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PORTFOLIO .

Mariana Andrea Morales Munoz ARC 3001 Architectural Design 170428763 2019/2020

Content

Reflective Report

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Project Primer

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Project Staging

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Project Realisation

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Project Synthesis

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Field Trip Case Study Report

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Cultural Bibliography

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Bibliography

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Apprendix

135-140

* Amendments and new work

Reflective Report How do we perceive space?

My dissertation focused on haptic entities and the importance of the embodiment through structural forms. I analysed Juhani Pallasma’s theory that states “ the architecture of the eye detaches and controls, whereas haptic architecture engages and unites”( Mallgrave Harry Francis , 2013, p.9 ) along other architects such as Harry Francis Mallgrave and Ashley Montagu, an anthropologist, who studied the importance of the human touch. Through my research, I understood humans are consistently reconstructing through the diverse environmental stimuli one is exposed to. The brain itself never works in isolation. When receiving a stimulus many areas of the brain simultaneously interfere, creating an entire network working as a maze to understand the way in which we experience our surroundings. Hence, trying to dismantle precisely the process taken when one perceives something can be highly complex.

Past experiences also take a massive role into defining the way in which we interpret the present - the world we daily inhabit. We could argue one’s network is subjective and therefore, it is the result of series of events fused to create one unique sequence.

What happens when these layers of events and experiences, that define oneself, detach and suddenly decompose ?

Dementia fades and disintegrates the unique sequence and network from a person. The question is then , how does a person suffering from dementia perceive space?

The design approach taken in my project seeks to find ways in which architecture could compensate for the cognitive disabilities people suffering from dementia encounter. Being able to produce a space patients could comfortably inhabit while neglecting the notion of an institutional design, was the main objective of this project. Another key aspects of the project was to integrate an intergenerational space, in this case, a ballroom, that could provide means of participation allowing patients to make part of community while stimulate interaction.

During my design work, the notion of dance and movement, through the idea of having a ballroom, was constantly experimented through quick and spontaneous sketches. Through the Theory into Practice module, I analysed the way in which I work and how I translated the continuous ideas emerging from imagination and creativity. Most of my key drawings that work as foundations, are quick sketches that convey and accentuate the sense of touch along organic forms. Sketching became an important medium to translate ideas and so these were collaged to define the building’s poetic. For example, the poetry behind dance is reflected on the roof structure of the building with its dynamic faceted form. Throughout all stages of the project, there was an incredible evolvement of the design trying to communicate haptic entities. During the synthesis stage, the building almost works as a mediator to project an ephemeral sculptural piece of work.

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Quick Sketches

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The Thinking Through Making Week was also a key component within my design process since it inspired me to pursue the organic forms through expressed organic materials. During this week, I designed the junction of a wooden sitting area against a textured wall that could provoke the sense of touch and work as a sitting space integrated in the landscape for the patients to use when using their private courtyard.

The characteristics of wood highly influenced the design process, leading to the structural and material strategies. The form of the building evokes an organic and continuous sculptural form reflecting the importance of stimulation through movement. The use of a large glulam exposed structure successfully conveys this notion, creating a serene atmosphere. The purpose of the design is to eliminate any hostile feelings and invite both patients and the community to explore a tranquil space that can contradict the issues raised in a healthcare centre.

Reflecting back into my dissertation module, it unconsciously influenced and worked as a reference point towards my interest upon tactility and haptic entities. Ashley Montagu argues the skin, which is mainly associated with the sense of touch, can potentially be an “external nervous system”( Montagu, Ashley.

1986,p.14) 1. Looking back into the human embryo development, the sense of touch through skin emerges before the formation of our eyes and ears. This demonstrates the importance of tactile entities since a “general embryological law states that the earlier a function develops, the more fundamental it is likely to be” 12. People with dementia explore spaces through sensory experiences, making this, a central role. For example, as people’s cognitive faculties decline, memories of recent events fades but the direct sensations remain. As previously mentioned, dementia causes our origin to decompose and this notion happens in an inverse pattern, enhancing the senses developed in infancy. This inevitably projects Ashley Montagu ‘s statement and collaborates towards my dissertation thesis upon the importance of touch and an embodied architecture.

