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INTRODUCTION This is my manifesto for architectural projects 4, within this booklet shows the development of our main project in the semester given by Javier Sanchez Merina; a project where we were given an existing house built in the 20th century and to develop it for a client with a neurological disorder, transforming architecture with the new contemporary, cultural society for the 21st century. The idea is to focus on therapeutic architecture, creating a space that is altered for the client’s disorder and focusing on the positive effects of the disorder, and ways to accentuate it, stimulating the client to use their condition in a positive way. The project consists of many parts to make us think about all important aspects, which ended in a nal conclusion to what we, as a group, thought was a new appropriate design. Throughout my booklet I will explain brie y in each section a summary of our process and development.

STORIES OF HOUSES The module was built around a series of articles called “the stories of houses”, each house has a deeper meaning on why it was constructed, a purpose other than family home. These houses think beyond architecture today by not neglecting personal issues, ‘good, therapeutic architecture’. Each client has a passionate story that produces the project, the architect was to think about the client and their needs to ful l an appropriate outcome. Architecture that has been built form the lives of the clients. We were told to analyse three of the houses and give our opinion on why we chose them

Can Lis and Can Feliz in Mallorca, by Jørn Utzon

The Mallorc build a sum near a sma obliged to architects. location is Can Lis In Porto Pie set among ing with th limestone, concept fo as to respo The orienta ranean, an with shiny c outside sur stimulates house and a route as Can Feliz It is in the m looking the use the sam to the trad unnoticed and is built

This hous passage tive view ing, it is in think wor


ca island fascinated Jørn Utzon to such a degree that he decided to mmer house there. It was located facing the Mediterranean, on a cliff all shing village and he gave it the name of his wife, Lis. In 1994, he felt o move from his house, which had turned into a place of pilgrimage for . Utzon built another house, Can Feliz, also in Mallorca, but this time its kept a total secret.

etro, for an ideal refuge during his holidays, Utzon built Can Lis in 1972, g myrtle and pine trees, with an extraordinary view to the sea. Integrathe colours in the landscape, the main building material is a hard local called marĂŠs stone, which varies from gold to pink in colour. The original or the house is a sequence of pavilions linked by a wall, and arranged so ond to the various functions within the dwelling. ation of the pavilions in Can Lis selects distinctive views of the Mediternd consequently, the furniture became xed, built on site and nished ceramic tiles. Additionally, as the window frames were mounted on the rface of the walls, they were made invisible from the interior, which again, the effect of light, blurring the limits between the dark interior of the d the blistering Mediterranean sun. For all these reasons, family life follows the day passes which seems to pursue the passage of the sun.

mountains, far away from the humid sea breezes, with big windows overe green pine grove that reaches down to the sea. Although both houses me materials, the second is a house in the mountains that belongs more ditional houses of the island, even reaching the point of being passed by d. Can Feliz is built round a terrace, following the pattern of orthogonal axis t under one tiled roof.


se is connected with nature in so many ways, it follows the e of sun, integration of colours with the landscape, distincws of the sea depending where you are placed in the buildnteresting how they have xed the furniture at a point they rks for the whole house and the views it comes with.

Villa Anbar in Dammam, by Peter Barber


A romantic novelist from Saudi Arabia approached the British architect, Peter Barber, in 1992 to design her house in the important commercial and port city, Dammam, in the Arabian Gulf. Mrs Anbar - a widow - divided her year between London and her native country, therefore her attitude towards Middle Eastern culture was characterised by cosmopolitan in uences and the complexities of Islamic culture. The interior of a Saudi domestic house has a profound sense of hierarchy between men and women. It is a rigid issue of segregation between sexes which is echoed in the two entrances to the house, and is followed up in the interior by separating men’s and women’s quarters. The degree of separation is further declared - between servants and members of the family, and between the family and the outside world - by a series of increasingly private spaces which gravitate towards a central courtyard. From the most public area to the most private one, the eye was directed in very speci c paths through different layers, either giving a full view or only a partial one, sometimes merely implying what could be seen. Although internally the house follows a traditional layout of separating men and women’s quarters, this structure is broken by simple acts. Thus, as a crack, a horizontal cut in a wall of the women’s quarter serves as a vantage-point for surveying the unseen, that is, the male domain.


This house to me is very interesting, the space and vision itself is the most important how you are directed through the space through gaps that will let you see only a certain amount. It has a really powerful story about gender, hierarchy and class boundaries and I think the architect has created a clever approach to show the segregation of these things.

Small House for a Kolonihaven, by Enric Miralles

INTRODUCTION In 1996 the Spanish architect Enric Miralles was asked to design a little wooden house near Copenhagen, a project that he elaborated with his wife, Benedetta Tagliabue. The result was a house that came to re ect a family lifetime. Kolonihavens sole function is to shelter their owners from the cold and rain when spending time close to nature. The couple Miralles and Tagliabue generated their project from their interest in recording the passage of time. From that starting point, the architects explained, “the house becomes a calendar�. It is a place to feel time passing when looking at nature, while the parents talk around a table and the children play their games The passage of time is also recorded while sketching the plan of the little house. Enric and Benedetta gave their small daughter a miniature chair and she started to play with it, taking her rst steps with it and moving it. Like if trying to draw these movements on the oor, the parents generated the plan of the house. The house in Kolonihaven varies in height. It has a very low ceiling in the children’s room but becomes higher by the sitting room for adults. Seen through its section, the house captures this passage of time - the house grows with the inhabitant, from being a child to become an adult.

WHY IS IT INTERESTING TO ME? This project was the one I found most interesting, the recording of the passage of time and how it re ects a family life time is something I nd really thoughtful and innovative. How the nature is changing around it but also the house adapts to the child growing up because of the variation of heights.

INDIVIDUAL VIDEO TASK #1 Individually, we were told to create a two minute video on our interest in architecture, making use of the story of the house we liked the most to meditate on those origins of architecture that we were drawn to. Here is the link to my video. The importance of having nature around us and also incorporating nature in the buildings materiality, design, or interior of the structure, thinking about why having nature around us is signi cant. It has many bene ts to the human body, some examples include less stress, being more focused, increased happiness and productivity and altogether improves mental health but it is also good for the environment and future to use sustainable/renewable/organic materials.

The short video clip shows the nature I have in my apartment and the views from my window. Having this close to me improves my mentality rather than living in a small dark room with no views. This relates to the Small House for a Kolonihaven by Enric Miralles because of its small organic construction using wood and having nature close to see time pass, something that I can also do from the view of my apartment is watch the sun rise and set. Many architects integrate nature with their building design such as Frank Lloyd Wright’s Falling Water house, therefore my video will discuss the importance of using organic materials to improve our future but also why we should be close to nature to live a healthier lifestyle.

INITIAL IDEAS The next part of our project was to focus on the Alien house and what we wanted to propose for the new design, each of us had to independently come up with our own ideas of what we thought would be a practical, useful and innovative design that would help someone with Down’s Syndrome. This part of the project really made us need to think outside of the box, because it is a big house it is dif cult to have to think of every part, whether we should design several aspects or one installation throughout the house that would help them. Although it was challenging it was useful to individually think about ideas and express them as a group, gaining different opinions at the end. On the following pages you will see each group member’s individual initial idea. Following our individual ideas you will see our stages of design towards the nalised outcome.

Manifesto final