'Vilnius: short stories' project brief

MA Thesis programme

Deimante Bazyte

2017 Spring

07 vilnius:

short stories

strategies and details for the station design of the new Vilnius tram line

The Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation MA Spatial Design, Perception and Detail Thesis Supervisor: Heidi Svenningsen Kajita

MMXVII

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thesis programme

Deimante Bazyte

2017 Spring

abstract

‘There is a myth, sometimes widespread, that a person need only do inner work, in order to be alive like this; that a man is entirely responsible for his own problems; and that to cure himself, he need only to change himself... The fact is, a person is so far formed by his surroundings, that his state of harmony depends entirely on his harmony with his surroundings.’

Christopher Alexander et al., The Timeless Way of Buildings

‘Vilnius: short stories’ is a design exploration for new tram line stations in Vilnius city. It questions how narrativebased design method can enrich, enhance or alter our experience of everyday commute ritual, through rethinking the concept of the tram station.

Future Vilnius, with a new mode of transportation gives an excellent opportunity to imagine otherwise homogeneous tram stops as urban architecture, infused with story, context reflections and imposed meanings.

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thesis programme

Deimante Bazyte

2017 Spring

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structuring the concepts: moving through or passing by: urban mobility narrative in architecture: vignettes in the city

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structuring the context: Vilnius city

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structuring the project: unfolding the route: Vilnius tram Line 1 from space to place: stories and the stations

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working media and scales presentation plan time schedule

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bibliography

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curriculum vitae

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vilnius: short stories 5

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Manfred Mohr, Computer Graphics, combining programmes

thesis programme

Deimante Bazyte

2017 Spring

01 structuring the concepts

In the following chapters I will briefly describe series of concepts that form an inspiration and broad context for my project.

It mainly branches out to the topics of urban mobility, memory and meaning within built environment and method of narration that is informing it. At first glance, unrelated themes join in the project’s formation process and should help the reading of ‘Vilnius: short stories’.

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1 Montgomery, Charles Happy city: Transforming our lives through urban design, Penguin Books, London, 2013, p.181

thesis programme

Deimante Bazyte

2017 Spring

Moving through or passing by: urban mobility

When we discuss cities, we tend to talk about what various places look like or perhaps how it feels to be in those places. But to end there is to miss half of the story because we experience most parts of cities through velocity: we glide past them on the way to somewhere else.

In his book ‘Happy city: transforming our lives through urban design’, Charles Montgomery claims that the question of mobility is not merely a matter of technology or economics but of culture, psychology and the vast variation in our preferences. In this particular context, I am interested how transit is formulating our perception of urban environment.

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2 White, S. M. Type of Commute, Behavioral aftereffects, and cardiovascular Activity, Environment and Behaviour, 1998: 763 - 80 3 Schlossberg, Mark, How far, by Which Route, and Why? A Spatial analysis of Pedestrian Preferences (San Jose: Mineta transportation Institute, College of Bussines, 2007)

Despite the vast modes of transportation, I wish to concentrate on the ones that occur in urban environments. Although this eliminates only a few options, it starts to describe different travelling speeds we experience. In other words, planes, high speed trains or long car journeys through unlimited speed autobahn require a separate discussion.

Firstly, travel mode is formulating our physical and psychological well being. Research shows that driving in traffic is harrowing both for the brain and body. The blood of people who drive in cities have excess amounts of adrenalin and cortisol. Professor Steven White claims that these ingredients enhance reaction and heart speed but can also make one ill in the long run.2 However in countries where the golden age of cars has not yet expired, driving an automobile embodies psychological state know as mastery.

Drivers report feeling much more in charge of their lives than transit users or even their own passengers. At the same, speedily driving through the city means that brains undergo a

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Rasa Anaityte, Nicolas Lebeer, Collage

Deimante Bazyte

temporary transformation as a coping strategy. Psychologist David Lewis calls it ‘commuter’s amnesia.2 Their brains simply shut out stimulus from the outer world as they forget most of the trip as soon as it is over.

