Caught Between Survival, Healing, and Growth

CAUGHT BETWEEN

SURVIVAL,

HEALING, & GROWTH. Luke Calabro 781245 Master of Architecture ABPL90169 Design Thesis Semester 01_2021

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Title

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Contents

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Design Statement

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Academic Research Additional Research Critique Research Creative Research Precedents Research Material Research

05 - 06 07 - 08 09 - 14 15 - 27 28 - 35 36 - 37

Conceptual Parti

38 - 39

Design 01 - Preliminary

40 - 41

Design 02 - Sketch

42 - 43

Resolved Design

44 - 99

Personal Reflection

100

Bibliography

101

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Transitioning from military service to civilian life has always been a hardship faced by many veterans. We neglect to remember Post-Traumatic Stress Disorder is a common diagnosis of many veterans who have served during their military career via peacekeeping and peace -enforcing tours. My proposal for this thesis is creating an environment that educates the public through learning and physical activity, generating further awareness of this disorder by developing through architectural language, spaces that help the healing and growth of the people who suffer from this affliction and provide an interactive social community environment for anyone who may need it.

Luke Calabro, Melbourne, 2021, Digital Image, 4032 x 3024, The Shrine of Remembrance, Melbourne.

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Academic Research PTSD Treatment for Soldiers After Combat Deployment: Low Utilization of Mental Health Care and Reasons for Dropout Charles W. Hoge, M.D. Sasha H. Grossman, B.A. Jennifer L. Auchterlonie, M.S. Lyndon A. Riviere, Ph.D. Charles S. Milliken, M.D. Joshua E. Wilk, Ph.D.

Objective: Limited data exist on the adequacy of treatment for posttraumatic stress disorder (PTSD) after combat deployment. This study assessed the percentage of soldiers in need of PTSD treatment, the percentage receiving minimally adequate care, and reasons for dropping out of care. Methods: Data came from two sources: a population-based cohort of 45,462 soldiers who completed the Post-Deployment Health Assessment and a cross-sectional survey of 2,420 infantry soldiers after returning from Afghanistan (75% response rate). Results: Of 4,674 cohort soldiers referred to mental health care at a military treatment facility, 75% followed up with this referral. However, of 2,230 soldiers who received a PTSD diagnosis within 90 days of return from Afghanistan, 22% had only one mental health care visit and 41% received minimally adequate care (eight or more encounters in 12 months). Of 229 surveyed soldiers who screened positive for PTSD (PTSD Checklist score ‡50), 48% reported receiving mental health treatment in the prior six months at any health care facility. Of those receiving treatment, the median number of visits in six months was four; 22% had only one visit, 52% received minimally adequate care (four or more visits in six months), and 24% dropped out of care. Reported reasons for dropout included soldiers feeling they could handle problems on their own, work interference, insufficient time with the mental health professional, stigma, treatment ineffectiveness, confidentiality concerns, or discomfort with how the professional interacted. Conclusions: Treatment reach for PTSD after deployment remains low to moderate, with a high percentage of soldiers not accessing care or not receiving adequate treatment. This study represents a call to action to validate interventions to improve treatment engagement and retention. (Psychiatric Services 65:997–1004, 2014; doi: 10.1176/appi.ps.201300307)

O

ver two million service members have deployed to Iraq or Afghanistan since 2001, and these deployments have been strongly associated with an increased risk of mental health problems (1–4). A

meta-analysis of studies found that the average postdeployment prevalence of posttraumatic stress disorder (PTSD) was 13.2% for personnel assigned to operational infantry units and 5.5% for representative samples

The authors are with the Center for Psychiatry and Neuroscience, Walter Reed Army Institute of Research, Silver Spring, Maryland (e-mail: charles.hoge@us.army.mil).

PSYCHIATRIC SERVICES

of total deployed forces (including support personnel) (3). These and other studies indicate that there will be a significant ongoing need for mental health care in this population.

Although a relatively high percentage of military personnel and veterans access mental health services (for example, one analysis of Army personnel showed that 21% had one or more clinical encounters during a year) (5), underutilization for those most in need remains an ongoing concern. Studies have shown that only 13%253% of U.S. and Canadian veterans who meet criteria for a mental health problem after deployment receive care (6–8).

An additional problem is that veterans who enter mental health treatment often do not receive adequate care. At least three studies have found that only a third of Iraq and Afghanistan veterans treated for PTSD received minimally adequate care (8–10), broadly defined by the number of treatment sessions received. Similar studies involving active duty service members close to returning from deployment have not been conducted.

A number of explanations have been proposed for underutilization of services, including stigma (1,6,7), lack of appointment accessibility and availability (1,6,11), perceptions of self-reliance (12), and distrust or negative perceptions of care (6,13–16). Several recent studies among U.S. and Canadian veterans have suggested that negative attitudes toward mental health care

' ps.psychiatryonline.org ' August 2014 Vol. 65 No. 8

having to verbalize the trauma, share this verbalizing with others, or directly confront the trauma, if they are not ready. Alternative therapies, in general, also focus on creating an environment in which the patient feels safe, and then providing an expressive medium that does not threaten that feeling of safety.

Jeremy Nobel, MD, MPH Adjunct Lecturer, Harvard School of Public Health President, Foundation for Art and Healing

The Current State of Research Successful treatment of post-traumatic psychological symptoms, including Post-Traumatic Stress Disorder (PTSD), is difficult.

Individuals suffering with PTSD re-experience the traumatic event(s) years and even decades later, reliving their helplessness, fear, and horror (e.g., through flashbacks or nightmares) associated with the traumatic event. Such strong, negative reactions can create a motivation to avoid any environment in which re-living the anxiety of the trauma could be triggered.

Although avoidance may prevent the onset of intense anxiety, it also results in social isolation and withdrawal from experiences that were previously enjoyed. For example, many individuals with PTSD describe years of declining invitations to social and family events to avoid anxiety and anger. In extreme cases, individuals endorse fear and discomfort about leaving the house at all, which they characterize as shameful and demoralizing.

Thus, many individuals with PTSD perceive themselves as trapped in a cycle that reinforces avoidance of situations that may trigger anxiety, without a way out.

Fortunately, there are effective behavioral treatments for PTSD. But the most successful ways to treat PTSD, including exposurebased therapies, typically require individuals to gradually confront the anxiety associated with their traumas. In other words, exposure-based therapies operate in stark contrast to patients’ motivation to avoid any environment that could trigger anxiety. For instance, a patient currently experiencing distress, such as from an abusive relationship, may not engage in such therapy, or respond poorly to exposure. Patients frequently begin these treatments and terminate them before they experience benefits, leaving some patients even more hopeless than they were when they began. More generally, a variety of social processes, including the stigma of mental illness, also can keep individuals from seeking traditional treatment. Thus, over the last two decades, researchers and clinicians have explored the effectiveness of a series of alternative or supplemental therapies for individuals with PTSD that do not necessitate exposure to the facts of the trauma, and/or may avoid the stigma of receiving mental health treatment. Such therapeutic approaches include expressive writing and expressive group therapy, a range of creative therapies (e.g., art, music, body-oriented), and mindfulness training.

A number of non-traditional creative/expressive therapies has demonstrated at least preliminary effectiveness in reducing PTSD symptoms, reducing the severity of depression (which often accompanies PTSD), and/or improving quality of life.