TTMW outcome - Material Exploration

In this project, there were so many aspects and ideas from all modules integrated simultaneously that worked together towards the same concept of accommodating the way in which we design spaces to suit different needs. The integration of these, made the design process challenging but continuously worked as inspirations to design a haptic architecture.

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Cortical representation

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Clay Workshop - Working with hands and creating textures that invite tactility

Clay workshop - Spontaneous forms

“Buildings do not merely provide physical shelter. In addition to housing our fragile bodies, they also need to house our minds, memories, desires, and dreams�

Juhani Pallasmaa, 2019

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Primer

How do we perceive space?

How does it alter when the perceiver suffers from dementia?

As architects we should be able to accommodate the way in which we design spaces to suit different needs. The question is magnified when thinking of the deficits resulting from a sense of disorientation and the symptoms of dementia, making us dramatically aware of the role of spatial structure for human identity.

What are memories? Perhaps we could say these are composed by experiences forming a network of layers. When a person suffers from dementia, these layers are detached and decomposed in an inverse pattern, enhancing the senses developed in infancy.

People with dementia explore spaces through sensory experiences, making this, a central role. For example, as people’s cognitive faculties decline, memories of recent events fades but the direct sensations remain.

The Primer Project was an opportunity to experiment and explore design revolving around the concept of the exposure of all sensory systems.

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Casting Workshop

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Casting Workshop Process I attended to a casting workshop in which quick and experimental casting processes were explored. The objective was to not think about architectural forms and quickly improvise with a rage of tools. Inevitably, I was keen to add texture to my model, which unconsciously stimulated the sensory realm through touch. This contributed towards the design project and haptic entities started unwrapping in my design process.

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In order to reinterpret simplicity, as a group, we brainstormed aspects and features that defined our childhood and questioned whether we all concluded to similar things through deliberations with ourselves. We came up with four key points:

Nature, Materiality, Temperature, Interaction The project manifested into a Sensory Pod that created a dialogue between all these aspects.

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Final project

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Staging

The Staging Project was about analysing and exploring ways in which we could improve our design by applying the knowledge and understanding in regards to dementia to produce an individual Dementia Residential Pod. This gave the opportunity of exploring in depth how the space may be provided from a dementia patient perspective.

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S I T E A N A L Y S I S

The site is located in the North East of Newcastle. It lies on Westgate Road near the Newcastle University Campus for ageing and vitality. It is mainly surrounded by residential houses along a few primary schools ten to twenty minutes away walking. A few community organizations are also located nearby, providing a good platform for inter-generational exchanges and reducing the negative associations healthcare facilities tend to have.

When visiting the site, I was particularly interested by the stone and brick textures surrounding the site. These earthy materials developed further into an organic movement reflected on my design approach.

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Site Analysis

Site Analysis Site Analysis Important spaces around site Important spaces around site

Noise levels

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Main Roads

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Precedent Interior design concept for dementia people with dementia by Mauser Care Furnishing Systems.

Home Away From Home Feeling

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Residential Dementia Pod Design

Regardless of how simple and archaic designs might be, we all experience them differently. In order to create a dementia friendly room, architecture should be self-evident and comprehensive.

For the design of the room, I focused on creating a sense of homeliness that satisfies the basic and fundamental needs that we associate with living. For example, the patient’s sigh reach from the bed allows views to all important areas of the room, such as the door, toilet and window. A regular circulation flow around the room is provided to avoid uncanny experiences and stimulating areas are provided to invite and provoke interactions.