As mentioned before, travel speed plays a large role in the awareness of the environment. Psychologists give an interesting correlation of slow-mode transportation in relation to conscious attention and subconscious perception.3 Although, cyclist and particularly pedestrians tend to react to even the smallest triggers and memorise the environment, the increased travel time eventually creates boredom and tiredness. These two factors combined, if repeated multiple times, prevent traveller to develop positive memories about the commute, and, therefore, the environments one encounters.

To emphasise, that occurs only when the routes are repeated and travel time exceeds average - more than 30 mins for pedestrians and over 50 mins for cyclists.

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Example, London: Underground mode excludes perception of the urban surroundings in-between destinations

Moving through or passing by: mental maps

Another research points out that our recollection of the urban landscapes is closely connected with both physical and mental effort. The less you have to think about your trip, actually, more in control you feel and easier the journey seems.3 This pays respect to well developed and clear public transport. More importantly it opens up an opportunity for the investigation of how one meets and learns the city, comparing commute routes, modes and speeds. ‘After all, brain is hardwired to produce anxiety hormones, when we are unsure of the location in a complex environment.’ (G. Stenberg).4 One more example to illustrate such differences is to compare attentive visitors’ experience in the underground serviced metropolitan areas with ones that do not have such systems.

London is serviced by a relatively old and well developed rapid public transit system - underground. Meaning, that visitors (or locals) can easily travel from one place to

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thesis programme

Deimante Bazyte

2017 Spring

Example, Vilnius: bus transit makes one aware of the narrow environment, traveling from A to B

another only within this mode. Yet it often eliminates the awareness of how far apart the stations are exactly, and what is the area in between. ‘Often, first-time commuters describe London city as a collection of small towns, situated around underground’s map’, - Ch. Montgomery.1 In comparison, city of Vilnius do not have a such system and is served only by a two-mode bus, covering the whole disperse area. As a result, frequent commuters memorize the exact routes that buses take and often can name the stations in between just by seeing approaching objects. Yet, awareness of the surroundings rapidly falls, considering parallel streets, branching neighborhoods, or areas further than a hundred meters away from the usual route.

After all, this rather broad discussion is not to criticize one transit mode over another, but merely to elaborate on how one experiences urban environment (more importantly - public spaces) depending on it.

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thesis programme

Deimante Bazyte

2017 Spring

Narrative in architecture: vignettes in the city

If one considers of how through the movement, content of perception. about meanings, symbols environment.

the urban environment is perceived it is important to discuss the This, obviously, prompts questions and pressures, packed in the built

Idea that every plaza, park or architectural facade sends messages about who we are and what the street for is greatly intriguing. Especially in contrast to homogeneous architecture that is so prevalent in post-modern times.

From the users point of view, environmentalists have recorded extensively, that ‘the key to the places’ effect lies in the way brains link memory and emotion.’4 Rather surreal example of employing this concept quite literally is the Main Street USA, fronting the entrance to Disneyland in Los Angeles.

Disney designers came from the film industry, therefore vilnius: short stories 15

4 Stenber, Esther, Healing Spaces: The Science of Place an Well-being (Cambridge, MA: Belknap Press of Harvard University Press, 2009) 5 Gehl, Jan, Lotte Johansen, ‘Close Encounters with buildings’, Urban Design International, 2006: 29-47 6 Venturi, Robert, Complexity and Contradiction in Architecture, 1977, The Museum of Modern Art, New York, 2nd ed.

they designed their main street to work like a movie set, making every visitor feel like they are a part of the scene.

Moreover, references* that have been used, trigger memories that produce feelings of safety and calm (even if they are derived from ones own experiences or familiar visuals).