This evidence ranges from the results of full-scale clinical trials where a treatment group is compared to a control condition, to descriptive case studies where results from the treatment of one or a few individuals are presented in great detail.

Expressive Writing (EW) is a brief intervention that instructs individuals to write about their deepest thoughts and feelings about a stressful event without regard to the structure of the writing (see Box 1). Writing is typically done in 3-5 sessions of 15-20 minutes over the course of hours, days, or weeks. This approach is thus highly personal, emotional, and based on the individual being willing and able to express themselves through language and writing. A number of clinical trials examining the effectiveness of alternative therapies on PTSD have been conducted with expressive writing, and several of these trials have demonstrated some beneficial effects of EW. These successful trials demonstrate that EW can reduce the distress that accompanies one’s thoughts and feelings over time. A set of

Charles W. Hodge, Sasha H. Grossman, Jennifer L. Auchterlonie, Lyndon A. Reviere, Charles S. Milliken, Joshua E. Wilk, “PTSD Treatment for Soldiers after combat Deployment: Low utilization of Mental Health Care and reasons for drop out,” Psychiatric Services 65, No. 8 (August 2014): 999 – 1003, DOI: 10.1176/ appi.ps.201300307.

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Arts & Healing Creative, Artistic, and Expressive Therapies for PTSD

By Joshua Smyth, PhD Pennsylvania State University

This piece of scholarly literature by Charles W. Hodge, Sasha H. Grossman, Jennifer L. Auchterlonie, Lyndon A. Reviere, Charles S. Milliken, Joshua E. Wilk assesses the utilisation of mental health care amongst soldiers suffering with PTSD. It highlights that 1 in 10 soldiers drop out of programmatic care either due to time factors, insecurity, fear and other possible factors.

This piece of scholarly literature by Joshua Smyth and Jeremy Nobel assesses the possibility of creative therapies and outlets which may provide benefits to soldiers and veterans suffering with PTSD. It highlights creative therapies such as expressive writing and artistic mediums, such as painting, sculpting, and drawing as well as music, drama, dance / body movement, and nature therapies help service men and women reconnect to normality and help them get over the fear and anxiety that they still have from their time served.

Box 1: Expressive Writing instructions.

For the next (three) days, I would like for you to write about your very deepest thoughts and feelings about an extremely important emotional issue that has affected you and your life. In your writing, I’d like you to really let go and explore your very deepest emotions and thoughts. You might tie your topic to your relationships with others, including parents, lovers, friends, or relatives. You might tie your writing to your past, your present, or your future, or to who you have been, who you would like to be, or who you are now.

You may write about the same general issues or experiences on all days of writing, or write about different topics each day. All of your writing is completely confidential. Don’t worry about spelling, sentence structure, or grammar. The only rule is that you once you begin writing, you continue until time is up.

From Smyth, J.M., Pennebaker, J.W., & Arigo, D. (in press). What are the health effects of disclosure? In A. Baum & T. Revenson (Eds.), Handbook of Health Psychology (2nd ed.) New York, NY: Taylor & Francis.

Although these alternative therapies differ in their exact execution, they share an underlying set of assumptions. Each of these approaches allows individuals with PTSD to experience and/or express their thoughts and feelings without necessarily

Joshua Smyth and Jeremy Nobel. “Arts & Healing: Creative, Artistic, and Expressive Therapies for PTSD,” Foundation for Art & Healing, (2015): 1, URL: http://www.artandhealing.org/wp-content/uploads/2015/07/PTSD-White_Paper_0323121.pdf Smyth and Nobel, “Arts and Healing

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Research Manuscript

Veteran-Centered Investigation of Architectural and Space Design Considerations for Post-Traumatic Stress Disorder (PTSD)

Health Environments Research & Design Journal 1-10 ª The Author(s) 2020 Article reuse guidelines: sagepub.com/journals-permissions DOI: 10.1177/1937586720925554 journals.sagepub.com/home/her

Joseph Nuamah, PhD1 , Carolina Rodriguez-Paras, MS1, and Farzan Sasangohar, PhD1

Abstract Aim: This study sought to investigate architectural and space design considerations for veterans with post-traumatic stress disorder (PTSD). Background: Anecdotal evidence suggests that urban design features could have a positive impact on the mental well-being of individuals suffering from PTSD. However, evidence-based architectural and space design guidelines for PTSD are largely absent.

Methods: Semi-structured interviews were conducted with 17 veterans diagnosed with PTSD to gain insights into their personal experiences with physical indoor and outdoor spaces, and to inquire about their needs and expectations for future architectural design. Transcripts were analyzed thematically.

Results: Architectural design features including windows, entrances and exits, walkways and hallways, open space, defensible space, and green space; interior design features including furnishings and color; and ambient features including light, air quality, and noise levels were identified as most influential design features. Conclusions: Our results underscore the first important step to developing comprehensive architectural and space design guidelines for veterans with PTSD. Work is in progress to solicit more feedback from veterans.

In this journal, it sets out to discuss and understand the architectural aesthetics that provide the optimal comfort for people, veterans in particular, that suffer from PTSD and what types of construction, design and planning can help reduce the on-set of PTSD and other co-morbid symptoms. Identifying three control groups: Architectural Design Feature, Interior Design Features, and Ambient Design Features, they were able to uncover a series of design solutions

Keywords PTSD, mental health, architecture, veterans, space design

Post-traumatic stress disorder (PTSD), a debilitating mental condition experienced after exposure to a traumatic event such as war or combat (Watkins et al., 2018), is prevalent in military personnel and veteran populations (Reich et al., 2019; Reisman, 2016; Steenkamp et al., 2015). According to the U.S. Department of Veterans Affairs (n.d.), between 11% and 20% of Iraqi War veterans, 12% of Gulf War veterans and 30% of Vietnam War veterans suffer from PTSD. Symptoms of PTSD include intrusive memories (e.g., flashbacks, nightmares), avoidance (e.g., avoiding

situations reminiscent of the traumatic event), negative thoughts and beliefs (e.g., feeling hopeless about the future), and hyperarousal

1 Department of Industrial & Systems Engineering, Texas A&M University, College Station, TX, USA

Corresponding Author: Farzan Sasangohar, PhD, Department of Industrial & Systems Engineering, Texas A&M University, 3131 TAMU, College Station, TX 77433, USA. Email: sasangohar@tamu.edu

Nuamah, Joseph, Carolina Rodriguez-Paras, and Farzan Sasangohar. “Veteran-Centered Investigation of Architectural and Space Design Considerations for Post-Traumatic Stress Disorder (PTSD).” HERD: Health Environments Research & Design Journal 14, no. 1 (January 2021): 164–73. https://doi. org/10.1177/1937586720925554.

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Wounded: Conflict, Casualties and Care - 2016 Science Museum, Wounded: Conflict, Casualties and Care, 2016, Digital Image, 1280 x 720, Science Museum, London, https:// www.sciencemuseum.org.uk/what-was-on/wounded-conflict-casualties-and-care.

Once a Warrior - 2012 Royal Albert Memorial Museum & Art Gallery, 2012, Digital Image, 600 x 399, Royal Albert Memorial Museum & Art Gallery, Exeter, https://rammuseum.org.uk/getting-involved/participation/ once-a-warrior/once-a-warrior-in-art-and-words/.