1.20 Plan Patient’s Room

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Sight Reach

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Circulation flow

Stimulating areas

Atmosphere Exploration

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“Space Is a Subjective Phenomenon, Not An Objective Fact ” Eckhard Feddersen, 2014 Through these atmospheric drawings I try to communicate how the design imports a sense of familiarity. Memory panels based on the resident’s biography while working as artwork to stimulate and create intectaraction. This helps with the deteroration in cognitive function.

The sceneographics communicate a sense of warmth by using a green and light brown colour palette, creating a harmonious composition combined with the textures and stimulating surfaces.

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Daylight Simulation

For domestic areas, such as a bedroom for adults, it requires 300 lux level. The design explores a lux level of 250 and goes slightly higher than what is recommended for the human brightness perception around the window. This could be prevented by adding curtains and blinds.

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Massing Studies

Through the massing exploration, I developed an interest on organic forms that conveyed expressed dynamics.

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Exploration of forms and scheme arrangements for the healthcare centre, including inter-generational space

I decided to create a public ballroom studio as an intergenerational space for the healthcare centre. This space would provoke interaction between different generations. It would also work as an onsite community facility, reducing the feeling of isolation while improving quality of life.

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To alleviate the insufficient connection to external environment explored in a healthcare centre, private and public courtyards will be integrated into the design’s scheme. These would work as therapeutic gardens to improve health and reduce stress levels.

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Materiality Exploration

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Realisation

The Realisation Project started with a “Thinking Through Making Week� in where I created a 1:1 model exploring materiality and tactility. This was a stimulus towards the technology side of my design.

During this stage I continued pursuing my interest upon organic forms and the idea of dance, through the intergenerational space, became a stimulus to my design.

I started working with the stimulations and dynamics of movement with faceted shapes that seemed to follow a rhythm. The design of the rooms during the Staging Project became a symbol representing a sensual architectural language based on the moving characteristics of dance.

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THINKING THROUGH MAKING WEEK

During the thinking through making week, I designed the junction of a wooden sitting area against a textured wall that could provoke the sense of touch. The characteristics of wood highly influenced the design decisions later on the project.

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* Realisation - Design Approach

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DEVELOPMENT OF SCULPTURAL FORMS

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Through Staging, I developed a ‘petal like’ shape fo During Realisation, I magnified its essence and altere reflect the idea of movement and repetition explore

or the patient’s bedroom. ed its form in ways it would ed in the poetry of dance.

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The notion of faceted sculptural forms projected acros project concluded to a very playful and complex

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ss the entire scheme of the layout for the design.

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Distribution of Space At this stage, I decided to maintain the organic form from the patient’s bedroom and ballroom spaces, while the office areas explored a more linear and simple layout.

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1- Entrance/Foyer 2- Intergenerational Space- Ballroom 3- WC 4-Dementia Centre Reception 5- Patients Courtyard 6- Rooms 7- Quite room 8- Small gathering space 9- Lounge 10- Offices 11- Consultation room 12- Kitchen 13- Assisted toilets

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P L A N S E X P L O R A T I O N

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13- Assisted toilets First floor plan 1:200

Ground floor plan 1:200

The plan consisted on having all the bedrooms facing south revolving around a private courtyard that would enable the patients to wonder off safely while being constantly stimulated. The living room and kitchen are located adjacent to each other to create a home like feeling and to stimulate smell.

The ballroom showed a correlation with the bedroom’s design and created a double-height space that would enhance its sculptural form and allow people inhabiting the first floor to view the activities explored in the ground floor through a void.

The admin area is located on the first floor along an outdoor sitting area that would face an outdoor green space.

14- Void 15- Admin 16- Meeting room

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17-Terrace 18-Sitting area overlooking ballroom

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DESIGN EXPLORATION

Front Elevation 1:200

South Section 1:200

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East Section 1:200

Section through Ballroom

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Synthesis

During the Synthesis Project, Urban Performance Simulations were used to model and refine the building’s massing decisions. The building’s design evokes haptic entities. During this stage, wind and shadow simulations were explored to enhance this haptic concept, while influencing the design to create a better environment.

