IEVER’S LIMINAL CENTRE
W E N D Y Z H A N G DESIGN STUDIO B M a s ter of A rc h i te c t u re S em es ter 2 , 20 20 S wi n b u rn e U n i ve rsit y S tu dio 4 - D i s ru p t i ve H ote ls S tu dio Lea d e r - D r S te p h an i e L i d d i coa t Un it Co nve n or - D r Ian Wood coc k,
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Among life’s taboo topics, death has always been the most perplexing. Although we are all affected by death at some point in life, we still struggle with the inevitability of our own mortality, or a loved one’s death when all medical solutions have been exhausted. Design, however, is particularly helpful in this difficult period of both certainty and uncertainty about the end.
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‘Scanner Room’ - Karolina Halatek
T H E
Many people who choose assisted dying had reasons including pain, loss of control, and fear of indignity. And most people would prefer to spend their last days in familiar surroundings, with people they know, but are forced to suffer ‘traumatic’ deaths alone in the hospital, feeling vulnerable, helpless and fearful, with whole-body covered by rescue equipment. We desire to create a homely atmosphere that has professional palliative care and spiritual counselling, with specially designed spaces for their closed ones to stay with them. It is our responsibility to help people face death calmly and leave this world with dignity. Letting families leave no regrets or psychological trauma before and after their death is the goal of our hospice care, and it is our way of showing respect for life.
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Urban Hospice _06 Asissi Hospice _08 References_12
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Iever’s Reserve _16 Narrative _18 Surfaces _19 Web Design _20
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Site _22 Hypothesis _24 Research _26 Concept_ 30 Diagrams_32 Drawings_35 References _44
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Preliminary _49 Iterations _60 Drawings _64 Final design _68 Diagrams _73 Drawings _76 Textures & Materials _82
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“As hospice design becomes more formally ambitious — and standardized — we should remember there is no universal model for ‘dying well.’... The uptake of ‘evidence-based design’ suggests that the social project of staging death will eventually be subject to ‘best practices’.” - Ahuja, 2018
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Clad in metal panels with a warm tone D I S R U P T I V E H O S P I TA L S -
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URB A N HOSPICE NORD Arch itects,
Cop enh a g en
The colour choice for this design plays a big role in healing, which helps to create a positive and relaxed atmosphere among patients, relatives also the staff there. The colours they use give an inclusive and welcoming expression. The building is entirely cladded in bronze-zinc alloy panels weathered to a greenish warm tone gold colour complemented by the treated sustainable soft wood window frames and shutters called Kebony that give a property of hardwood. same time provides a pop of colour.
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First Floor
Ground Floor
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For the interior they used very minimal natural colours. We can see clean white walls with a warm undertone, natural timber colour for frames and balustrades. For the furniture they are mostly this avocado green colour, it blends in very well at the same time provides a pop of colour.
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ASSISI HOSPICE New Sp a ce Arch itects Sing a p ore “ The underlying notion is to make a sad place like a hospice feel more natural.”
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+ Courtyard (left) + Communal Dining (right)
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The facade’s varying composition of rich materials gives the hospice a warm and tactile look. The East-West facing sides are fitted with thick laminated glass to prevent noise and vibration disturbance from the highway as you can see just next to the building. Sliding screens are in place to allow ventilation, while the over-riding terrace serves as shades for the levels beneath.
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+ A Picture Of Health (left) + Alegria II (right)
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E uge n i a G ajard o
In 2018 Assisi Hospice has been transformed into an art gallery with over 20 pieces of vibrant and abstract artworks by Chilean artist Eugenia Gajardo. This is the first time that a collection of art pieces has been specially created with hospice patients in mind and is permanently exhibited in a hospice ward in Singapore. She chose to create art pieces in a lyrical abstract style, hoping to provide catharsis to the viewers. The irregular shape and uneven texture of the artwork reflect the uncertainty of existence, the peaks, and valleys of life and the importance of relationships and love in the unpredictable journey of life.
