3rd Year Bsc Architecture Portfolio

An Exploration of Visual and Multi-Sensory Architecture in Two Cities with Underlying Conventional Similarities and Phenomenological Contrast.

3rd Year Bsc Architecture Portfolio Danito Oledan

I thank my friends and family for the continuous support for the past 3 years of Architecture School.

These past three years has no doubt been challenging and difficult, but without them it would not have been fun and enjoyable.

A profound appreciation is also due to all the tutors within the University of the West of England, Bristol, who has supported me influenced me to continue pursue a career in the industry.

Acknowledgements

“A Trade of Experience”

“Why, when there are five senses, has one single sense – sight – become so predominant in architectural culture and design…? Juhani Pallasmaa argues that the suppression of the other four sensory realms has led us to the overall impoverishment of our built environment, often diminishing the emphasis on the spatial experience of a building and architecture’s ability to inspire, engage and be wholly life enhancing”

Towards a Multi-Sensory Architecture

page.6

Tale of Two Cities Phenomenology of Place

page.23

A3.1 Terminus + Trade (Bristol, England)

page.49

A3.2 Place Study (Amsterdam, Netherlands)

page.75

A3.3 National Centre of ‘Trade’ (Amsterdam, Netherlands)

Contents

page.103

Tale of Two Cities: A Brief Analytical Comparison

6

7

Bristol, England

Known for its ‘Harbourside’, the city of Bristol offers surroundings unique to the country. With the source of water coming from rivers Avon and Frome, and cutting through the city, Bristol’s characteristically hilly landscape is created. The river also causes a “geographical” split through the city that divides it to North and South Bristol.

Parallel Cities Connection with Water 8

Amsterdam, Netherlands

With more than 60 miles of canals, Amsterdam is a city that can be navigated through boat, similar to that of Venice. Over 90 islands are linked by more than 1200 bridges and now forms that innermost ring of the city that is shape like a horseshoe.

Parallel Cities Connection with Water 9

Bristol, England

Through the city’s connection with water, Bristol has been an important part of the marine trade in the country for centuries, which led the city to rise position on economic importance, an evidence of which is Bristol’s position as the 2nd English city, after London, from at least 14th century.

Parallel Cities Trade 10

Amsterdam, Netherlands

Similar to that of Bristol, Amsterdam’s connection with water has helped the city to establish its economic dominance in Europe for the past centuries. With the Port of Amsterdam being the fourth largest port in Europe, and second largest in the Netherlands

Parallel Cities Trade 11

Bristol, England

From politics, immigration, and gender equality, Bristol leads the country in terms of liberal approach. An indication of which is the city’s welcoming attitude towards the LGBT community, with a yearly march attended by thousands of people from around the country and internationally.

Parallel Cities Liberalism 12

Amsterdam, Netherlands

“The World’s Most Liberal City�, as what many people would call Amsterdam. The city is known for its progressive attitude, from policies on recreational drugs, prostitution, same sexmarriage, and euthanasia, Amsterdam leads the world in these liberal natures. A city where prostitution is legalised, in a country which first legalize euthanasia.

Parallel Cities Liberalism 13

Bristol, England

94, 802 non White-British (22.1% of Population)

0-15 years old (83,800 -18.6%)

16-64 years old (306,300 - 68.2%)

Parallel Cities People 14

65 and over (59,200 - 13.2%)

Amsterdam, Netherlands

296,073 non White-Dutch (35% of Population)

0-15 years old (126,764 - 15%)

16-64 years old (615,648 - 72.9%)

Parallel Cities People 15

65 and over (102,535 - 12.1%)

Bristol, England

Bristol is proud of its liberal approach, more so, the city holds an even greater pride on its culture. With musical events and historical museums, the city is holds a unique identity, even more unique to the country is the city’s approach towards cycling, with 14% of journeys being undertaken through cycling that is way above the national average of 2%.

Parallel Cities Culture 16

Amsterdam, Netherlands

Bristol and Amsterdam culture are quite alike, the city’s nightlife, music and arts are rich of the city’s identity and where Bristol is the cycling capital of England, Amsterdam is the cycling capital of the World. The city boasts a 60% trips made through cycling and is considered the most important centre for bicycle culture worldwide.

Parallel Cities Culture 17

Bristol, England

Water and Trade, because of the city’s geographical location, it became an important part of slave trade which peaked between 1730 and 1745, a time where owning slaves became an important commodity, oppressing those who are coloured from the African countries colonised by Britain

Parallel Cities History of Oppression 18

Amsterdam, Netherlands

Unlike Bristol who embraces the oppression that is part of its history, Amsterdam seems to have forgotten the oppression through slavery that occurred in its past, a feeling of shame is apparent, more so because the consequences of this form of trade is still visible through Amsterdam’s economical wealth.

Parallel Cities History of Oppression 19

Bristol, England

Parallel Cities Current Social Climate 20

Amsterdam, Netherlands

Parallel Cities History of Oppression 21

22

“I experience myself in the city, and the city exists through my embodied experience. The city and my body supplement and define each other. I dwell in the city and the city dwell in me� - Pallasmaa

Phenomenology of Place 23

Theories of Phenomenology Multi-Sensory Architecture 24

Phenomenology [noun | phe-nom-e-nol-o-gy] - the study of the development of human consciousness and self-awareness as a preface to or a part of philosophy.

- a philosophical movement that describes the formal structure of the objects of awareness and of awareness itself in abstraction from any claims concerning existence.

Aesthetics [noun & adjective | aes-thet-ic] - a concern towards beauty or the appreciation of beauty.

Consciousness [noun | con-scious-ness] - the state of being characterised by sensation, emotion and thought.

Perception [noun | per-cep-tion] - an awareness of the elements of environment through physical sensations.

Visual [adjective | vi-su-al] - in relation to the use of vision attained by sight.

Tactile [adjective | tac-til-i-ty] - responsiveness to stimulation of the sense of touch.

Auditory [noun | au-di-to-ry] - pertaining to the sense or organs of hearing.

Odour [noun | o-dour] - the property of a substance that is perceptible by the sense of smell.

Temperature [noun | tem-per-uh-cher] - a measure of the warmth or coldness of an object or substance with reference to some standard value.

Definitions

25

There is an obvious conflict in today’s architecture that challenges aesthetic qualities and our visual understanding.

Juhani Pallasmaa argues that this desire of architecture as an object supresses our consciousness and human interaction with architecture as space. With these growing concerns, Pallasmaa announced a preference towards “multi-sensory architecture” in opposed to the prevailing visual dominance of the art of the building. These theories, have inspired architects, and students, including me, around the world to produce architectural work that inspires and enhances people’s lives.