Similar approaches have been used by architects and planners for centuries. Jan Gehl proposes some very tangible research to support immediate connections between urban environments and human brain. For example, if a street features uniform facades, with hardly any openings or functions, people move past as quickly as possible. On the other hand, if the street is dense, full of doors and windows, functions and elements per block, people walk slower, pause, make a cell phone calls and so on.5 Meanings, embodied in architecture is a long standing point for a conversation amongst architects (with exceptions, considering some movements in the 20th century). Briefly,

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thesis programme

Deimante Bazyte

2017 Spring

Main Street USA with nostalgic elements of private house porches, miniature roof towers, Sleeping beauty castle in the distance, constant smell of fudge traditional country house roofs and cartoon-like, bright color pallet.

Robert Venturi in his iconic book ‘Complexity and Contradiction in Architecture’ both criticizes the International Style and claims that facades in urban environments perform a role, regardless of its program. It always must carry an implanted meaning.6 As a future practitioners, we must engage in this conversations once again, demonstrating both awareness and care for proposed designs, as it undeniably affects individuals and societies.

Forty years after Robert Venturi’s book, professor at the Bartlett School of Architecture, CJ Lim reminds us of buildings, communicating expressions of power, faith or history through its narrative. Like the proportions, size, decoration of great Egyptian Tombs were determined by metaphor, not utility; or the Doge’s Palace in Venice, with its Porta della Carta, Scala dei Giganti and Winged Lions are as much an assemblage of anecdotal vignettes, as it is a building.

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‘Currently, we, as a generation, are losing the patience and facility to critically analyze a piece of work with any intended ambiguity or invested subtext. This drift is particularly pronounced in the field of architecture where perception of a building rarely extends beyond its appearance. With a disappearance of signified meaning in contemporary buildings, and the obsolescence of an understanding of symbolism in them, our ability to read architecture has completely atrophied, if we are in fact aware that architecture can be read at all.’ CJ Lim, AD Drawing Architecture, Profile No 225

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thesis programme

Deimante Bazyte

2017 Spring

Narrative:

orchestration and perception

Architecture carries content through the arrangement of spaces, materials, social relationships and the cultural purposes with which it is invested. Therefore it is fascinating for me to discover geometrical concepts in buildings, myth and literature.

This is where narration enters architecture. From conceptual ‘messages’ it is made to stand for, to the illustration of a design (through models, drawings or other forms).7 Narrative can often also be described in many ways: - ‘a form of representation, bound with sequence, time and space.’ 8 (Cobley, 2001) - ‘a process, activity of selecting, arranging and rendering a story material in order to achieve specific effects on a perceiver.’ 8 Bernard Tschumi, describes narrative as a design tool, and compares it to architectural ‘happening’: - ‘a presentation of an event with its progressive spatial interpretation, symbolic connotations or intended ‘programmatic sequences.’9

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7 Psarra, Sophia, Architecture and Narrative, 2009, Routledge, p.14 8 Cobley P. Narrative, 2001, London, Routledge.

9 Tschumi, Bernard, Questions of Space, 1995, London.

Interestingly, the continuation of Sophia Psarra’s8 theory is that the strength of the narration process reaches up to the point, when one acknowledges the division between narrator and the reader.

It can be referred to the literature. Even though literature can carry predicted connotations, one can never be completely certain, that the work creates precisely intended meaning. This can be traced all the way back to the theory investigating meaning of the ‘sign’. American Philosopher Charles Peirce supports the semiotic theory, which defines a ‘sign’ as triadic relationship - ‘<...> something that stands to somebody for something, in some respect or capacity’.10 Therefore, representation (or a sign) of an intended meaning depends on the interpreter as much as the narrator - it is rather connotative then denotative. This is where social and cultural context, comes into play.

This discussion intrigues me to investigate how are these spatial and cultural meanings actually constructed in buildings and communicated to their viewers?

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thesis programme

Deimante Bazyte

2017 Spring

Amin Taha architects in London, Upper Street. Historical narrative is used to extend/ rebuilt 19th Palladian Piazzo style block. Almost replicating the imprint of the original context, architects use a metaphor of WW2 bombings in London, that destroyed this particular site, to organize the expression of new openings, related to a new functional programme. Crude and simply articulated windows ‘punch’ through the facade, irrespective of the original ornaments and imprints. In this way facade joins the contextual past, but also reminds of the crucial event of the place.