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There are also spaces for thoughts and emotions in the forms of private enclaves and sacred spaces which is the chapel . It offers a sacred space for one to retreat into oneself and private conversations, as well as for grieving, healing and letting go. And the viewing room - where family members can see the deceased before he is movedinto the mortuary.
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Assisi Hospice is also the first in Singapore to have a paediatric ward, which opens out to a kids’ playground that children can escape to.
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R E FE R E N CE S 8 World, (2018). Assisi Hospice cooperated with Chilean painter to set up art exhibition hall. Retrieved from: https://www.8world.com/news/singapore/article/20181113-sg-hospice-art-341396 Ahuja, N., (2018). End Stages. Places Journal: Public Scholarship on architecture, landscape and urbanism [Online]. Retrieved from: https://placesjournal.org/article/end-stages-hospice-design/?gclid=CjwKCAjw1ej5BRBhEiwAfHyh1PrZ8MH14XOFZ8UmhJAzo-LMW7-b8RpObESXjmpsghtnf2-3pisqiRoCy7gQAvD_BwE Archhello, (2017). Assisi Hospice, New Space Architects. [online]. Retrieved from: https://archello.com/project/assisi-hospice Australian Institute of Health and Welfare (AIHW), (2019). Hospital Resources 2017-18: Australian Hospital statistics. Australian Government [Online]. Retrieved from: https://www.aihw.gov.au/reports/hospitals/hospital-resources-2017-18-ahs/contents/hospitals-and-average-available-beds
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Cultural Atlas, (2020)., Singaporean Culture: Core Concepts. [Online]. Retrieved from: https://culturalatlas.sbs. com.au/singaporean-culture/singaporean-culture-core-concepts#singaporean-culture-core-concepts Archdaily (2017). Urban Hospice/ NORD Architects. [Online]. Retrieved from: https://www.archdaily. com/867628/urban-hospice-nord-architects?ad_medium=gallery Diakonissestiftelsens Hospice (2017). Diakonissestiftelsens. [Online]. Retrieved from: https://www.diakonissestiftelsen.dk/hospice
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I E V E R ’ S
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C hos e n S i te Ieve r’s Re s e r ve
Voluntary Assisted Dying is definitely has its controversies. Therefore it makes choosing the site the first challenge. There has been debate with having the centre either tucked away from the hustle and bustle of the city noise, locate it somewhere scenic and serene, such as by the beach, in the park/forest further away from the CBD; or a location with high profile, make it highly noticeable. Try to face and negate taboos associate with death and showing its priority. The decision was finally agreed on Iever’s reserve, an urban location. We aim to challenge ourselves with a location that could expose the facility to the world as to hide it away.
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Walkable distance to expansive green spaces Empty site, no built form Give the patient users something of a community environment.
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Situated in the Melbourne Biomedical Precinct, between two key healthcare centres – the Royal Children Hospital and the Royal Melbourne Hospital Tram runs along the front of the site all the way into the CBD
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Convenience
Diagram by Isobella Lord
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Diagram by Rebecca Yang
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Na ra tive
Collage & Narritive by Isobela Lord
My head and heart are heavy as I approach the VAD Centre, preparing to farewell my uncle who has lost a long and difficult battle with cancer and has decided to act on his right to a peaceful and dignified death. Despite my grief, the city continues around me. The tram horn bells as I step out of the car onto the asphalt. Directly in front of me stands the center, it is surrounded by a field of grass where children play and tall trees home birds who let out loud chirps which overpower the sound of passing cars. These familiar sounds of Melbourne bring me comfort in an otherwise foreign situation. Amongst the trees, brick buildings and Victorian houses, the Centre does not look out of place. I pass through its gated entrance, off the asphalt sidewalk and onto a soft timber path that leads me to the front door. The timber continues into the entrance which features tall atrium ceilings, this allows me to still see the sky and trees outside. Although faint I can still hear the ring of trams and school bells in the distance. Although my grief is heavy, the sound and sight of life reminds me that in the wake of loss, life will continue...