Theories of Phenomenology Multi-Sensory Architecture 26

Therefore, with the help of Pallasmaa’s theories, the city of Bristol and Amsterdam will be analysed based on their phenomenological activities and prioritising of each of our senses. With each proposed project reflecting the city’s phenomenological identity to produce spatial qualities that reflects visual and multi-sensory experience

Theories of Phenomenology Multi-Sensory Architecture 27

Visual

Tactile

An ideal world, is where our experience of space and cities is expressed through the mergers of our five different senses. Experiencing architecture should be measured equally by our eyes, nose, ear and skins.

The Senses Involved An Ideal World 28

Auditory

Auditory

Temperature (Skin)

Odour

By doing so architecture should produce a humanly meaningful experience that reflects qualities of life rather than objects that appears to be as mere seductions to our eyes.

The Senses Involved An Ideal World 29

Suppression of Touch

Suppression of Smell

Suppression of Hearing

The Senses Involved Reality 30

However, the reality is not always what we want it to be. In reality, our other senses our supressed by the over dominance of our vision. Aesthetics have become a huge part of our lives that it is widely considered that architecture is first must be described as a form of visual arts. Although that is not the case, architecture is something we inhabit, we use it, we experience it, its a form of shelter that enhances our understanding of the world.

The Senses Involved Reality 31

Bristol, England

9

8

7

6

5

4

3

2

1

A

B

C

D

E

F

G

Dissimilar Cities The City’s Phenomenology 32

H

I

J

Amsterdam, Netherlands

9

8

7

6

5

4

3

2

1

A

B

C

D

E

F

G

Dissimilar Cities The City’s Phenomenology 33

H

I

J

Bristol, England

A city which is full of heritage views and rich history, Bristol has a culture unique to the country and a liberal attitude that makes it one of the most sought after cities to live, not just in England but around the world. The city also offers a comforting atmosphere with its composed urban environment.

Dissimilar Cities Initial Thoughts 34

Amsterdam, Netherlands

In terms of culture and identity, it has been made clear that Bristol and Amsterdam can be considered parallel to each other, however, while Bristol is seen to be comforting, Amsterdam is the exact opposite. The city’s atmosphere is almost repressive, with a heavily dense inner city, Amsterdam’s urban environment is nothing less than hectic and restless.

Dissimilar Cities Initial Thoughts 35

Visual

5 4 3 2

Temperature

Olfactory

1

Odour

Tactility

36

It is important to highlight that the topic of phenomenology and experience are subjective, where my phenomenological analysis of the two cities are subject to me own experience of place, my own consciousness. However using a multi-sensory priory chart, these subjective perceptions can be organised as data and notations. The chart is used by noting a score, from 1 to 5, based on how each place prioritised a certain sense, 1 being the lowest to 5 being the highest. With this analysis, it can be understood how different places are highly aesthetical or multi-sensory.

Documenting a Phenomenological Activity Multi-Sensory Priory Chart 37

Bristol, England

B-6

D-5

F-5 (A3.1 Site)

F-4

Dissimilar Cities The City’s Phenomenology 38

G-4

G-7

Amsterdam, Netherlands

E-4

F-5

F-6

F-7

Dissimilar Cities The City’s Phenomenology 39

G-6 (A3.3 Site)

H-6

Bristol, England

Through my analysis, it is concluded that the Bristol site prioritises the sense of vision (as seen on the chart), while the olfactory and temperature aspects are also heightened and prioritised because of the site’s openly environment.

Surrounded with water, the site also provides a tranquil and calm atmosphere.

Dissimilar Cities Site’s Phenomenology 40

Amsterdam, Netherlands

In contrast of the Bristol site, the Amsterdam site equally prioritises the realms of other senses, the sense of vision being least prioritised due to the site being almost hidden and away from the centre of Amsterdam. While also being surrounded with water, the site also offers a tranquil space, even more so of Bristol, a perfect site to overlook the restlessness of Amsterdam’s city centre.

Dissimilar Cities Site’s Phenomenology 41

Bristol, England

With the Bristol site prioritising the visual senses, I opted towards a proposal that will take advantage of vision. Orientating towards a project where the user’s visual understanding collaborates with their senses of smell, hearing and touch. A concept that reflects the involvement of senses in reality, where visual dominance is emphasized and celebrated.

Dissimilar Cities A Trade of Experience (The Underlying Concepts) 42

Amsterdam, Netherlands

Contradictory to the Bristol project, the Amsterdam proposal will focus on enhancing the other sensory realms, minimising the visual influence towards the design and maximising the tactile, auditory and olfactory qualities of the building. This in turns reflects what an ideal world would be, where all senses are used and prioritised equally to offer an experience close to our consciousness.

Dissimilar Cities A Trade of Experience (The Underlying Concepts) 43

Bristol, England

A Visual Experience

A Trade of Experience Towards a Multi-Sensory Architecture 44

Amsterdam, Netherlands

A Multi-Sensory Experience

A Trade of Experience Towards a Multi-Sensory Architecture 45

46

A3.1 Terminus + Trade (Bristol, England)

47

The Site

48

The site is located south-west of the Arnolfini gallery and on the edge of the harbour, which makes it a considerably suitable site for a ferry terminal. The site provides a remarkable open space which provides views that can be hugely taken advantage of, however can also provide constraints on the building’s strategy and design.

49

Connection to Water

Access Through

Vehicular Movement

The site is located at the corner of the harbour and is surrounded by water and overlooks the river

The site is used often by workers and locals as a short-cut that connects the north and south of Bristol

Being located at the tip of the Harbour is beneficial for the site as traffic is minimised and therefore less noise pollution

Conventional Analysis

50

Pedestrian Movement

Existing Ferry Stops

Heritage Sites

As can be seen in this diagram, the site is heavily populated by pedestrians and is easily linked to different areas in its surroundings

There are currently 4 existing ferry stops surrounding the site.

The heritage sites surround the area forms a ‘triangular’ zone with the site in its centre.

Conventional Analysis

51

Sun Path Because of its open nature, daylight is maximised and can be seen throughout the day.

Conventional Analysis

52

Site Materiality This analysis shows the patterns and materials found within and around the site.

Conventional Analysis

53

Terrazario by PKMM Architects

Shoji Veda Museum of Photography by Shin Takamatsu

- this is an outdoor extension for Mercado de San Anton, a recently renewed market in Madrid City Centre.

- similar to that of Bow - House, it has a scaffolding structure which provides flexibility, as it is a market extension, the idea for it was to be built quickly and cheaply.