Between Two Worlds - 2020 Sean Burton and Ben Pullin, Digger 2.0, 2020, Aerosol acrylic and acrylic paint on cardboard – Digital Image, 300 x 400, The Shrine of Remembrance, Melbourne, https://www.shrine.org.au/exhibition-between-two-worlds-sean-burton-rory-cushnahan-ben-pullin.

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Wounded: Conflict, Casualties and Care This exhibit brought to light that during the war, not only did medical technology advance throughout the years, but also the caring for soldiers returning home. Some may have been inflicted with permanent injury such as loss of limbs, others may have come home with the horrors that plague their mind of the violence they have witnessed. It is important to continually shine the light on the horrors of war as we take for granted the freedom that we hold so loosely.

Once A Warrior The exhibit looked at veterans who have returned home and the pressure of returning to normality.

They were instructed to undertake exercises such as painting, collage, and role play to help them remove themselves from the mindset they are trapped in. The image creates an identity of all different races, genders and ages, showing us that war does not just affect the strong, the brave, or the courageous. War is the epitome of was human error.

Between Two Worlds This exhibit currently exists at The Shrine of Remembrance, it follows three artists from different backgrounds of war and showcases the beauty and horror of war. Sean Burton paints images of friends he has lost - but he does not paint them in the light of horror, but honesty. He showcases the men in a light of heroism using dark undertones to reflect the violence and darkness within humans. Ben Pullins and Rory Cushnahan also create paintings reflecting either horrors they have witnessed, acts of heroism, or even the struggles they face when returning home from conflict and the severity it has on the human mind.

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Critique The Jewish Museum Berlin, Germany.

The Jewish Museum by Daniel Libeskind aims to confuse and disorientate the users allowing them to experience fear, anxiety and stress that of the Jewish families during the war.

Studio Libeskind_2001

Bitter Bredt, Jewish Museum, 2001, Digital Image, 2280 x 1770, Jewish Museum, Berlin, https://libeskind.com/work/jewish-museum-berlin/.

Hufton+Crow, Jewish Museum, 2001, Digital Image, 555 x 650, Jewish Museum, Berlin, https://libeskind.com/work/jewish-museum-berlin/.

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Critique National September 11 Memorial New York, United States of America.

Davis Brody Bond’s National September 11 Memorial Museum showcases the remaining foundations, a testament to the survival and endurance of the American people and their will to endure.

Davis Brody Bond_2014

Unknown Artist, Bedrock Image, 2014, Digital Image, 3264 x 1836, National September 11 Memorial Museum, New York, https://en.wikiarquitectura.com/building/memorial-museum-pavilion/.

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Critique The Shrine of Remembrance Melbourne, Australia.

The Shrine of Remembrance by ARM, uses multiple courtyards, clad in board-form concrete panels, reflective of the trenches during war and a garden space, reflective of the South-East Asian landscape.

ARM Architects_2003

John Gollings, Terrace Courtyard, 2017, Digital Image, 754 x 506, The Shrine of Remembrance, Melbourne, https://landscapeaustralia.com/articles/provoking-imagination-the-shrine/.

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The Jewish Museum

National September 11 Memorial

I am to create an architectural experience that does not translate the human experience of past conflict in veterans and soldiers who suffer with PTSD or similar co-morbid disorders that have risen from their time having served. The Jewish Museum aims to confuse and disorientate the users allowing them to experience the fear, the anxiety, the stress of what the Jewish families felt during their time in Berlin and POW camps.

Davis Brody Bond and his design of the National September 11 Memorial Museum aims to memorialise the catastrophic events that took place on September 11th, 2001. In the design, he directs the user down a path to enter a stage known as ‘bedrock level’ to experience the still remaining foundations of the fallen world trade centre.

This design solution makes the users confront the remaining architectural history of the event.

Daniel Libeskind designed pathways and spaces with feelings of absence, emptiness and invisibility, all reminders of what the Jewish community would have felt being trapped within POW camps. My stance is critically against this idea. If I am to take a position where my building is to be inviting towards men and women who have served and suffer from PTSD or co-morbid disorders, the human experience cannot be reflective of these moments in their life. The building has to emphasise the survival, the healing process, and the growth.

From the perspective of an American civilian, it commemorates and memorialises what is remaining and the fortitude they showed towards 9/11, from the perspective of a tourist, you are able to experience what remains of the attack and grasp the severity of event that took place, the emotion, the fear, the mentality. However, from the perspective of first responders, it would invoke emotions and horrors witnessed that day.

The people burning alive, falling from the tower to desperate eject from the horror. The collapse of the towers, the destruction that it left in its wake. The screams of helpless people who have had a friend, a family member, an acquaintance that lost their life helping others or being within the vicinity of the tower. This architecture memorialises the horror of that day – that moment.

I do not want that experience within my design.

I want it to be joyful, a building of survival, a building of healing and a building of growth. A place that praises the challenges that men and women who have served have risen above of, essentially, the mental challenge that we all face.

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The Shrine of Remembrance

Reflection

ARM undertook the design of the architectural under croft originally designed into the Shrine of Remembrance. It reflected 4 different eras via the terraces that allow transition into the undercroft space. The garden terrace, reflective of the south-east Asian conflict, primarily in Vietnam and Malay. The main entrance to the visitor centre, the walls clad in a board-form concrete construction, reflective of the timber panel used in the trenches between world war 1 and 2.

Taking a critical stance on these 3 buildings will allow me to better understand and create a space that is not only welcoming to people of all kinds, but to also take into consideration when designing how does the space I am creating make people feel? These questions will be revisited later when reflecting upon my final work however for the time being, a critical stance against these buildings will help define my thesis proposal.

The terrace courtyard, using a timber flooring hollowed underneath to replicate the leaving via boat, standing on a pier for war. Even the design of the terraces spaces, the form follows the idea of a ‘zig zag’ formation to reflect the trenches that were built during wars where soldiers would stand in to defend themselves from enemy gunfire. All these design outcomes reflect the worst elements of the war – In a way, the were trying to enhance the user experience but in-turn have created spaces that detract the survival element. How do people that have come home and suffer mentally and psychologically expect to feel when walking around this space?

How are they to interpret these spaces? There is a large disconnect between these spaces as they are trying to educate and make users relive these experiences but sometimes, people who have served, do not want to relive these experiences.

Especially if they suffer from PTSD or co-morbid disorders brought upon from past conflict.

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Creative Research My creative research led me down two distinct paths of thought when proposing my design; Site / Topography & Vegetation and Program / Purpose.

Looking at the site it became apparent to me the location of where I propose my building will be located at the South-East quadrant of the site near the under construction ANZAC station that provides great access to the site as well a tourism location for people to attend when completed.

Within the space, the sites natural topography presents incredible opportunities to manipulate the surface and create a building complex that juxtaposes into the natural landscape.

Currently, within a 5km radius, there are only two sheds that provide this opportunity. Within 25km, there are 30. To appeal better to tourism and the community, I propose another community shed will operate out of the building I propose to design.

The sites natural topography and site location also reflects the decision to attempt to maintain as many historical and significant trees located at the shrine of remembrance as plaques beneath the trees commemorate the fallen soldiers and battalions of past conflict. Coinciding with the natural vegetation of the landscape, and to present nature therapeutic outlets within the building, I have highlighted the garden spaces within the surrounding context of the site. These garden spaces were kept by initiative of Charles Joseph La Trobe’s legacy and his foresight in reserving parks and gardens within the inner Melbourne area.