As there are numerous interpretations of how to use narrative as a design method, I wish to navigate this project with my own take on similar precedents. Primarily, I see it as a way to take inspiration and reference from existing context (both physical, mythical and fictional), and construct a translation tool narration, which therefore refers to geometrical expressions.

At the same time I intend to leave this process to the manner if exploration, instead of prescribed working tool.

Can narration help to unfold the urban space through myth, story or a poem?

Does the narrative behind an ‘object’ create a tangible connection between itself and its perceiver; and if so, do/ can elements in our cities consciously become the portals to a real or fictitious stories?

These concepts and questions are to help to formulate my own narratives throughout this project and support the intentions of the framing I chose later. vilnius: short stories 21

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thesis programme

Deimante Bazyte

2017 Spring

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structuring the context: Vilnius city

The project is based in Vilnius - capital of Lithuania since 1990, when the country regained its independence.

Vilnius city hosts over 540 000 people in its urban area, which expands to over 850 000 residents in the whole metropolitan area. Cityâ&#x20AC;&#x2122;s density is relatively low in the minor neighborhoods, yet Old town and New Town areas are much busier. This results in rather disperse urban areas, dominating low rise buildings and extreme variation in architectural environment throughout the urban fabric.

Second largest river in the country - Neris - is piercing city from south-west to north-east, and dividing central area in two very distinguishable regions.

Combining 21 Elderships - which is an official name for a commune, city is also ringed by 4 major bypasses. Since car is the most popular traveling mode, these large, four-lane roads wrap around the city, helping to avoid traffic congestions.

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Vilnius city divided by river Neris and combining 21 Elderships (official name for a neighborhood)

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2017 Spring

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Densest parts of Vilnius: Old and New Town south of the river, Zverynas and Snipiskes to the north

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Fabijoniskes

New Town

Vilkpede

Lazdynai

Grigiskes

Zirmunai

Karoliniskes

Zverynas

Snipiskes

Seskine

Virsuliskes

Pilaite

Justiniskes

Old Town

Pasilaiciai

Antakalnis

Verkiai

Paneriai

Naujininkai

Rasos

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thesis programme

Deimante Bazyte

2017 Spring

As mentioned before, most of the 21 Elderships (communes within the city) have a specific architectural character and heritage, blending into each other in places; or providing extreme contrast in others.

Most significantly, Vilnius Old town Eldership is a UNESCO World Heritage site, hosting medieval urban structure of the streets. Constantly changing cultural and political influences left the cityâ&#x20AC;&#x2122;s center with Gothic, Baroque, Renaissance and Noe-classical architecture. Being protected, Old Town is still coping with traffic congestions and hosting largest markets, political and cultural institutions.

In contrast, areas north of the river have almost only the late 20th century arrangements, incorporating the newest buildings of the city as well - fully glazed, high rise offices and shopping centers, mostly in Snipiskes.

Further along the river, most of the old soviet block typologies unfold, also called micro-rayons, with adequate street layouts and large road arteries piercing through. Within, it also hosts some the truly iconic Brutalist architecture and remains of Art Deco housing and institutions. These Elderships are surrounded by the neighborhoods with mainly newly built housing areas: manifesting non-strict housing policies, varying economical demands and sometimes pastiche architectural tendencies. vilnius: short stories 27

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structuring the project: unfolding the route

Vilniusâ&#x20AC;&#x2122; short stories will look closely at the proposition of a new tram line for the city, investigated back in 2007 as part of metropolitan area expansion. Unfortunately, because of political and economical reasons, this plan was dismissed in early 2013. Since then newly elected municipality is raising funds and trying to create economical ground for the project to be realized in 2025.