- people walking around the museum are offered scenes of the beautiful peak of Mt. Dasein framed and reflected upside down in the pools of water between the exhibition rooms.

- this provides as a precedence for my idea of frames and reflections as the building “opens a door from the existing scenery to a new scenery�

Precedence Study

54

Bow - House by Stephane Malka

Dulwich

- an impermanent building that is supported by a framework of scaffolding which makes the structure accessible and replicable by anyone.

- the building also offers a flexible and adaptable design, which is one of the aspect of my building’s design strategy.

Picture

Gallery Pavillion Architects

by

IF_DO

- IF_DO’s design named After Image conceptually responds to the solidity and monolithic nature of the Gallery through the use of reflections.

- the pavilion features a movable reflective panels that reflects the surrounding space which has been described as an overlay of moving image

Precedence Study

55

Proposed Trade A Place for Aesthetic Contemplation 56

As mentioned previously, the intention for this project is to explore how the sense of vision collaborates with our other senses.

Therefore, the proposed Bristol project will focus on frames and reflections.

Framing and reflecting the heritage sites surrounding the site, while simultaneously reflecting the noise and smell associated with these views.

The proposal will also include a place of contemplation that will allow the users to reflect, conceptually and literally on themselves and their surroundings.

57

During my initial visit to the site the first conventional analysis I perceived was the underlying ‘triangular’ zone of heritage views that the site is surrounded by. These views consists of the M-Shed Museum and Lloyds Bank Building

With these heritage views surrounding the site, the driving thought for my scheme was to “conserve the view” by finding a way to frame them.

Framing the View

58

To be able to frame the views surrounding the site, I analysed the most common angle of views looking out of the site and decided that the building or the building’s structure will provide a sort of void that allows the people to see through the site.

Framing the views through voids will require a significantly light structure that will enhance the view’s visual sense, therefore the choice of using a “scaffolding” structure which follows an orthogonal grid gives the freedom to the user to “frame” their own views as they pleases, by using scaffoldings it also reflects the site’s context and Bristol’s Industrial history.

Framing the View

59

While framing views conserve the views, it is also restricted. Therefore I introduced the idea of “reflections” through the use of mirrors around the building and embedded within the scaffolding structures.

The scaffolding grid will be independent from the enclosed space’s structural integrity, this is to provide flexibility and adaptability, where in theory the enclosed space can be moved around the grid to meet the changes within and around the site.

Organisational Development

60

The building itself will be on the land whereas the scaffolding frames will be on both land and water in which it extends out into the harbour to become part of the landscape and to create an experience of being surrounded by the harbour and walking on water.

Overall, these 4 ideals are the foundation for my design.

The mirrors and reflections are used to create a multisensory experience that will reflect, not just images but also sound, smell and other sensory experience to the user. The scaffolding structure will perform as frames for the views surrounding the site, while providing a structure that allows level changes and access from the land to the water by becoming part of the landscape, which by doing so offers a sensual journey through the space.

As the structure provides as a landscape that links the land to the water through the use of level changes, it will also provide the structure for the ramp that will allow disabled access from the land to the ferry’s embankment

Organisational Development

61

2 metre cube frame that will support the enclosed structure and frame views.

Distinguished framed views

Offering a place of reflection and contemplation

Proposed Plan

62

Plan Organisation

Proposed plan in context with desired views framed by the scaffoldings and the reflective mirrors installed in the site

Proposed Plan

63

Site Location

Final Drawings

64

Rendered Location Plan

Final Drawings

65

West Elevation

Proposal Drawings

66

South Elevation

Proposal Drawings

67

Axonometric Structural Strategy

The scaffolding structure will follow a 2 metre cube grid that acts as an additive structure which can be added and subtracted easily which provides a flexible design.

Structural Strategy

68

The structure itself will be made out of squared hollow sections or SHS which provides the necessary lightweight structure for my design. The SHS will also be connected using both wielding and angled fin plates to create a cleaner finish.

Ramp-Ballustrade Detail and Relationship

Enclosed Space’s Sliding Door Detail

Structural Strategy

69

Bristol Harbourside Frame 1

Final Renders

70

Bristol Harbourside Frame 2

Final Renders

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A3.2 Place Study (Amsterdam, Netherlands)

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Therefore, with the help of Pallasmaa’s theories, the city of Bristol and Amsterdam will be analysed based on their phenomenological activities and prioritising of each of our senses. With each proposed project reflecting the city’s phenomenological identity to produce spatial qualities that reflects visual and multi-sensory experience

Glimpse of Amsterdam

75

Population

Canals

Bicycles

Museums

834, 713

165

881,000

44

Amsterdam is known for many things, some of which are drugs and prostitution. However the city offers so much more, tourism, history, arts, sustainability, aswell as privelege.

The City’s Abstract

76

Nationalities

Coffeehouse

Tourists

Boathouse

180

250

20,000,000

2,500

Amsterdam is a city with diversed nationalities, all of which brings their own culture to provide the city its unique culture.

The City’s Abstract

77

“For liberalism is a delicate thing. It encompasses so much – constitutional government, democratic elections, freedom of worship, civil rights, free trade – that we think of it as timeless and universal. But liberalism came into being in a real place and time, like a flame it has wavered in various eras, and it can be snuffed out” - Russel Shorto, Amsterdam: A History of the World’s Most Liberal City 1650

1750

1850

The rise of Dutch Golden Age

Dutch Empire in its peak of power

The era of Industrialisation

History and Growth of Amsterdam

78

1920

1950

Current Day

Amsterdam in ruins and decline after WW1

A new era of modernisation and liberalism

Amsterdam as a city for people

History and Growth of Amsterdam

79

Some tourists think Amsterdam is a city of sin, but in truth it is a city of freedom. And in freedom, most people find sin. – John Green

An Initial Response

80

My experience in Amsterdam is that cyclists ride where the hell they like and aim in a stage of rage at all pedestrians while ringing their bell loudly, the concept of avoiding people being foreign to them. My dream holiday would be a) a ticket to Amsterdam, b) immunity from prosecution, and c) a baseball bat. – Terry Pratchett

An Initial Response

81

The purpose of this day is to explore the city of Amsterdam, not as a ‘tourist’, but more so as an architect. The idea for this is to ‘wander’ around the city, going through random routes, drifting aimlessly on places of interests.

Amsterdam Analysis Field Trip Day 1 82

83

The first strategic study undertaken on day 1 required us to visit 5 tourist urban landmarks. We, as a group, decided that it’d be best to head the opposite direction from the city for this first walk to fully explore the outskirts of Amsterdam and see how it differs from the centre, which is a mere 20 minute walk away.