Design precedents that I have used to help craft my proposal are the Historial de la Vendee Museum in France. Its use of green roofs and geometric shape helps blend the building into the natural landscape and not detract from the environment.

This initiative to reflect that within my design will shine the spotlight of the existing Shrine and create a new spotlight on the possibility of the proposed building. The Garden Bridge by Heatherwick Studios , a bridge over the River Thames in England and its use of flora to create a new landmark and a motif of growth. I used this image because it uses natural vegetation as a way of bridging and creating a relaxing environment within a busy city district, similar to the South Melbourne precinct.

I then proceeded to look at the typical demographic of people that would attend the community opportunities and to better understand this, I created a diagram of the support systems surrounding the people who will use the building and looked at community and social groups that it will provide as an outlet and therapy within the area.

Understanding the program / purpose of the design became imperative towards creating a building that not only serves as a creative and therapeutic outlet for PTSD veterans, but also creating an environment for tourism and people that suffer from mental, physical, and social disabilities and disorders, as well as people looking to join a community or social group activity.

The Shrine of Remembrance , a critical critique of its use of materiality and flora will help me define materials within my proposal that will not incur fear or anxiety within users suffering from PTSD along with Libeskinds Jewish Museum – critically critiquing the user experience of fear, anxiety and stress and adopting materiality that comforts and welcomes.

My interpretation of these images understands that when designing a building, emotion is instilled into the architecture and I would like to stand firmly against imitating emotion and reflecting the healing and growth within the architecture.

I started researching into Men’s Shed, a community-based operation that allowed both men and women to share and exchange information, provide creative outlets and create social scenarios which promote healing and growth.

My building aims to that reflect this community approach and apply within my proposal by creating another community-based organisation.

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Site / Topography The Shrine of Remembrance site provides multiple opportunities to create a culturally inclusive building as well as a place that juxtaposes into the natural landscape. I began by assessing the location of the building. I wanted the building to be sited in a space close to St Kilda Road so that it provides access from a main arterial road along with access from public transportation.

This will allow the buildings location to be a popular tourist location as well as be easily accessible for the public and communities within the area, or people traveling to Melbourne.

The decision for the site location also had to be away from the existing Shrine of Remembrance, this is due to not detracting from a Melbourne landmark, but to bring new life into the scenario. My proposal will seek to maintain the existing Domain Road to ensure that the buildings receives full visual coverage from the East and South and provide a space to discover amongst locals and tourists.

The existing natural vegetation within the chosen site location will allow a minimal amount of trees to be relocated and disturbed by the proposal.

The topography and slope of the land will be relatively flatter than most parts of the site. This will allow a design to be erected from the ground that does not require extensive cut and fill into the site. Ideally, it presents an opportunity to create a building that blends into the natural landscape and harmonizes with the surrounding context.

The closest building to the site will be Melbourne Grammar. Award winning architects such as John Wardle Architects designed the Nigel Peck Centre for Learning & Leadership. This inspiration to create a building situated near the Melbourne Grammar School will aim to set a precedents for sustainable and clever architecture that meets the requirements of public and civic spaces, and hopefully, inspire younger generations to pursue a career in architecture.

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I believe the La Trobe house deserves to stay due to the significance of Charles Joseph La Trobe’s legacy and his foresight in reserving parks and gardens within the inner Melbourne area. If it were not for him, a lot of the parkland in the inner Melbourne suburban area would be suburbanized.

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Siting This diagram looks at site location, originally my proposal for the site was to be located in the South-West quadrant of the site close to St Kilda Road and Domain Road. With help from the tutors, it was discussed that if that I am to create a serene and pleasant environment, the site was too close to suburban infrastructure and atrial roads so moving it further towards the shrine was the best solution to tackle this problem.

This also creates further privacy and noise cancellation that will be incurred from the busy and noisy road ways that are St Kilda Road, Domain Road and the nearby Melbourne Grammar College located south of the subject site off Domain Road.

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Surrounding Site Context I have created this diagram to reflect the nearby garden and park spaces within a 3km radius of the site. The intention is to bring to light the legacy that is Charles Joseph La Trobe and his foresight in reserving parks and gardens within the inner Melbourne area.

I have drawn a dashed line to represent the links between these spaces and how all garden spaces connect to one another via arterial roads and transportation hub locations. My proposal aims to keep intact as much garden space located at The Shrine of Remembrance because it will help define the parameters of my design. An important creative outlet I aim to achieve is the use of Nature Therapy, the idea of going out to a garden space and sitting, talking, listening and enjoying the serene environment of flora and fauna.

This diagram also reflects the ideology of the Emerald Necklace by Frederic Law Olmsted who linked garden spaces between Boston, Brookline, and Massachusetts. As discussed in the first tutorial, it was to provide green spaces in backdrops of urban city density. Within my design, it was a key focal point to maintain the natural landscape and beauty of the shrine as well as to maintain the connection it has between all the surrounding parks and gardens within the context of the site.

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Flagstaff Gardens

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Fitzroy Gardens

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Treasury Gardens

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Shrine of Remembrance & Royal Botanic Gardens

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Albert Park

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Olympic

Blvd

Program / Purpose I started researching into Men’s Shed, a communitybased operation that allowed both men and women to share and exchange information, provide creative outlets and create social scenarios which promote healing and growth. Taking inspiration from the community group, it led me to assess the purpose and program within my design.

The diagram at the top of the page looks at a 5km radius of Melbourne and the surrounding suburbs.

Within the 5km radius, there are only two Men’s Sheds. Within a 10km radius, there are 6, and within a 25km radius there are 30. My proposal aims to make my building a hub of creativity for veterans of PTSD as well as be inclusive of people with mental, social, and physical disabilities, or for people you would like to engage with other members within their community for social / personal reasons. Other possible groups of people that may wish to partake in these shed’s might be tourists that travel from either interstate or overseas and are looking for a way to spend their morning, afternoon or evening socialising, creating, or experiencing a part of Melbourne.

Reflecting upon the narrative I have created and providing a space for people to express themselves creatively as a form of therapy, I have underlined the creative outlets which people may undertake whilst at the building. It will consist of social groups, nature therapies, woodworking and practical exercises, physical training, sculpting, painting, expressive writing, dance / body movement, and drama / theatre. These are the critical therapeutic outlets that commonly benefit veterans that suffer from PTSD and help them reconnect to society.

My proposal aims to bring these creative outlets into the spotlight and create inclusiveness not only for Veterans with PTSD, but people with co-morbid disorders and disabilities, as well as tourism and local community engagement.

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Ascot Vale Travancore

Princess Hill

Flemington

Fitzroy North Parkville

Carlton North Clifton Hill

Flemington Footscray North Melbourne

Seddon

Carlton

Fitzroy

Collingwood

Abbotsford

Coode Island Melbourne East Melbourne Docklands

5km Radius

Richmond

South Wharf

Southbank Cremorne

Port Melbourne South Melbourne

South Yarra Toorak

Albert Park

10km Radius

Prahran

Middle Park

Windsor St Kilda West

25km Radius

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Burnley

People My creative research took me down understanding the support systems thats surround the people that I aim to engage with. The idea was complex but also simplistic. I identified four main groups of people: - Veterans with / without PTSD - People Suffering with Social, Physical, and Mental -.