This stage of the project allowed me to make my concept and design richer. Both plans and roof developed in ways it would enhance the organic and sculptural architectural language, while contributing towards the environmental strategies.

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DEVELOPMENT OF ROOF RELFECTING PLANS

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Design Concept

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WIND SIMULATION

Weather Data: Jan 11th 2017 Wind direction: 247.5 Max, Min Temperature: 15, 4 Max, Min Humidity: 70, 50

The wind analysis allowed me to understand the site in depth and enabled me to produce my massing in a way it could reduce the impact of the prevailing wind.

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As a result of the abundant free space surrounding the proposed building, the calculated mean wind speed (Km/h) around the area reaches 7.15 m/s using the worst weather data in January 2017, rising above the uncomfortable comfort level for pedestrians. Therefore, the strategy consists on rotating the building 41 degrees east and changing the orientation in respect of the wind to break the south-east prevailing wind . Tress will also be added to contribute towards the reduction of wind speed and would work as a shield to protect the building from cold winter winds.

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INTEGRATION OF PLANTING TO MODERATE THE MICROCLIMATE

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The addition of vegetation helped reduce the wind speed and reduces noise pollution.

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THERMAL SIMULATION

Through PMV (percent mean vote) , we can predict the thermal sensation of a population. The data used for these simulations was the same as for the wind simulations. Through the alterations made to the massing, the area highlighted in the improved proposal diagram is now more suitable to create an outdoor community space e.g. park/ therapeutic garden/outdoor sitting area.

In order to maximise solar heat gains, all the main spaces that require daily sunlight are orientated facing south. However, as a result of the adjacent 12 meter building, the building would barely get any sunlight during the winter season. To combat this, extra-large glazed areas are used in order to admit both light and heat from the sun.

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Areas of the faceted roof are positioned at 30° angle, making it ideal to install photovoltaics to generate a flow of electricity. This renewable energy source, that provides generation of electricity on site, can reduce the demand on electrical grids and don’t produce environmental emissions during its operation.

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SUN SIMULATION

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RENEWABLE SOURCES - TECH INTEGRATION

Rain water harvesting I would like my proposal to explore a rainwater harvesting system in which the rainwater would be collected from the roof creating a suitable catchment area. This would go through a process of filtration to then be stored in an underground water tank. Separate pipe systems would distribute the harvested water supplies to indoor and outdoor uses.

This design strategy reduces the demand on ground water as well as water bills.

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Natural Ventilation The proposed building wraps two different sectors and functions within the same envelope. The space in which the dementia patients are located produces a natural stack ventilation but a cross ventilation is then explored in the foyer and ballroom working as an intergenerational space.

Mechanical Ventilation For spaces such us offices and consultation rooms, a mechanical ventilation system using a displacement ventilation approach will be provided. This consists of introducing cool air through wall-mounted diffusers at a low level.

This system utilizes buoyancy forces generated by heat sources such as, people , devices and electrical equipment. The polluted air would rise and be extracted by insulated ducts located in the service gap of the intermediate floor, to the mechanical equipment located in the plant room.

As a result of fresh supply air pooling at floor level, “personal thermal plumes draw fresh air up the body” (PriceIndustries, 2019, p.2), which means all the used and warm air would be extracted “at the high return” (PriceIndustries, 2019, p.5) , avoiding mixing ventilation.

As a result of the building’s purpose, Dementia Healthcare Centre, controlling the contaminant distribution is key. The displacement ventilation can help improve the occupant air quality by minimizing the contaminants in the room due to the upwards motion making the contaminants concentrate more uniformly in the upper zone of the space.

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DESIGN PROCESS

From the Staging to the Realisation project, a clear correlation an evolvement of sculptural and faceted forms through the plans has been shown.

In the Synthesis Project, I developed the building’s plans avoiding the drastic change between abstract forms and straight lines I had created during Realisation.

The landscaping changed, making the ballroom a bigger and more exposed element of the building while changing its location facing south to outlook a garden. This generated a more vivid an interesting space.