Amsterdam Analysis Strategic Study 1 84

85

The second route of the study started at the NEMO Science Museum by Renzo Piano. It was obvious from the start that we have reached the tourist spots of the city, and here the beauty of Amsterdam truly opened up. There are dozens of bridges and canals, yet none of them seem to be a repeat of the other, it’s as though each has their own unique characteristics.

Amsterdam Analysis Strategic Study 2 86

87

As for this study, we decided to religiously follow one rule, which is follow anything or anyone that has the colour “yellow”.

During this study the approach towards sketches were more diagrammatic, as instead of catching the atmosphere of the place, the intention was to ‘decode’ the place.

Amsterdam Analysis Psycho-Geographic Study 88

89

As we focused on the less popular spots of Amsterdam, the second day of the field trip directed towards visiting ‘tourists’ spots of the city. By studying the heart of the city, it should allow us to explore Amsterdam’s approach towards Liberalism, as well as recognise and study the mixture of the city’s commanding architecture works.

Amsterdam Analysis Field Trip Day 2 90

91

Stadgenoot Pavillion by Steven Holl – The Pavilion was inspired and built with Holl’s ‘Chromatic Space’ in mind, an exploration of the phenomena of spatial colour reflection. In addition to this, the building’s perforated façade develops a 3-dimensional equivalents to a ‘Menger Sponge’ principle, a cube with certain voids that virtually approaches a zero volume.

Amsterdam Analysis Building Study 1 92

Facade showing similarities to a ‘Menger Sponge’

Stairs hidden between two walls to provide intimacy

93

Relationships between old and new, aswell as public and private space

EYE Film Institute by DMAA – The building itself is conceived as a highly tense and dynamic geometric solid to conceal the cinemas and exhibition spaces from the outside world. It is eye catching with radical unique designs which holds aesthetics and abstract qualities beyond the normal functions.

Amsterdam Analysis Building Study 2 94

Unique radical form

Relationship between different functions

95

Entrance to the cafe and stairs linking the cafe to other functions

Rijksmuseum Cruz y Ortiz Arquitectos – The museum features an impressive entrance which shows monolithic pieces of structure which provides a dense materiality to a seemingly immense open space. The museum’s entrance is almost a reminiscing of Chipperfield’s Neues Museum where concrete blocks were used to integrate with the existing structure’s exposed harshness of materiality.

Amsterdam Analysis Building Study 3 96

Imposing facade which reflect’s Amsterdam’s Golden Age

Relationship between Public and Private

97

Passageway linking the 2 atriums and their monolithic structures

With the topic of the film being “Amsterdam Anything Goes, we wanted to explore the different aspects of Liberalism that can be found in Amsterdam and how some of which can only be found within the city. In this film, we tried to explore the topic of cyclists and transport, the legalisation of marijuana, the acceptance towards prostitution as well as how ~Amsterdam has become one of the most expensive cities in Europe,

Amsterdam Anything Goes - A Flim on Liberalism

98

99

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A3.3 National Centre of ‘Trade’ (Amsterdam, Netherlands)

101

Removing Barriers - An Institution for the Blind and Visually Impaired

102

As previously mentioned this Amsterdam project will focus on the sensory realms of touch, hearing and smell. Titled “Removing Barriers” the purpose of this project is to rethink how we, as designers, build with those visually impaired in mind.

The outcome of this project will aim to nourish the user’s soul, which in turns nourishes their physical bodies.

With this in mind, the project will confront and challenge the repressive nature of the reality of disability and its representations. By providing spaces that are free of physical restrictions and constraints while simultaneously enhancing the user’s existence and consciousness within the space, through the implications of multi-sensory architecture.

103

Amsterdam, a city in order, or disorder? Trams, pedestrians and cyclists, through the analysis undertaken, all these means of transport are clearly organised, however through this organisation the city becomes restless, disordered.

Amsterdam, a City in (Dis)Order

104

Pedestrians, trams, cars and cyclists all sharing narrow roads creating an atmosphere that can be considered chaotic.

Amsterdam, a City in (Dis)Order

105

Suppressed Senses

Due to the city becoming ‘Disordered’, the senses we use becomes supressed, our hearing, smell and touch becomes dull as we prioritise our vision, to navigate, identify, and remember.

Senses in Disorder

106

Intertwining of Senses

Through this, physical impairment becomes a disability, where society’s suppressive natures creates restrictions for those with impairment. Hence why the project shall focus on removing these restrictions through multi-sensory architecture.

Senses in Disorder

107

The Social Model

The Medical Model

Firstly, the intention is to remove the word “disability” will be removed from this project. This is because the social model of disability identifies “disability” as a product of social organisation rather than personal limitations. As defined by Michael Oliver (1990, p,22) disability is the superimposed struggles on top of physical impairments that unnecessarily isolates and excludes those individuals from full participation in the community.

In contradiction, the medical model of disability is a model which believes that “disability” is caused by physical, mental and/or sensory impairments, that each physically impaired individuals are the problem themselves, and not the disabling attitudes of the society.

The Models of Disability

108

Physical Disability as a Form os Social Oppression

Due to the isolating and excluding manners of communities towards those who are physically impaired. It is clear that “disability� should be considered as a particular form of social oppression. This notion is intended to be perceived within the proposed institution to evoke the emotions of contempt and empathy from those whore are free of any visual or physical impairment.

The Models of Disability

109

The Institute for for educating the blind was founded in Amsterdam in 1808 and relocated to Huizen in 1932

Blind and Visually Impaired Demographics

110

An estimated 220,000 to 320,000 people in An estimated 220,000 to 320,000 people in Amsterdam have a visual reduction in both eyes Amsterdam have a visual reduction in both eyes

Between 33,000 and 45,000 are blind and 115,00 Between 33,000 and 45,000 are blind and 115,00 to 175,000 have low vision to 175,000 have low vision

111

Approximately 62,000 to 110,000 people are Approximately 62,000 to 110,000 people are blind or visually impaired due to refractive deblind or visually impaired due to refractive deviations without proper corrections viations without proper corrections

VISIO centre for education’s relationship with the city.

(Circle indicating a 1.5 km radius) Amsterdam’s existing VISIO centre for education provides education for children who are partially sighted or blind.

The centre nurture’s the children’s socio-emotional development, independence and participation in society, which ease them back into the regular education system.

The Existing Institutions for the Blind and Visually Impaired Visio Centres Amsterdam 112

VISIO centre for rehabilitation’s relationship with the city.

(Circle indicating a 1.5 km radius) As for the rehabilitation, the centre supports and counsels clients in learning to use their capabilities and acquire newly found skills. From learning Braille, optimising the use of other senses to each blind or visually impaired individuals’ orientation and mobility.