-.disorders disorders / disabilities - Community / Social Groups - Tourism After I had identified these groups of people who will come to use the building I propose to design, it then became a task of understanding the support systems that would attend or partake in the creative activities within the building. Looking at family members, care takes, friends acquaintances and more. The diagram brings to light that all these people, even if they may not be effected by PTSD, a form of disorder or disability, or other, may want the encouragement from a family member or friend. A person to share an experience with.

The diagram at the bottom of the page highlights the possible scenarios in which the four groups may attend and the creative activities that will take place the building. Veterans with / without PTSD will be encouraged to take part in all activities where as tourists may only want to take part in two. It is not defined as tourists are only open to two activities as they can undertake all if they wish. The idea was to simply generate an understanding about who will most likely benefit from the building and which support systems and groups of people will be able to use the complex as a creative activity or experience.

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Veterans with / without PTSD

People suffering with Social, Physical, and Mental disorders / disabilities

Community / Social Groups

Tourism

Care Workers

Family Members Extended Family Family Friends Friends Acquaintances of Friends

Creative Workshops

Discussion (Communication) Social groups

Veterans with / without PTSD

Dance / Body Movement

People suffering with Social, Physical, and Mental disorders / disabilities

Expressive Writing Painting Sculpting

Community / Social Groups

Nature Therapy

Tourism

Woodworking / Practical 25

Vegetation / History The Shrine of Remembrance has over 150 trees located on the current site. Out of all the trees, 95 are of significance with 7 of the significant trees being inducted in to the National Heritage Trust of Victoria. Beneath majority of the trees located at the site, a plaque sits as the base of the tree commemorating a fallen soldier, a battalion, a sunken ship, a lost aircraft, or a general, commander or superior officer. My proposal aims to keep intact all the trees and to attempt to avoid relocation as they hold significance of past conflict.

Some trees that were visited during the our exploration of the site and tour of the shrine has flowers laid next to the plaque. A symbol or gesture by a family member who had lost someone during the conflict they have served and can not retrieve their remains. To remove or attempt to relocate a tree could be detrimental to the people who still come to the shrine to commemorate the lost and fallen. The comparison that I draw here is I imagine you are at cemetery, going to visit your grand-father or father. You know the path, you know where they are buried, you pilgrimage to the location where you are to pay your respects only to find the tombstone missing. Someone in a careless act has moved it to make way for something else.

You stumble around looking only to not find it because there are thousands of graves around.

This image is what I recreate, the sense of losing someone, not only from this lifetime, but from our memory. It is important and imperative that all trees remain in the location that they are so that this does not occur. The idea of the building is to not take away from what is existing at The Shrine of Remembrance, but to create a new place for people to enjoy without destroying what is existing.

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Trees marked in light green reflect historical and significant trees located on the current sits topography.

Dark greens reflect the various trees located around the site with plaques beneath them commemorating fallen soldiers and battalions.

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Precedents Mirror Cube, Harads, Sweeden.

I have used this conceptual desgin as an additional precedent when helping me design the PTSD Awareness Centre. The 3 x 3m cube is suspended in the air via the surrounding vegetation and is clad in a mirror effect cladding to reflect the sky and forest. This concept inspired me to think laterally when considering materials and how certain materials will be able to create different effects and enhance that natural landscape.

Tham & Videgard Arkitekter_2011

Peter Lundstrom, 2011, Digital Image, 1610 x 1080, Mirror Cube Cube, Harads, Sweeden, https://divisare.com/projects/215057-thamvidegard-peter-lundstrom-ake-e-son-lindman-the-mirrorcube.

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Precedents The Historial De La Vendee Museum Les Lucs-sur-boulogne, France.

Use of green roofing and the geometric patter allow the museum to blend into the natural landscape. Cut into the land, the museum detracts itself from imposing or dominating the surrounding context setting a precedent.

PLAN 01 Architects_2006

Stephane Chalmeau and Frederic Delangle, Historial De La Vendee Museum, Digital Image, 672 x 574, Historial De La Vendee Museum, France, https://archello.com/project/historial-de-la-vendee-museum#stories.

Stephane Chalmeau and Frederic Delangle, Historial De La Vendee Museum, Digital Image, 672 x 339, Historial De La Vendee Museum, France, https://archello.com/project/historial-de-la-vendee-museum#stories.

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Precedents Garden Bridge Project London, England.

Heatherwick Studio_Concept / Scrapped

Unfortunately the design for the garden bridge was scrapped however it portrays the idea of growth through the architectural style. I believe this is a good precedent for my design proposal.

Heatherwick Studios, Garden Bridge, Digital Image, 2364 x 1330, Heatherwick Studio Projects, London, http://www.heatherwick. com/project/garden-bridge/.

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Precedents The Shrine of Remembrance Melbourne, Australia.

The Shrine of Remembrance uses materiality such as board-form concrete to reflect the trenches during the past wars. I use this as a precedent to critically critique and objectify against using materials that incur PTSD.

ARM Architects_2003

Luke Calabro, Board-Form Concrete, 2021, Digital Image, 4032 x 3024, The Shrine of Remembrance, Melbourne.

Calabro, Board-Form Concrete 2.0..

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Precedents The Jewish Museum Berlin, Germany.

I have chosen this building as a precedent simular to the shrine as to critically critique against it. Through clever architectural design, I aim to engage with the user without having incurring PTSD or symptoms via architectural expression.

Studio Libeskind_2001

Hufton+Crow, Jewish Museum, 2001, Digital Image, 555 x 650, Jewish Museum, Berlin, https://libeskind.com/work/jewish-museum-berlin/.

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Precedents R&R Veterans Transition Centre (VTC) Jarradale, Western Australia.

The recovery and restoration centre has been created to assist service people with its primary focus to develop proactive prevention of PTSD through positive action and interaction.

2018, Digital Images, 500 x 600, R&R VTC, Jarrahdale, https:// www.rnrcentre.org/page/jarrahdale.

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Precedents Hiroshima Peace Centre & Memorial Park Hiroshima, Japan.

The elevated structure provides not only optimal viewing platforms towards the memorial park, it amplifies the significance of the building, creating a narrative of endurance and survival that is raised above the chaos, destruction and obliteration that was once Hiroshima.

Kenzo Tange_1954

Wiiii, 2009, Digital Image, 2534 x 1154, Hiroshima Peace Centre & Memorial Park, Japan, https://commons.wikimedia.org/wiki/ File:Hiroshima_Peace_Memorial_Museum_2009.jpg.

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Precedents Stonehenge Visitor Centre, Wiltshire, UK Denton Corker Marshall_2013

The Stonehenge Visitor Centre aims to be the prelude to the stones at the Stonehenge. This can be seen architecturally expressed via the abnormal column system that supports the steel canopy above. I used this design as a precedent because it allowed flexibility within my design to articulate the changing in levels of the three primary buildings. The columns as well will also allow me to articulate and reflect the natural vegetation nearby.

Denton Corker Marshall, 2013, Digital Image, 4740 x 2696, Stonehenge Visitor Centre, Wiltshire, UK, UK https://www.archilovers. com/projects/119739/gallery?924641.

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Material Research This section of the journal looks at possible materials that I would like to use within my design.

The vegetation chosen are to reflect native flora of the Australian context and will also grow well within the sites context of loose sandy soil. Rather than typical greens, I have chosen flora that has distinct colour and will add life to the existing site.