These are particularly plausible plans regarding the United Nations Goalsâ&#x20AC;&#x2122; 2030, specifically those suggesting sustainable expansion of infrastructure (9). Moreover, goals for sustainable cities and communities (11) promote expansion of public transport, with special attention for those in vulnerable situations. Therefore, trams have a great potential to become cheap, yet fast and accessible mode of transportation for all members of society. Finally, complementing the same goal - light rail tram is far more ecological transportation mode in comparison to bus systems, underground metro (regarding heavy infrastructure and CO2 emissions) or cars.

Light rail trams are essentially rail vehicles that run along urban streets, often connected to electric lines and are usually lighter and shorter than conventional trains.

Full possibility study for Vilnius tram is suggesting 4 main transit lines, which would eliminate some of the busiest bus

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thesis programme

Deimante Bazyte

2017 Spring

Double exposure photography, merging Vilniusâ&#x20AC;&#x2122; old town towers with prevailing soviet blocks

routes, but also repeat their station pattern. Also, report is claiming that introduction of a tram would only narrow down a few car traffic lanes, since it would occupy central green area in-between, or existing bus lanes.

Further focus is on the Line 1, running North-South, almost parallel to the river Neris, with 17 stations in total.

Chosen Route combines context with diverse architectural and historical features: from current records of the Station street being heavily gentrified, layers and layers of historical moments through the old town, up until nostalgic realism of soviet block habitat.

Other 3 lines are servicing less busy routes of the city.

Also, it is planned to join them with the Line 1 towards one end of the route - Central station, as it acts as a main transport hub for both national rail and bus systems. Each line would combine two-directional trams, sitting on single track, slightly sunken into the street. This system requires less maintenance and eliminates the need for electric cables running above. vilnius: short stories 29

Line 1

Line 3

Line 2

Line 4

Depot/Exchange points River

Simplified 4 routes of the tram in respect to river Neris

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train depots stations

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2017 Spring

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Extremely complicated Vilnius bus route map and proposed 4 lines for overground tram line vilnius: short stories 31

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thesis programme

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2017 Spring

Since even parts of the same line might be servicing entirely different groups of people (tourists traveling from Central Station to the cultural hubs in the center; or elderly locals, using the line to reach hospital at the north from their neighborhood) - stations within the line become exposed to differing activities and practical needs.

The user groups of the system can be rather predictable. Yet, the ownership and maintenance of both new tracks and the stations is proposed to be a joined partnership between municipality and interested parties. Meaning that the government initiated organization, combining shares from municipality and private investors can start introducing business, contributing, maintaining and gaining from the new system. That can be not only traditional kiosk, but tourism, community or creatively orientated stakeholders, enhancing the site. Architecturally this opens up opportunity for crossing and combining different programs within the stations, to achieve unexpected (or very predictable) social encounters.

As a side note, this can be referred to Ivan Leonidovâ&#x20AC;&#x2122;s theory of social condenser, which essentially discusses possibility of altering public spaces to allow otherwise disperse social communities to interact.

This project aims to unfold the cityâ&#x20AC;&#x2122;s cut through 7 stories/ 7 stations of the new tram line. Like the stories belong in the same frame, language and context, stations sit within coherent framework, yet slightly altering and differing from one another to reflect, or highlight new context, a new chapter in the book. vilnius: short stories 33

Existing tram stations from top left: Tram stop, Subarquitectura, Alicante, Spain; Limmatplatz Tramway Station by Baumann Roserens Architekten, ZĂźrich, Switzerland; Flagey tram stop, Ladz + Partner, Brussels, Belgium; Station homme de fer, Alsace, Strasbourg.

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thesis programme

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2017 Spring

from space to place: stories and the stations

Like in the majority of the cities, Vilniusâ&#x20AC;&#x2122; streets are lined up with identical bus stations: approach that is most likely to be adopted for new tram lineâ&#x20AC;&#x2122;s stations. Logically, it proposes identifiable object within the cityscape, which creates simple association, always meaning the same - arrival or departure point. But how much difference can one introduce, to still make it part of one system?

Every station is proposed to be from 12m - 15m wide and around 40m long. This is dictated by the average length of the tram machine. Also two prevailing types are described: stations in the middle of vehicle road and on one side of it. Yet, every case entirely depends on the existing context, as it concerns questions of access, shelter, connectivity, resting, passenger distributions, ticket system, barriers and similar.