The Existing Institutions for the Blind and Visually Impaired Visio Centres Amsterdam 113

A Modern Institution Combining the exisiting VISIO centres in the centre of Amsterdam

114

We rehabilitate and educate, a practice often used to try and integrate those with visual impairment back into our community. However, the community lack the knowledge for this integration.

Therefore, the proposed institution will aim to rehabilitate, educate and more importantly, include those who are blind or visually impaired. An institution where the impaired and unimpaired can interact with each other freely, learning about each other’s circumstances to improve the course of inclusion for the visually impaired community back into the society.

Creating the Modern Institution

115

Rehabilitation

Diagnosis

Denial

Educa

Acceptance

The Proposed Stages of the Institution

116

Understanding

Engag

ation

gement

Inclusion

Accomplishment

Re-discovery

Purpose

The Proposed Stages of the Institution

117

Relevance

Rehabilitation

Education

The process of rehabilitation will be meant for understanding the individual’s impairment. Providing social, physical, as well as medical assistance with the intention of accepting the individual’s social circumstances. Within this space, the sense of touch will be heightened to allow those with visual impairment to read texture, weight, density and temperature

Rehabilitation, Education and Inclusion

118

Education within the institution does not reflect academic, it reflects sensorial activities offered within workshops that enhances, not just the individual’s sense of touch, but also their senses of smell and hearing.

Inclusion

Education

Activities such as arts and sculpture allows the individual to be conscious of their hands, where a paintbrush can become extension of their fingertips against a blank canvas meaning to tell a story.

Inclusion, not integration. These spaces within the institution will be meant for the general public, where exhibition spaces will be provided meant to showcase the works produce within the educational workshops. These spaces will exhibit accomplishments and capabilities by those who are visually impaired.

Rehabilitation, Education and Inclusion

119

“An architecture that recognises the realms of senses other than vision, is an architecture that provides interaction with our memory, ignites imagination and consciousness of self-being, and offers spaces of familiarity and comfort, all of which, for a visually impaired individual, are exceedingly satisfying than the mere pleasure to the eyes�

Achieving the Purpose through Multi-Sensory Architecture

120

“All the senses including vision can be regarded as extensions of the sense of touch”

“The most persistent memory of space is often its smell… the nose makes the eye remember”

“Buildings do not react to tour gaze, but they do return our sounds back to our ears”

Achieving the Purpose through Multi-Sensory Architecture

121

Comforting

Collage of Central Circulation Space Rehabilitation and education, these spaces within the institution have tactile, acoustics and scent qualities that provides intimacy and comfort. However just how important is the quality of light within these spaces. To be rational, even if each visually impaired individuals lacks the ability to “see� light, its importance is associated with the warmth it brings to the space.

Manipulating Light and Shadow Comforting and Repressing Spaces 122

Repressing

Collage of Repressing Auditorium Space Inclusion or integration, the word in which we describe the process of welcoming those suffering with visual impairment into society does not matter if the emotions we feel are not supressed. A suppression that is achieved through shadows and darkness that reflects cold, silence and repression.

Manipulating Light and Shadow Comforting and Repressing Spaces 123

Visually Impaired

Children

Adults

Users The Visually Impaired and Unimpaired 124

Institution Staffs

Unimpaired

Rehabilitation Staffs

The Public

Users The Visually Impaired and Unimpaired 125

Education Staffs

Visually Impaired The Ironic Gradient of Light

“Irony is intimately connected with the expression of a feeling, attitude, or evaluation. I cannot say (or do) something ironically unless what I say (or do) is intended to reflect a hostile or derogatory judgement, or a feeling such as indignation of contempt” – Grace, 1978, p.124

A Feeling of Irony?

126

Unimpaired

A Feeling of Irony?

127

The Site

128

The site is located approximately 20 minute walk from Amsterdam Centraal and closely to the city’s centre.

However through the exploration and analysis of place, it is clear that a feeling of disconnection from the city is present.

The feeling of isolation comes into mind, however, it is more through the city’s lack of interest and extremely quiet ways of living by its in habitants that the site feels isolated.

129

Site Response

130

This collage conceptually shows the relationship between the site and the two bridges surrounding it and the accessible “short-cut� the site provides to the locals and workers around the place. This also shows the integration between the residential and privately owned offices and how the opposing functions seems to successfully co-exist with one another.

131

Connection to Water

Access Through

Vehicular Movement

A profound connection with water that links the site to the centre of Amsterdam through the canals that surrounds and interlinks the city.

An access route that provides the locals within the area short-cuts between the north and south side of the site

Two main roads used by vehicles, which links the site to the city. These are also the cause of noise pollution perceived within the site, more significantly by the road opposite of the canal

Conventional Analysis

132

Pedestrian Movement

Shared Community Courtyards

Public Institutions

Routes used by pedestrians as well as cyclist. This shows how the majority of them moves horizontally, where their destinations are often on the west or east of the site.

As Amsterdam’s identity, the site is also surrounded by a number of shared green spaces between residential and private buildings

As mentioned previously, the site is surrounded by private properties, where the only public institutions are the zoo, museum and church surrounding the site.

Conventional Analysis

133

Sun Path The data shows the right of light through the site. The site itself has an open north-east boundary which provides a substantial amount of daylight, an aspect which is intended to reflect the proposed building. This analysis also shows the site’s south façade provides maximised daylight during noon, evident in the images provided.

Conventional Analysis

134

Materiality within and around Site The intention of this analysis was to understand and recognise the patterns found within the site. Through this study, it was concluded that the site varies in smoothness and patterns, as seen in the images, most of which can be replicated and used for the proposed building.

Conventional Analysis

135

Towards the site, an industrial looking bridge can be seen connecting the site to the east of Amsterdam

An initial approach of the site reveals a framed view

Journey through the Site

136

An oblique entrance is present to access the site, making it unknowingly hard to find unless you’re a local.

An archway is present to access through the site, providing a restricting space that expands to the site

As the site is exited, another restricting space can be perceived, making the journey through the site, contracting to expanding and then to contracting.

At the other side, another bridge can be seen that links the site to the north and west of Amsterdam.

Journey through the Site

137

With the help of a multi-sensory priory chart and my initial impressions, the site seems to favour each senses equally, creating a subtle and reassuring experience of the place. The site does not solely focus on aesthetics, nor does it focus on the other senses.

Phenomenological Response

138

Visual

Temperature

Olfactory

Odour

Tactility

139

As mentioned earlier the majority source of sound is coming from the road directly opposite of the site and the river. Compared to the road adjacent to the site, which is unfamiliarly quite.