The whole plan itself exploded, providing abundant space to inhabit the building’s sculptural form.

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EVOLUTION OF ROOF FORM REFL

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LECTING THE POETRY OF DANCE

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M A S S I N G & P R O G R A M M E

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STRUCTURE - TECH INTEGRATION

The design of the building relies on sculptural forms enhancing dynamic shapes functioning as stimulus to evoke interaction and engagement. Therefore, its form is very organic and complex and so to define the structural grid, three simplified shapes are generated to underly the structure for each element of the building. As shown on the diagram, three hexagon mutations compose the three different sectors of the building: the dementia centre, the foyer and the ballroom.

The superstructure comprises of CLT floor and wall panels that are supported on glulam columns using steel connections.

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CLT panels, glulam columns and steel connector elements are CNC machined (computer numerical control). This allows to prefabricate structural components offsite. These are then delivered to the site ensuring a smooth production and installation. This also reduces the risk of mistakes and errors at the site, while shortening overall construction schedule.

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CLT panels

Prefabricated

CLT panels connection (intermediate floor)

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Glulam steel connection

Delivered to site

During the thinking through making week, I designed the junction of a wooden sitting area against a textured wall that could provoke the sense of touch. The characteristics of wood highly influenced the design process, leading to the structural and material strategies. The form of the building evokes an organic and continuous sculptural form reflecting the importance of stimulation through movement.

The use of a large glulam exposed structure successfully conveys this notion, creating a serene atmosphere.

S I T E

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I N C O N T E X T

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1- Entrance/Foyer 2- Intergenerational SpaceBallroom 3- WC 4-Dementia Centre Reception 5- Patients Courtyard 6- Rooms

7- Quite room 8- Small gathering space 9- Lounge 10- Offices 11- Consultation room 12- Kitchen 13- Assisted toilets

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Reinterpreting Simplicity

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South Elevation 1:250

The facade comprises of brick which blends nicely with the neighbourhood and the earthy material also contributes towards the organic notion the building explores.

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South Section 1:250

South section showing correlation between the ballroom and the patient’s bedroom 85

Perspective Section

Inhabited perspective section showing different generations utilising the space.

Showing the concept of dancing dementia away.

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A T M O S P H E R I C D R A W I N G S

Ballroom

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Patient’s Bedroom

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Courtyard form the inside

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Site Plan 1:1000 91

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The improved plans provide more context and explore textures to show materiality. In the healthcare centre area, I have explored further the intermediate spaces and how they are experienced. This is reflected through ‘pods’ that allow a more intimate experience while being integrated. They contribute towards the patient’s dignity and also creates a more interactive space.

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1- Entrance/Foyer 2- Intergenerational SpaceBallroom 3- WC 4-Dementia Centre Reception 5- Patients Courtyard 6- Rooms 7- Quite room 8- Small gathering space 9- Lounge 10- Offices 11- Consultation room 12- Kitchen 13- Assisted toilets + - Added Pods

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Ground Plan 1:250

The health care centre now echoes the design of the higher roof of the ballroom in a more moderate manner. The centre is a single storey, and its new faceted roof can be seen from the first floor.

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First Floor Plan 1:250

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East Section 1:250 - showing improved roof echoing the faceted language

A T M O S P H E R I C D R A W I N G S

Private courtyard and faceted roof experience

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Seating area on the first floor experiencing large organic forms

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Lux Level Improvement through addition of shading, such as blinds and curtains

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Field Trip Case Study

The Nordic Embassy, Berlin

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WORKSHOPS

Casting workshop Working with plaster, clay and range of tools Quick an experimental casting processes Play - not thinking about architectural forms. Giving it a go as if we were kids trying to stimulate sensory realm through touch.