These, very practical means of spatial program will be addressed in the earliest stage of my project.

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basic design of the station alters through narration method

mapping and identifying the story narrative of the place

7 identical stations in one route

01 02 03 04

36 05 06 07

thesis programme

Deimante Bazyte

2017 Spring

On the other hand, one can see the station building as an important gateway into the site - the first encounter, directing, protecting and framing one within the immediate surroundings. Or a small landmark one is passing by, filling up the journey with identifiable moment and orientating one along the way.

What if the station/ portal into the city can be more than the accessory of infrastructure?

I propose that further along the development of the project, narration method overtakes the process. That is where written story or unfolded contextual influence starts to translate and therefore alter each of the 7 stations. In other words, I aim to use chosen stories, whether contextual, geometrical, written or historical to act as a scripts for programmatic and geometrical sequences. Potentially, these scripts can operate in two levels: corresponding to both very formal requirements (experiences), as well as ordinances of social occasions.

The clear line of influence and the aimed result is predictable, yet the method of translation stays ambiguous at this point.

I intend to treat it as a methodology exploration for this project - not yet being certain how this process will unfold itself.

Nevertheless I see it as a great intrigue to move beyond the theoretical reading exercise of narration, but attempt to implement it through the process, and therefore not have a clear preconception of the â&#x20AC;&#x2DC;final productâ&#x20AC;&#x2122;. vilnius: short stories 37

Diller Scoffidio, reconnecting geometry of the journey, Case No. 00-17163 (Fragment)

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thesis programme

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04

methods

The intent is to combine narrative approach with pre-defined station design: starting from same volumes, strategy for access, materials and basic functional needs. Secondly, I aim to introduce a series of stories to alter the design (fiction, interview, observation from mapping or similar), which are intentionally not yet chosen. Further, using model and collage techniques I hope to move from conceptional intentions to geometrical and detailed expression. Finally, axonometric and orthographic drawing style can help me to highlight alterations and differences in each story/station and connect them in a singular system again. Process book will contain records of exploration as well. scales Like an editor of a story book creates a frame to combine all the different chapters, I wish to use mapping as my initial technique and to frame all 7 stations in one view. This can be unfolded in a large scale drawing (1:5000), combining 10km long route and unwrapping the important context within, extracting essential information and blurring the one â&#x20AC;&#x2DC;passedâ&#x20AC;&#x2122; by. Further I wish to zoom into every story individually, demonstrating the immediate context and the station scale (1:200), and how both correspond to each other. Finally, I will try to understand the reader - how does the passing by or through the station is framing users experience in the scale of 1:20 in a few specific stations. vilnius: short stories 39

1 : 2000 sectional drawing

7 stations with text and detail

Chosen exploration drawings/ translation process

1: 200 conceptual models of stations

table for long context model and process information

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thesis programme

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2017 Spring

presentation plan

At this stage, final presentation plan is still only suggestive and subject to change. I aim to show clear distinction of the narrative for each station, therefore use combination of text and drawing on separate panels and to join it into a journey - long sectional drawing afterwards (1: 2000) Also, I see a key moment in my process work, so that must be well represented through diagrams/ plan drawings/ abstract translations or similar.

Model work is something I want to use extensively in this project as well, therefore 1:200 volumetric explorations will be represented.