Most of the smell that affects the site are from the current shipyard that occupies it. A smell produced from the dogs owned by the shipyard workers as well as the industrial materials and chemicals used

Phenomenological Analysis

140

Through the previous materiality study, it can be concluded that some of the materials found encourages the senses of touch. There materials varies in surface, some of which are rough and irregular

The main imposing piece of architecture around the site can be found plainly across the site in which a church sits higher than any of the surrounding context.

Phenomenological Analysis

141

Free Speech

Trade

The site is surrounded by shipyards and industrial ‘ruins’ aswell as modern businesses such as architecture firms.

2000

142

Cyclists

Graffiti

Part of the site is currently being used as bike racks for the locals and office workers around the site.

A number of graffitis can be found around the site.

Gender Equality

Population Growth 834,713 current inhabitants

Professionals

Benches

Smokers

The site is surrounded by offices and is often used by the workers as a place to have lunch or meet up.

A number of benches are provided within the site.

Workers uses the site as a place to smoke.

2011

143

Migration 180 different nationalities

Cultural Response

Imposing Height

Differentiating Levels

Due to the site’s identity, most of the surrounding buildings forms a consistent range of heights. There a concept of producing a contemporary architecture was considered where the building’s visual and architectural integrity can solely attract a new form of tourism for the local area.

The idea of imposing heights can then be enhanced further through the idea of differentiating levels.

There can be an indication of height link to the idea of views in which the building can “reveal” of “hide” a particular view on different levels, or allow right of light for its surround context.

Speed Planning - Initial Ideas

144

Interaction with Water

Noise Barrier

The concept of spreading the site’s boundaries into the water can provide a phenomenological impact and enhance the user’s experience of the building

A proposal can be introduced where a sort of “barrier” is formed to block the noise from the opposing road, however instead of blocking this noise, the proposal opted to embrace this aspect and to enhance the olfactory sense of those whom are blind and visually impaired.

Speed Planning - Initial Ideas

145

In conclusion, the site provides a space away from the restlessness of the city, while still allowing it to be linked to the city’s centre via the roads and canals surrounding it. While it is surrounded by private spaces, the site offers an atmosphere of co-existing and will be perfect for an institution that aims to house those with visual impairment.

146

147

The 9 Stages of the Institution

Defined Proposal

148

Rehabilitation (Positve)

Education (Positive)

Positive and Negative Spaces Inclusion (Negative)

The Institution shall provide “positive” and “negative” spaces, comforting and repressing, bright and dark, cold and warm. The institution itself will embody an architecture that is designed with, and not for, those who uses it. The spaces within will provide pleasures to the senses of those who cannot see, and will evoke emotions of empathy for those who can. And finally, the institution will pave way to the course of inclusion that shall welcome those who suffer with oppression because of their physical impairment into the society.

149

Comforting Spaces - Peter Zumthor, Therme Vals Zumthor believes that normal and simple buildings should be taught again and that these buildings have certain qualities that enhance our lives, an evidence of which can be seen through his works on Therme Vals. Therefore, the proposed institution will be designed to be ordinary, and not superimposed.

Precedence Studies

150

Repressing Spaces - Daniel Libeskind, Jewsish Musem In contrast to Zumthor, Libeskind believes that architecture is a field of repression, and almost everything is repressed to produce a building, an idea which is clear in Libeskind’s Berlin Jewish Museum. Therefore, the suppressive nature of spaces within the institution will follow this ideals to supress the emotions of the unimpaired public.

Precedence Studies

151

Comforting Spaces (Reha

Centre for the Blind and Visually Impaired, Taller de Arquitectura

vv Centre for Blind and Partially Sighted People, Mecanoo Architects

Bristol Royal Society for the Blind, Alec French Architects

A linear corridor which leads into different wings with different functions, making each space easily identifiable.

Contrast strips applied along the edge of the floor to distinguish floor from wall.

Semi-circle spaces on corridors outside rooms to allow spaces for transitions.

Precedence Studies

152

abilitation and Education

Shreyas Retreat, The Purple Ink Studio An architectural vision that focuses strongly on the connection of man in the realm of nature.

Centre for the Blind and visually Impaired Children, Davis Partnership Architects “Touch friendly� surfaces which provides as a sensory element and an active teaching tool.

Museum of Memory, Alberto Campo Baeza A central circulation space which leads into different functions within the building.

Precedence Studies

153

Reid Building Steven Holl A light shaft which delivers natural light through the depth of the building

Repressing Spaces (Inclusion)

Blind Light, Anthony Gormley

Ronchamp, Le Corbusier

Double Blind, Robert Irwin

Undermining the feelings of security and certainty by gratifying darkness.

Light focusing on the central alter to evoke the idea of importance and relevance.

Creating a disorientating feeling through translucent fabrics and controlling the direction and intensity of light.

Precedence Studies

154

Organisation

Linear Configuration

Radial Organisation

Architecture: Form, Space and Order, Francis D.K. Ching Using linear configurations through the building to create ease of directions and spaces remembered through navigation and not vision

Precedence Studies

155

Linear Path-Space Relationship

Massing A

Option B

Option C

Differentiating Heights

Keeping Access Route

A New Central Space

Massing Studies

156

Option D

Option E

Option F

Creating a Viewing Deck

Spreading into the Water

Creating Barrier

Massing Studies

157

Site Mass

Pushing the mass away from context building to allow right of light and access through

Form Process

158

Splitting the mass into the 3 functions of rehabilitation, education and inclusion as well as central circulation space.

Creating void that will maximise the daylight penetrating the building

Pulling the mass into the water to further enhance the connection between the institution and the water.

Form Process

159

Creating a linear path that cuts through the building, in which different spaces leads to.

Selected Massing (Option A)

160

Differentiating heights which allows right of light for the surrounding contexts.

Centralised circulation space linking the different functions within the building.

Selected Massing (Option A)

161

Shaping the roofs for each void space to even further maximise the light penetrating the space.

Massing Development - Underground

162

Excavating underground to provide the negative dark spaces that will evoke the emotions of empathy.

Linking the positive space into the negative space

Massing Development - Underground

163

Continuing the light shafts underground to provide glimpses of light and a phenomenological experience

Initial Massing Model in Context

Defined Massing in Context

164

Rehabilitation

Circulation

Education

Inclustion

Initial Massing Sketch in Context.

This shows the relationship between the comforting spaces and repressive spaces within the institution and how they are linked through the centralised circulation stair core.

Massing Development - Underground

165

Initial Tower

Iteration 1

Iteration 2

Iteration 3

Increasing the floor area by adding another level.