The materiality chosen is to be sustainable and locally sourced within Australia. This is to reduce the carbon footprint this building will provide as well as provide economical growth in the Australian economy by using Australian sourced and made.

The Australian Bottlebrush (Callistemon) is a beautiful native plant that excels in loose sandy soils which reflects the site. The bold red colour makes it vibrant and stand out in any garden.

Getty, Bottlebrush Flower, 2021, Digital Image, 720 x 480, Bottlebrush Flower, Unavailable, https://www.bhg.com.au/ australian-native-plants.

The Wattle Flower (Acacia), a national emblem of Australia and rounded flower will contrast highly against the red and vibrance of the bottle brush plant. Not only is the plant a native but also symbolic of Australia.

Getty, Wattle Flower, 2021, Digital Image, 720 x 480, Wattle Flower, Unavailable, https://www.bhg.com.au/australian-native-plants.

The Cycad (Macrozamia) is another native plant to Australia that grows up to 2m in circumference and grows well in loose sandy soils. Use of such plants with the exiting site conditions will allow these plants to grow and create dense vegetative patches.

Getty, Cycad, 2021, Digital Image, 720 x 480, Cycad, Unavailable, https://www.bhg.com.au/australian-native-plants.

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The Museum of Fire located in Zory, Poland is a perfect example of sustainable metals using an all cladding building in copper.

The metal not only presents a beautiful architectural aesthetic but provides an extremely sustainable building and quick building process.

Tomasz Zakrzewski, Museum of Fire, 2015, Digital Image, 896 x 504, Museum of Fire, Zory, https://www.architecturaldigest.com/ gallery/worlds-best-copper-buildings-slideshow.

The Genevieve and Wayne Gratz Centre in Chicago, United States of America is another example of sustainable copper cladding. This building, however, has undergone oxidization in order to achieve the teal colour aesthetic this colour would blend well with the current site and topography in South Melbourne.

Gensler, The Genevieve and Wayne Gratz Centre, 2021, Digital Image, 508 x 508, The Genevieve and Wayne Gratz Centre, Chicago, https://www.gensler.com/projects/fourth-presbyterian-church-of-chicago-gratz-center.

Ironbark timber will be used alongside Australian Beech hardwood timber. It is to soften the internal spaces and partial external spaces such as pathways and retaining walls. Use of raw materials with colour will be intentional as the building should not be reflective of monochromatic colours.

Boral Timber, Ironbark, 2021, Digital Image, 820 x 510, Austalian Hardwood Timber Species Boral Website, https://www.boral. com.au/australian-hardwood-timber-species.

Locally sourced timber such as this Australian hardwood, Australian Beech, adds warmth and subtlety in colour without overpowering the palette. Timber will be used internally to soften the metal and concrete structure and provide more engaging spaces.

Boral Timber, Australian Beech, 2021, Digital Image, 820 x 510, Austalian Hardwood Timber Species Boral Website, https://www. boral.com.au/australian-hardwood-timber-species.

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This is my conceptual parti diagram that I created. What I am portraying is the world is cold and harsh reality. It is filled with violence, fear, work and chaos and stress. From this reality, I attempt to create a new one that seeks to elevate the design to become a haven, a place full of nature, tranquility, relief and growth.

Elevated from the ground, spaces suspend this feeling, freeing people from the harsh reality this is life and promoting healing and growth within themselves and their community.

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Design 01 - Preliminary During the preliminary stages, my design was quite ambiguous and unresolved. I attempted to try and create a design that was separated as if all the buildings did not have to connect. I can’t exactly explain why I made this decision however I am glad that with the help of the tutors and guest critics that they were able to steer me toward a different direction.

Looking back on the design now, it lacked any sort of architectural aesthetic, nor did it connect with the landscape in any way, shape, or form.

During the preliminary stage, it did reveal however the limitations of the proposed site and how I would require to place a building on the site that would allow people to access and experience the building as a whole rather than it being a series of isolated buildings in a field.

I was happy with the outcome of creating a mound around the proposed building envelope as it further increased the privacy as well reduced the amount of noise transmittance from the road ways nearby.

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Design 02 - Sketch During the second phase of my thesis, I began to unravel and unpack the building to develop a more comprehensive building typology that followed a functional layout. Taking inspiration from different precedents, I was able to create a building that met the requirements of what I was proposing.

There were many kinks and underlying factors that needed to be worked out such as the roof typology along with which materials to use and where. All this came at a later stage of the design as getting the bones of the building right became the most important take. The resolved design follows on from the sketch design that was created meaning I had very little to change in terms of design and aesthetic. One of the main factors that I enjoyed about this design was the continuity of the roof and have one large canopy across the top of the proposed buildings.

I was very happy with the outcome of the sketch phase but needed to continue to refine, reshape, and rework the design to get the best of the building.

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CAUGHT BETWEEN

SURVIVAL,

HEALING, & GROWTH.

Caught between survival, healing and growth is my thesis proposal that looks at ways to generate further awareness around PTSD. The design is a combination of three buildings: Residential Accomodation, PTSD Awareness Centre and Workshop Workshed that work together harmoniously to create an environment that educates and promotes physical interaction and engagement with the user and the public.

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St Kilda Road

Domain R oad

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Site Location Site location for my proposal is to be located in the South-West quadrant of the site near St Kilda Road and Domain Road. Set in from the adjoining roads, the building aims to be within close enough proximity to the arterial roads, footpaths, and the under-construction and soon to be built Anzac Station. This location was to ensure that a pleasant environment is created for the people using and experiencing the building as well as being far enough to detract the architecture from any noise that it may incur from the adjoining roadways.

The site remains partially hidden from The Shrine of Remembrance as this proposal for my thesis aims to detract from the existing building and create a stand alone development that general public can access without having to access the nearby Shrine.

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01.

Original Site Form / Contours

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Refined Site Form / Contours

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03.

Additional Vegetation

Site Form To ensure that site retains the tranquility and serene setting that I want to achieve, the site form has been manipulated to enhance the privacy and acoustic performance of the proposed development. Soil is to be brought onto site and form a large mound 5 metres high around the perimeter of the development to encase the building from the noisy adjoining roadways and local foot traffic within the space.

Ensuring that the environment remains serene and tranquil for the users inside, additional trees and plants will be plated around the perimeter to further enclose the built space as well as provide further noise reduction to the users.

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C

A

B A Anzac Station Access - Pedestrian B Domain Road Access - Vehicle / Disabled C The Shrine of Remembrance - Pedestrian Access Access to and from the site is an important element within the design as I wanted the user to gain a full experience of the building and their uses. The site contains 3 areas of access which are Access via Anzac Station, Domain Road and The Shrine of Remembrance. Anzac station access is via the underground tunnel system adjoining the station to allow people to use public transportation to enter the site.

Domain Road access allows will allow the transportation of disabled people to access via ramps to the building. Domain Road access also allows the transportation of built projects within the workshop space so that new projects may be undertaken. The third and final access point is via the Shrine of Remembrance.

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Materiality Research of materiality led me down a path of understanding what materials compliment the surrounding context. Ironbark Timber will be commonly used within the roof and internal spaces of the residential accommodation to add warmth and relationship to nature. Bronze has been chosen to reflect the medals that one earns during their military service and shows support t o the veterans that have suffered.

Brushed steel and mirrored glass was selected to reflect the nature that surrounds the site and conceals the building by reflecting creating naturalistic transparency within the built environment and use of glass to allow users to interact with the building and the users inside.