Whilst keeping the story line clear in the presentation, all the additional explorations will be recorded in the process booklets and/ or small video work on the side.

vilnius: short stories 41

   

 

 

                                                                                                                            

Programme Programme

phase 1 phase 1

1st1st Site Site visit visit Critique Critique

Mapping Mapping andand recording recording 1:5000 1:5000 scale scale model model Drafts Drafts forfor narratives narratives Strategy Strategy forfor station station prototype prototype

Recollection/ Recollection/ modelwork modelwork of of translation translation process process Programming Programming andand altering altering translations translations (1:(1: 200) 200)

phase 3 phase 3

2nd2nd site site visit visit (optional) (optional) Altering Altering sectional sectional drawing drawing

1:20 1:20 detail detail possibilities possibilities 1: 1: 200200 model model work work Curration Curration of of thethe final final proposal proposal

42

tutorial tutorial

tutorial tutorial

tutorial tutorial

tutorial tutorial

phase 2 phase 2

Narrative Narrative translation translation stage stage

tutorial tutorial

1:2000 1:2000 section section - mapping mapping representation representation

thesis programme

Deimante Bazyte

2017 Spring

 

timeframe

 

Final hand-in Final hand-in

tutorial tutorial

Critique Critique tutorial tutorial

tutorial tutorial

tutorial tutorial

Critique Critique

                                                                                                                                                        

vilnius: short stories 43

05

bibliography

Alexander, Christopher, The Timeless Way of Building, New York, Oxford University Press, 1979, p.109 Coates, Nigel, Narrative Architecture, John Willey & Sons LTD, West Sussex, 2012, p. 14 Cobley, Paul, Narrative: the new critical idiom, Routledge, Abingdon, 2009 Ecco, Umberto, A Theory of Semiotics, London, Macmillan, 1976 Ecco, Umberto, Function and Sign: the Semiotics of Architecture, in Neil Leach ed. Rethinking Architecture, Routledge, London, 2012 Emmons, Paul, Size Matters: Virtual Scale and Bodily Imagination in Architectural Drawing, arq: Architectural Research quaterly,9, 3/4, 2006, p. 227 - 235 Gajauskas, Julius, Analysis and Alternatives of Vilnius city metropolitan expansion plan, Vilnius, 2007 (PDF)

44

thesis programme

Deimante Bazyte

2017 Spring

Gehl, Jan, Lotte Johansen, Close Encounters with buildings, Urban Design International, 2006 Lim, CJ, London: Drawing narratives, in Architectural Design: Profile no. 225, September 2013 Montgomery, Charles, Happy city: Transforming our lives through urban design, Penguin Books, London, 2013 Psarra, Sophia, Architecture and Narrative, Routledge, Abingdon, 2009 Schlossberg, Mark, How far, by Which Route, and Why? A Spatial analysis of Pedestrian Preferences (San Jose: Mineta transportation Institute, College of Business), 2007 Sharr, Adam, Reading Architecture and Culture: Research buildings, spaces and documents, Routledge, Abingdon, 2012 Stenber, Esther, Healing Spaces: The Science of Place an Well-being (Cambridge, MA: Belknap Press of Harvard University Press, 2009) Tschumi, Bernard, Questions of Space, London, 1995 Tschumi, Bernard, The Discourse Architectural Association, 1983, p.6

of

Events,

London,

White, Steven M., Type of Commute, Behavioral aftereffects, and Cardiovascular Activity, in Environment and Behavior, 1998, p. 763 - 780

vilnius: short stories 45

46

thesis programme

Deimante Bazyte

2017 Spring

EDUCATION

06

curriculum vitae

September 2015 - June 2017 The Royal Danish Academy of Fine Arts, School of Architecture, Design and Conservation, Copenhagen, DK MA Spatial Design, Perception and Detail September 2011 - June 2014 Newcastle University, School of Architecture, Planning and Landscape, Newcastle, UK BA Architecture

RELEVANT EXPERIENCE

September 1999 - June 2011 Kaisiadorys A. Brazauskas Gymnasium, LT Secondary Education

June 2016 - August 2016 Allies and Morrison Architects, London, UK Architectural Assistant February 2016 - June 2016 Atelier Hotel Pro Forma with Kirsten Dehlholm Architectural Intern for NeoArctic opera stage design September 2014 - August 2015 Allies and Morrison Architects, London, UK Architectural Assistant

vilnius: short stories 47

Deimante Bazyte The Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation MA Spatial Design, Perception and Detail Thesis Supervisor: Heidi Svenningsen Kajita

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