Introducing a light shaft, rather than an opened atrium where light becomes diluted

Internal walls becomes the light shaft themselves and corridors are moved to either side of the tower.

Rehabilitation Tower Development

166

Iteration 4 Optical fibres are hanged to make sure that light travels all the way to the underground auditorium

Rehabilitation Tower Development

167

Rehabilitation tower model showing the solid walls that allows light to bounce and dispersed in the internal spaces

Rehabilitation Tower Development (Model)

168

An example of how light can travel through the optical fibres to provide unique patterns of light.

Rehabilitation Tower Development (Model)

169

Comforting

Warmth

Support

Intimacy

Spatial Typologies

170

Connection to Outside World

Repressing

Disorientating

Dark

Spatial Typologies

171

Imposing Height

Rehabilitation

Centralised Ciculation

Spatial Organisation

172

Spaces for the Public

Educational Workshops

W.C Cores

Spatial Organisation

173

Inclusice Exhibiton Spaces

11

10

9

8

Ground Floor Key 1. Organisations for the Blind, Offices 2. Plant Room 3. W.C and Storage

7

4. Cafe Sitting Area 5. Main Reception 6 6 Kitchen

5

7. Guide Dog Kennels 8. Sculptor Workshops 4 9. Contemplation Space 10. Workshop Reception 11. Arts Workshop 3

2

1

174

First Floor Key 6

1. Children’s Rehabilitation 2. Children’s Play Area 3. W.C and Storage 4. Plant Room 5. Upper Floor Sitting Area 6. Music Workshops

5

4

2

3

1

175

Second Floor Key 1. Children’s Rehabilitation 2. Children’s Play Area 3. W.C and Storage 4. Plant Room 5. Staff Rooms and Offices

5

4

2

3

1

176

Third floor Floor Key 1. Adults Rehabilitation 2. Lecture Room 6 3. W.C and Storage 4. Plant Room 5. Spaces of Intimacy 6. Braille Library

5

4

2

3

1

177

Fourth Floor Key 1. Adults’ Rehabilitation 2. Lecture Room 3. W.C and Storage 4. Plant Room 5. Accessible Rooftop

5

4

2

3

1

178

Fifth Floor Key 1. Long-term accommodations 2. Shared Dining Space 3. Staff Office

1

1

1

179

Sixth Floor Key 1. Family Accommodations

1

180

Roof Plan

181

Basement -2 Key 1. Backstage 2. Rehearsal Room 9

8

7

3. Green Room 4. Disabled W.C. 5. Main Auditorium 6. Storage 7. Male W.C. 8. Projector Room 9. Female W.C.

6

5

2

1

4

3

182

3

Basement -1 Key 1. Auditorium Reception 2. Gallery Exhibition Space 3. Sculptors Exhibtion Space

2

1

183

184

South Elevation

185

186

South Short - Section

187

188

East Elevation

189

190

East Long - Section

191

Grooved Concrete Walls

Fibre Reinforced Concrete Facade

1

2

3

Timber Flooring

4

Double - Glazed Windows

5

192

Opaque Glass

6

1

2

3

Comforting Space

Comforting Space

Repressing Space

4

5

6

Comforting Space

Repressing Space

Material Strategy

193

Comforting Space

194

External Render Shows the Institution’s relationship with the street facades, and how the concrete facade panels are arranged to provide privacy and allow light to different spaces within the rehabilitation tower.

195

196

Rehabilitation Space Corridor The walls have entrenched grooves that acts as a support for those whom are visually impaired removing the needs for a handrail

197

198

Space for Intimacy A Private Space by the Braille library which provides a space for intimacy, however can open up to the environment if desired

199

200

Art Workshop North facing art studio that is mostly cladded with window panels to allow dispersed daylight

201

202

203

Structural Grid This diagram shows the building’s structural grid and how some parts of the building are load bearing walls, specifically the walls around the workshop area.

The grid also shows how the building intends to express an ‘open’ attitude where the facade consists of windows that is overlayed with concrete voided panels through a double skin facade.

Structural Strategy

204

Exploded Structural Axonometric As for the structural strategy, the building follows a concrete column to slab organisation, which allows the building’s facade to be independent of any structural constraints, and in turns lead into an extensive quality of openness.

Using concrete as structures also increased the building’s tactile qualities due to the material’s ‘brutal’ and ‘rough’ qualities.

Structural Strategy

205

Envrionmental Strategy

206

Exploded Axonometric Detail

A passive ventilation system integrated within the floors and ceilings of the building, where a cavity allows air to travel through ceiling and ventilate the necessary rooms

Drainage pipes will run along the secondary structure that supports the facade’s cladding

Envrionmental Strategy

207

Concrete voided panels that allows daylight to pierce through the building while controlling the solar gain.

1:10 Environmental Detail of Facade

11

10

9

1

1. 100mm Fibre Reinforced Concrete Facade Panels 2. 50mm Diameter Drainage Pipe 3. Marley Eternet Secret Wall Fixing System

2 3 4

4. 50mm Water Collection Pipe 5. 300mm Rigid Insulation 6. 100mm Hollow Steel Section

5

7. 300mm Concrete Slab 8. 100mm Ventilation Cavity

6 9. 30mm Concrete Screed 10. 100mm Rigid Insulation 8

7

11. 100mm Concrete Finish

208

U-Values

Name of Material

Thickness (m)

Thermal Conductivity

R - Value

Internal Surface

N/A

N/A

0.12

Concrete Slab

0.3

1.5

0.2

Open Cavity

N/A

N/A

0.18

Concrete Screed

0.03

0.1

0.3

Insulation

0.1

0.021

4.7

Concrete finish

0.1

0.1

1

External Surface

N/A

N/A

0.6

R - Value = 7.1 1/7.1 = 0.14

Envrionmental Strategy

209

1:10 Revised Roof Junction Detail

10

3

4

5

6

7

8

11

9

1. 300mm Concrete Slab 2. 100mm Ventilation Cavity 3. 30mm Concrete Screed 4. 100mm Rigid Insulation 5. 30mm Timber Blocking 6. Damp Proof Membraine 7. ‘Flownet’ Polyethylene Drainage Mesh 8. 20mm Sand Layer 9. 30mm Gravel Finish 10. Timber Joist 11. Steel Parapet Cover 2

1

210

U-Values

Name of Material

Thickness (m)