Mirror Ironbark Timber

Brushed Steel

Bronze

Glass

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01.

Traditional

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Unpacking

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Celebrate

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Men’s Sheds & Engagement A crucial element to creating awareness for PTSD is engaging with the public. Men’s Sheds around Melbourne create spaces for men and women to come and share thoughts and feelings, undertake in creative and physical experiences and socialise to help the users in their growth from past experiences. Taking inspiration from this community group, I have created a building that also allows the users to celebrate these experiences through physical action.

The diagram to the left depicts the traditional method of exploration and social element of men’s sheds experience. I intend to unpack and unravel their thoughts, feelings and life experiences and showcase and celebrate these experiences and their endeavors on their path to growth.

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Workshop Workshed Space

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Open Gallery

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Workshop Workshed Program In order to create engagement with the local community and the buildings users, I developed a Workshop Workshed program. This space works two-fold with the lower level being the workshop space and upper level gallery space.

Within the ground workshop space, people will undertake in large scale projects as a unit and will develop social skills, relationships and building and craftspersons techniques to build, restore or repair different typologies of vehicles ranging from boats, planes and motor vehicles.

This exercise will explore the physical and creative outlets that have helped people with PTSD and other co-morbid disorders. Above, a gallery space will showcase and celebrate the hard work and dedication which is the fruits of the members labour for people to observe. The building will be clad in glass so that people that are not undertaking within the building project may experience first hand what happening inside.

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Educational Centre

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PTSD Awareness Centre Program The secondary program within the design is the PTSD Awareness Centre. Within this building are two main spaces. One is the physical gallery space which will house exhibitions of art, sculptures, and other creative outlets that have been undertaken by people whom suffer from PTSD or other comorbid disorders. Research identified that some veterans and people have difficulty verbally explaining their thoughts and feelings but through creative mediums, people are able to dive into their minds and unpack what holds them.

The secondary space is an educational centre.

This space will be able to educate the community and users of the facility to understand what is PTSD and how does it affect our lives and what can be done when seeking help.

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Roof cladding

Roof Bracing

Rafters

Roof Bracing

Roof Beams

Roof Lintels

Soffit Cladding

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Roof Canopy & Structure Above the programmatic space, I created a roof canopy that extends above the PTSD Awareness Centre and acts as the roof for the Workshop Workshed Space and Residential Accommodation space. The form of the roof shape takes inspiration from the wings of a plane and craftsmanship of a boats hulls. This was done in an effort to pay homage to the sites context being located within the Ariel and Sea memorial section.

The roofs structure is mostly exposed glulam beams with a hidden rafter system behind the roofs bracing. The soffit side of the roof will be clad with ironbark timber and aesthetic fins to reflect the shape of a boats hull. Above the roof cladding will be aluminium to reflect the metallic surface that planes are made from.

The designs form follows the principle “Form follows Function” and therefore the roof above needed to an architectural aesthetic as well as provide a cover over the top of the buildings.

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Structural Column Layout 5x5 & 2.5 x 2.5

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Column Structure The buildings structure became an imperative design element as it would require holding the up the proposed roof canopy above, as well as act as the support structural framework for the buildings below. Taking inspiration from Stonehenge, I created a 5m x 5m grid layout with additional 2.5m x 2.5m columns for architectural feature.

Repetition within the design and the use of columns would create architectural articulation that separated the buildings and structure and highlight the distinct elements within the design.

Externally the column layout would also reflect the surrounding vegetation and existing trees.

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The previous page displays the final outcome of the proposed site plan for my thesis design. The building is split into three distinct buildings ranging from small, medium to large. The building located to the left is the Residential accommodation provided on-site for visiting veterans and general public, The building located in the middle is the PTSD Awareness Centre. This building as mentioned previously will create awareness for PTSD and by showcasing and celebrating the creative mediums such as art, sculpture, collage, and other forms of creative outlets in a open environment for people to come observe. Secondly, it will also educate people by creating understanding into what post-traumatic stress disorder is, how it occurs, what are methods that can help reduce it and what can be done to prevent it.

The building located to the right is the Workshop Workshed building. This building will be an on-site creative outlet facility that will provide the public, veterans, sufferers of PTSD and people looking for a community based group and social interaction and a place to come and undertake in large scale projects as a unit to further develop social skills and create friendships through physical activity.

The site plan works as part site plan as part landscape plan. Some trees that are located around the proposed building are darker shades of green with a corresponding gray tree with direct line pointing to them - these trees are to reflect the on-site trees that are to be maintained by relocating them to a location deemed fit by myself in order to avoid removal of the trees.

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Mothers Room Unisex Disabled Toilet Female Toilets Male Toilets Waste Room Storage Room Electrical Room Communications Room Cash Room

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Staff Lounge First Aid Staff Office Kitchen + Cold Room Cafe Open Gallery (Art) Education Centre Lift Access 67

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The crowning building of the development is the workshop workshed space - this is due to the nature of its intent. It will create a permanent space for people to come and interact, engage, and socialise with other people within their community through physical based activities.

Involving yourself within the project will require time, patience, and most of all dedication, to the people around you and to the project itself.

Research over the semester led me down the path of exploring creative mediums to help rebuild people, specifically with PTSD and other co-morbid disorder. Additional research also led me to uncover that men’s shed around Melbourne are sometimes selective towards only men.

This outdated principle will be non-existent within the workshop workshed space as the driving principle of the design is engagement and interaction.

The development of the PTSD awareness Centre works two-fold with additional back of house and other facilities. It was imperative to provide not only a physical space and physical gallery of the completed projects in the workshop workshed, but important as well to showcase the works of people such Rory Cushnahan, Sean Button and Ben Pulin whom suffer from PTSD and use creative mediums to tell their story.

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In this elevation it clearly shows the roof form for the proposed design. Inspired by the location of the design, it sits in the context of the air memorial and sea memorial section of The shrine of Remembrance. Taking inspiration both Air and Sea, the roof form lifts off the ground to take the shape of an airplanes wings. The structural element takes the form of boat construction, using timber members and exposing them to reveal how a boats hull is made.

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Workshop Work Shed

ROOF & COLUMN

MEZZANINE & FOUNDATION

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1000mm x 350mm LYSAGHT ZINCALUME BOX GUTTER

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300mm THICK CONCRETE SLAB POST-TENSIONED TO EXT. WALL

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170mm x 100mm IRONBARK TIMBER DECORATION WITH INTERNAL LIGHTING SYSTEM

STEEL ENDPLATE FITTING OVER STRUCTURAL COLUMN. BOLTED CONNECTION TO PLATE 20mm THICK

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900mm x 200mm GLULAM LAMINATED ROOF BEAM LINTEL

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This section cuts through the Open Gallery Space and the Education Centre part of the PTSD Awareness Centre of the design. This section highlights the roof canopy structure the sits proudly above the proposed centre as well how the internal space will be proposed when providing people with information into PTSD as well showcasing the exhibition space provided for people to celebrate their healing and growth throughout their experience.

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This section cuts through the Open Gallery Space and the Education Centre part of the PTSD Awareness Centre of the design. This section highlights the roof canopy structure the sits proudly above the proposed centre as well how the internal space will be proposed when providing people with information into PTSD as well showcasing the exhibition space provided for people to celebrate their healing and growth throughout their experience.