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WORKSHOPS

Metal workshop

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We learned basic techniques of working with metal, such as welding Welding joins materials by using high heat to melt the parts together There are a lot of hazards making it quite scary but experimental and challenging since one must do so with slow speed in order to weld smoothly Through this workshop I tried to expand my knowledge and experiment with new materials

WORKSHOPS Transforming objects workshop Through the workshop we explored the idea of deconstructing through displacing elements of an object to revalue and question its composition I related it to a ‘dementia friendly stimulus’ object with mobility an enhancement of touch through different surfaces e.g. soft, vibrant yellow, warm brown .

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WORKSHOPS

Matters material workshop Explore alternative means of encoding and experience of space During this workshop we had to write a passage and decode it into simplified shapes transforming it into clay As shown on the pictures ,the object I had created conveys tactility and its smooth surface invite people to touch it The expressed form from the object explores a continuous flow and friendly movement

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WORKSHOPS

Experimenting with concrete

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VISITS

Roker and Mowbray Dementia Care Centre Visit.

This visit allowed me to understand ways in which design can accommodate different needs. It also allow me to witness the way in which dementia patients dwell, making the project more intimidate.

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VISITS

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VISITS

Campus for Ageing and Vitality, Castleside Ward

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VISITS

Berliner Philharmonie, Berlin by Hans Scharoun and Edgar Wisniewski This particular visit really inspired me with its organic form reflected both inside and outside.

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VISITS

Jewish Museum, Berlin by Daniel Lib

As a result of my dissertation, Libeskind , visiting the Jewish Museu The building speaks for itself, and its me.

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VISITS

beskind

, in where is researched Daniel um was one of my biggest goals. s exposed elements really inspired

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VISITS

Berlin Wall Memorial, Berlin by the Federal Republic of Germany and the Federal State of Berlin

Exposed Timber Structure seemed to integrate within the landscape. Its sculptural from made it incredibly overwhelming to inhabit.

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VISITS

Elbphilharmonie, Hamburg by Jacques Herzog and Pierre de Meuron

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The Nordic Embassy ‘s Reception , Berlin by the Austrian-Finnish partner- ship of Alfred Berger and Tiina Parkkinen

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B I B L I O G R A P H Y

Feddersen, E. & Lüdtke, I., 2012. Living for the Elderly : A Design Manual, Feddersen, E. & Lüdtke, I. (2014) Lost in space : architecture and dementia.

Fernández-Galiano, L. (2017) Herzog & de Meuron : 2013-2017.

Fletcher, D. (2015) Rooftop garden design.

Jodidio, P. (2017) 100 contemporary brick buildings Gaehwiler, A., 2013. NUTS ON CIRCLES. [ebook] MA Royal College of Arts, Design Products. Available at: <https://cargocollective.com/ AnninaGaehwiler/NUTS-ON-CIRCLES> [Accessed 16 February 2020].

Liu, Z. (2011) Green architecture. Hong Kong: Design Media Pub. Ltd. Libeskind, D. (2001) Daniel Libeskind : the space of encounter. London: Thames & Hudson.

Mario Cucinella Architects (2014) Green architecture. Seoul: Equal books McCarter, R. & Pallasmaa, J. (2012) Understanding architecture : a primer on architecture as experience. London: Phaidon.

Montagu, A. (1986) Touching : the human significance of the skin. 3rd ed. London: Harper & Row. Pallasmaa, J. & Dawsonera, distributor (2012) The eyes of the skin architecture and the senses. Third edition.. Chichester: Wiley.

Pallasmaa, J. (2011) The embodied image : imagination and imagery in architecture. Chichester: John Wiley.

Pallasmaa, J. (2009) The thinking hand : existential and embodied wisdom in arthitecture. Chichester, U.K.: Wiley.

Pallasmaa, J. (2020) Inseminations: Seeds for Architectural Thought. Chichester, U.K.: Wiley.

PriceIndustries.,2020. Displacement-Ventilation-Engineering-Guide. [ebook] Available at: <https://www.priceindustries.com/content/uploads/assets/literature/engineering-guides/displacement-ventilation-engineering-guide.pdf> [Accessed 16 April 2020].

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