Thermal Conductivity

R - Value

Internal Surface

N/A

N/A

0.12

Concrete Slab

0.3

1.5

0.2

Open Cavity

N/A

N/A

0.18

Concrete Screed

0.03

0.1

0.3

Insuation

0.1

0.021

4.7

Plywood

0.011

0.0021

0.52

Sand

0.02

3

0.006

Gravel

0.03

0.7

0.04

External finish

N/A

N/A

0.6

R - Value = 6.6 1/6.6 = 0.15

Junction Details

211

1:10 Revised Roof Light Detail

5

6

7

8

1. 300mm Concrete Slab 2. 100mm Ventilation Cavity 3. Ventilation Grill

4

4. Condensation Gutter 5. Double Glazed Roof Lights 6. Timber Joist Support 7. Rubber Glass Seal 3 8. Extruded Aluminium Frame

2

1

Junction Details

212

1:10 Revised Roof Garden Detail

6

7

8

9

10 11 12

13

14 15 16

1. 300mm Concrete Slab 2. 100mm Ventilation Cavity 3. 30mm Concrete Screed 4. 100mm Rigid Insulation 5. 30mm Timber Sheet 6. 50mm Timber Floor Panel 7. 160mm High Galvanised Steel Pedestal 8. Services Tray 9. 30mm Concrete Pavers 10. 20mm Sand Layer

1

11. ‘Flownet’ Polyethylene Drainage Mesh 12. Damp Proof Membraine 13. 10mm Root Barrier 14. 30mm Sand Layer 15. 30mm Gravel 16. Earth

5

4

3

2

1

Junction Details

213

Escape Route Diagram This shows the minimal distance that can be undertaken in the case of fire.

There are 3 emergency fire exits, two of which leads straight into the fire-exit (highlighted red) cores.

The central atrium staircase can also be used in emergency as it allows the users to move through the building vertically in a much easier manner

B

A

214

Fire Escape Stairs Core A

Fire Escape Stairs Core B

Fire Strategy

215

New Build

Ref Group

1 1A 2 2A 2B 2C 2D 2E 2F 2G 2H 3 3A 3B 3C 4 4A 5 5A 5B 5C 5D 5E 5F 5G 5H 5I 5J 5K 5L 5M 5N 5O

Note: items in red require amending to suite YOUR scheme Gross Internal Foor Area (GIFA) of YOUR scheme =

Element

Substructure Substructure Superstructure Frame Upper Floors Roof Stairs External Walls External Windows and Doors Internal Walls and Partitions Internal Doors Finishes Wall Finishes Floor Finishes Ceiling Finishes Fittings and Furnishings Fittings and Furnishings Services Sanitary Appliances Services Equipment Disposal Installations Water Installations Heat Source Space Heating and Air Conditioning Ventilating Systems Electrical Installations Fuel Installations Lift and Conveyor Installations Fire and Lightning Protection Communications and Security Installations Special Installations Builder's Work In Connection Commissioning

Element Quantity Unit Rate £

Total Cost Element Group £ £

7,500.00 m2 Cost per m2 GIFA Element Group £ £

3,300,000 4,400 m2

750.00

3,300,000

m m2 m2 nr m2 m2 m2 nr

150.00 235.00 230.00 4,600.00 165.00 450.00 1,545.00 150.00

6,750,000 1,034,000 506,000 13,800 297,000 945,000 1,854,000 2,250

1,200 m2 7,500 m2 1,000 m2

25.00 30.00 25.00

30,000 225,000 25,000

1,520.27

#DIV/0!

37.33

#DIV/0!

4.00 30.00 3.33 0

0

0.00 0.00

1,038,740 70 nr

#DIV/0!

900.00 137.87 67.47 1.84 39.60 126.00 247.20 0.30 280,000

Item

440.00 440.00

11,402,050 45,000 4,400 2,200 3 1,800 2,100 1,200 15

%

138.50

#DIV/0!

2,136.11

#DIV/0!

253.33

#DIV/0!

500,000 800,000

66.67 106.67

5% #DIV/0!

19,220,790

2,562.77

#DIV/0!

1,196,000

159.47

#DIV/0!

650.00

45,500

6.07

90 nr 7,500 m2 included 7,500 m2 7,500 m2 7,500 m2

36.00 25.00

3,240 187,500

0.43 25.00

15.00 10.00 65.00

112,500 75,000 487,500

15.00 10.00 65.00

7,500 m2 included

17.00

127,500

17.00

0

0.00

n/a

n/a n/a

n/a 7,500 m2 included

16,020,790

Building Sub-Total 6 External Works 6A Site Works 6B Drainage 6C External Services 6D Minor Building Works 6E Demolition and Work Outside the Site 7 Preliminaries 8 Contingencies

1,900,000 800,000 600,000 100,000 50,000 350,000

Total (less Design fees) 9 Design Fees

Costing Excerceise

216

106.67 80.00 13.33 6.67 46.67

Conclusion - Aim Towards An Ideal World

217

Clark, H., Gerrig, R. (1984) On the Pretence Theory of Irony. Journal of Experimental Psychology.

113 (1), pp. 121-126.

Day, C. (1990) Places of the Soul: Architecture and Environmental Design as a Healing Art. Northamptonshire: The Aquarian Press.

Imrie, R. (2006) Accessible Housing: Quality, Disability and Design. Oxon: Routledge.

Ji-seong, J. (2009) Architects and Design – Daniel Libeskind. Seoul: CA Press Co. Marquez Cecilia, F., Levene, R. (1996) Daniel Libeskind: 1987 – 1996. Madrid: El Croquis Editorial.

Oliver, M. (1996) Understanding Disability – From theory to practice. Hampshire & London: MacMillan Press Ltd. Pallasmaa, J. (1996) The Eyes of the Skin: Architecture and the Senses. West Sussex: John Wiley and Sons Ltd. Pallasmaa, J. (2009) The Thinking Hand: Existential and Embodied Wisdom in Architecture. West Sussex: John Wiley and Sons Ltd. Roca (2015). Childhood ReCollections: Memory in Design featuring Daniel Libeskind | Roca London Gallery. YouTube [video]. 13 November. Available from: https://www.youtube.com/watch?v=aFrBkrCX8M [Accessed 06 February 2018].

Roca (2015). Daniel Libeskind on Memory | Roca London Gallery. YouTube [video]. 13 November.

Available from: https://www.youtube.com/watch?v=J_xxKFVZpC0 [Accessed 06 February 2018].

Roca (2015). Memory in My Design | Roca London Gallery. YouTube [video]. 13 November. Available from: https://www.youtube.com/watch?v=IE5kpptjCmo [Accessed 06 February 2018].

Shakespeare, T. (2006) Disability Rights and Wrong. Oxon: Routledge Zumthor, P. (1998) Thinking Architecture. 2nd Edition. Berlin: Birkhauser.

Bibliogr 218

raphy 219