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70 x 35 MGP10 TIMBER BATTEN FIXED TO TOP STUD ALUMINIUM WALL CAPPING ON TIMBER BATTEN

RIVER WASHED STONE 10mm CRUSHED ROCK TOPPING PARAPET WALL

SINGLE PLY EPDM WATERPROOF KINGSPAN THERMOSPAN 50mm THICK POLYISOCYANURATE BRADFORM PERMEATED VAPOUR ROOF MEMBRANE

120 x 45 MGP12 TIMBER STUD PARAPET FRAMING SECTION

LYSAGHT KLIP-LOK 700 STRENGTH ROOF CLADDING @ 2° FALL 20mm THICK STRUCTURAL PLYWOOD TIMBER

120 x 45 MGP12 TIMBER STUD TOP PLATE FRAMING

140mm x 35mm MGP10 CEILING RAFTERS @ 600 CTRS

120 x 45 MGP12 TIMBER STUD FRAMING @ 600 CTRS

BRADFORD R 3.5 BULK ROOF INSULTATION 120mm THICK

F27 HARDWOOD PLYBRACE 4mm THICK STRUCTURAL WALL BRACING SYSTEM

36mm x 16mm RONDO TOP HAT CEILING BATTEN @ 600 CTRS

BRADFORD ENVIROSEAL ROOF METAL / WALL METAL WATERPROOF EXTERNAL SARKING

13mm GYPROCK PLASTERBOARD CEILING BOARDS 15mm x 9mm x 9mm RONDO SHADOWLINE ALUMINIUM

ULLRICH ALUMINIUM TOP HAT 28mm x 24mm SECTION FIXED TO TIMBER STUD. BMT 2.3mm BRADFORD R 3.5 BULK WALL INSULATION 120mm THICK AXOLOTL 7mm THICK APPLIED SHEET METAL CLADDING FIXED TO TIMBER STUD STRUCTURE. BRONZE TEXTURED FINISH PATINA EFFECT

120 x 45 MGP12 TIMBER STUD NOGGING IN TIMBER STUD WALL

600 Ø CONCRETE BORED PIER SYSTEM TO ENGINEERS SPECIFICATION 200 x 200 PLASTIC SPOON DRAIN WITH DRAINAGE TO STORM WATER PIT

10mm THICK HONED AND POLISHED CONCRETE FLOORING

10mm THICK NON-SHRINK GROUT SYSTEM UNDER SOFFIT SIDE OF 200 x 200 SPOON DRAIN SYSTEM

200mm THICK CONCRETE ENGINEERED CONCRETE SLAB POLYURETHANE SARKING UNDER CONCRETE SLAB CONSTRUCTION - CONVENTIONAL SLAB

50mm THICK CRUSHED ROCK TOPPING UNDERNEATH CONCRETE PAVING

50mm THICK PACKING SAND

200mm THICK EXTERNAL CONCRETE PAVING WITH MIN. 1° FALL TO SPOON DRAIN SYSTEM

External Material Detail NTS 0

0.5

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70 x 35 MGP10 TIMBER BATTEN FIXED TO TOP STUD

RIVER WASHED STONE 10mm CRUSHED ROCK TOPPING SINGLE PLY EPDM WATERPROOF PARAPET WALL

KINGSPAN THERMOSPAN 50mm THICK POLYISOCYANURATE FOAM BOARD

ALUMINIUM WALL CAPPING ON TIMBER BATTEN 90 x 45 MGP12 TIMBER STUD PARAPET FRAMING SECTION

BRADFORM PERMEATED VAPOUR ROOF MEMBRANE

CAPRAL FWS 35 PD ALUMINIUM TRIPLE GLAZED WINDOW SYSTEM

LYSAGHT KLIP-LOK 700 STRENGTH ROOF CLADDING @ 2° FALL

20mm THICK STRUCTURAL PLYWOOD TIMBER BRADFORD ENVIROSEAL ROOF METAL / WALL METAL WATERPROOF EXTERNAL

20mm THICK STRUCTURAL PLYWOOD TIMBER

140mm x 35mm MGP10 CEILING RAFTERS @ 600 CTRS BRADFORD R 3.5 BULK ROOF INSULATION 120mm THICK 36mm x 16mm RONDO TOP HAT CEILING BATTEN @ 600 CTRS 13mm GYPROCK PLASTERBOARD CEILING BOARDS 15mm x 9mm x 9mm RONDO SHADOWLINE ALUMINIUM SPACER SYSTEM

CAPRAL FWS 35 PD ALUMINIUM TRIPLE GLAZED WINDOW SYSTEM

600 Ø CONCRETE BORED PIER SYSTEM TO ENGINEERS SPECIFICATION 10mm THICK HONED AND POLISHED CONCRETE FLOORING

200 x 200 PLASTIC SPOON DRAIN WITH DRAINAGE TO STORM 10mm THICK NON-SHRINK GROUT SYSTEM UNDER SOFFIT SIDE OF 200 x 200 SPOON DRAIN SYSTEM

200mm THICK CONCRETE ENGINEERED CONCRETE SLAB POLYURETHANE SARKING UNDER CONCRETE SLAB CONSTRUCTION - CONVENTIONAL SLAB

50mm THICK CRUSHED ROCK TOPPING UNDERNEATH CONCRETE PAVING

50mm THICK PACKING SAND

200mm THICK EXTERNAL CONCRETE PAVING WITH MIN. 1° FALL TO SPOON DRAIN SYSTEM

External Glazing Detail NTS 0

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Section AA Section AA cuts through the Workshop Workshed program space highlighting the key architectural aesthetic of the proposed roof canopy design whilst also demonstrating its internal use. The space will be encased entirely in glass to create transparency between the people inside and the people viewing externally. This refers back to the diagram of engagement and how I would like people within the space to interact not only with each other, but also the building as well and how to create further engagement within the local community, tourism as well as people looking to partake in a social community group.

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Details The details proposed on the previous pages highlight to key architectural aesthetics that I use within my design. The first looks at the external metal material, highlighting a bronze clad metal detail which can be substituted for the brushed steel finish within the design.

The second detail looks at the external glazing material used within the design to show the transparency between internal and external spaces. The glass will be a mirrored finish to allow complete transparency internally but externally will appear as a mirrored building.

This was done in an effort to reflect the external surrounding context and highlight the nature, flora and fauna of the proposed design.

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Personal Reflection I would like to thank Anoma and Arthur for their help over the semester and providing invaluable resources and information that has helped shape the final resolved thesis design. I am very happy with the final outcome as I believe the building reflects what I intended to create.

The development of the PTSD Awareness Centre was a long and intensive journey filled with many sleepless nights and long hours. If given more time I believe I could continue to improve, refine and further develop the building but as stated previously I am more than happy with the outcome. The strengths of my work I believe come from the consistent refinement of the design from preliminary to sketch to resolved. The material palette that has been chosen compliments the building, as well as the surrounding context along with the architectural articulation of the building.

I have come to love the design as in the beginning, I would have liked to design a building that was more architecturally creative with use of curve of and other form, however, I was instructed by my tutors to consider function the leading aesthetic and let form derive from the function which inturn was the greatest outcome of the design.

I have attempted to apply every skill, piece of knowledge and understanding of architecture towards this thesis and this presentation so to whom ever may be reading this, thank you for taking the time and I hope my work speaks for itself.

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