 has deepened my understanding. My case studies delved into various forms of media known for their ability to provide escapism—such as games, movies, art installations, and leisure spaces. From these case studies, I’ve gathered numerous design elements that think can be transformed
into architectural features to craft tangible and immersive escapism experiences.
Looking forward: Reimagining the chemotherapy treatment room
With the knowledge I’ve acquired, aim to make a positive impact on the tangible world around me. It’s a desire rooted in a personal history fraught with the harsh realities of illness, particularly my mother’s battle with lymphoma—a struggle that has shadowed my life since childhood. Reflecting on my parents’ struggle with this disease, has now inspired me to seek ways to ease the challenges encountered by patients undergoing treatment, especially during chemotherapy sessions. The stark environment of the treatment centres— the sterile rooms, the clinical procedures, and the poignant scent of chemo, linger as haunting memories. believe there’s an opportunity to improve this experience by incorporating elements of escapism into the design of these spaces. Now, as reflect on my journey, am driven by a singular question:
How can I harness the power of escapism to alleviate the burden of chemotherapy for patients undergoing treatment?
My aim is to reimagine the chemotherapy day unit, infusing it with elements of whimsy and comfort, offering respite amidst the challenges of illness. It’s a project that embodies not only academic inquiry but also a deeply personal quest to bring solace to those confronting the darkness of disease.
References
StudySmarter, “Escapism: Definition, Effects & Causes.” InsightJunky, “Escape the dopamine trap & reclaim your mind” Ministerie van Algemene Zaken, “Coronacrisis vraagt om debat over digitalisering.”
About Launa Visser
With this Corpo-real report we proudly present an excellent example of the diverse artistic expressions of our community. Corpo-real is a unique, international, twoyear full-time master programme in the field of Interior Architecture focusing on the endlessly changing relationship between bodies and space. In the title Corpo-real ‘corpo’ stands for bodies in general and ‘real’ for the reality that surrounds them.
Corpo-real is located in Zwolle, where students and tutors develop a researchdriven spatial design practice geared towards an unknown future. The current reality of new unfolding societal and political structures, discrimination, gender issues, scientific and technological developments challenge us in profound ways. We invite our students to address recent and future societal changes, based on an understanding that whatever has worked well in the past may not be sufficient in the future, and that many of these changes are too broad and complex to address using existing methods. Therefore, we encourage our students to make good use of knowledge from other disciplines, through collaborations within and outside ArtEZ. Throughout the programme, students are introduced to, and learn to work with, research methods from various disciplines such as anthropology, sociology, theatre, curating, or literature.
Corpo-real is particularly focused on the connection between theoretical thinking, reflecting and the practice-based research. The fruitful meeting between these research methods in recent Finals projects shows that it leads to new findings and perspectives for the professional field. During the first year, students develop a theoretical research question, which they will then consolidate during the first half of the second year in the form of a written paper, while also exploring and challenging during this second year their theory through artistic and practice-based research. For their final thesis, of which this is a good example, presented during the final exam at the end of the second year, students are asked to demonstrate how the theory and the practice-based research are interconnected. And how this has led to new findings and insights.
W corpo-real.artez.nl
E corporeal@artez.nl
I corporeal.artez
Colophon
Tutors
Michel Melenhorst, Paper supervisor
Eric de Leeuw, Finals tutor
Lucia Luptáková, Finals tutor
Editor
Launa Visser
Roos Krootjes
Ingrid van Zanten
Photography
Launa Visser
Nico van Maanen
Ingrid van Zanten
Graphic Design
Office for Design, Loek Kemming
Inge van Keulen
Printing
Drukkerij Loor, Varsseveld