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Main surfaces: asphalt, concrete paving, grass and cobblestone. Nowadays, motorways are mostly using asphalt due to many benefits, such as comfort, a reduction in noise pollution. And its convenience. It can be constructed very fast and in small portions, thus minimising traffic congestions. Concrete paving is usually used to highlight pedestrian walks which also serves the purpose to mitigate tripping hazards compare to bricks. Concrete is also used underneath the trams; one reason being it is not easily damaged from oil leaks as asphalt does. The cobbled stone is a very distinctive feature of Melbourne’s streetscape, you can see it from the laneways around our site in dotted pattern, it’s also used to decorate roundabouts.
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SIT E
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Site section by Hashim Fakhreddin
Iever’s Reserve and Chosen location
+ The entire Iever’s Reserves has three parts, we’ve located the site to the first segment, which is between Story Street and Flemington Road. + Residential buildings under four stories are the dominant building typology of the area which highly influenced the scale of our intervention.
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Diagram by Rebecca Yang D I S R U P T I V E H O S P I TA L S -
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‘Halo’ by Karolina Halatek
S I S Architecture has the ability to challenge current end of life healthcare typologies by providing physical and mental ease, thus offering dignity in death to those who choose VAD, and all other users involved in this process.
This strenuous process gives little to no comfort to patients, their families and healthcare staff members. With all of this research in mind, our group formed our research question: To what extent can architectural design challenge current norms within healthcare systems, as well as stigmas and taboos associated with death, to ultimately reduce ‘death anxiety’ and provide dignity to those who choose VAD.
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The Victorian government states that this VAD process will be the safest and most conservative in the world, currently, the Alfred Hospital is the only institution in Victoria that is permitted to dispense the VAD medication, which can only be accessed if the patient meets strict criteria. This process can take months and throughout this time patients wanting to access VAD are regularly hospitalised with related health problems and many do pass before accessing VAD .
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Ar t wo r k
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Terminal is an immersive light sculpture which simulates a near death experience. It refers to the space between life and death, and the last stop before entering another world. She explained the name being a specific notion of time in an airport terminal— there is no longer any rush, and time begins to slow down. This installation is a peaceful, beautiful exploration of mortality.
+ Artest / Karolina Halatek + Date / 2018 + Location / Kunsthalle
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Halatek creates a new sensory experience which occurs between entering and exiting the tube. After having passed the tunnel, the viewer is released into the dark, urban surrounding. One’s own shadow becomes again visible in the light of the street lamps.
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Connection to nature and natural light, for serotonin release and improved mental health for all users Choreography of sightlines. The Urban Hospice utilises curvilinear hallways allowing users moments of reprieve without physically having to remove themselves from a social space.
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Easy way finding and lack of clutter to prevent users from becoming overwhelmed or distressed. Connection to communal spaces and the urban context, which also allowed some of the stigma around death to be removed as the architecture presented itself as a welcoming space for family and friends
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Ty pol ogy
The closest typology we found were hospices, and we took great inspiration from principles outlined in ‘Design Dignity’ by Ian Clarke and ‘Programme for the good hospice in Denmark’.
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Desi gn
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Co n ce p t
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Voluntary assisted dying (VAD/euthanasia) is considered a major legal, ethical and social policy issue with significant implications for the healthcare sytem, health professionals and communities. The Voluntary assisted dying act of 2017 was passed in victoria in June 2019, but despite this, our preliminary research shows that those who wish to access this service must do so in current typical hospital typologies which offer little comfort to patients, their families and healthcare staff members involved in this process. Every person is entitled to a dignified life, as we are of the stance that every individual should also be entitled to a dignified death. We approach this topic with great caution and sensitivity and with the stance that this service and its architecture should never promote voluntary death as the first choice.
St rategy
1. Design Features: Secure Outer Wall - A physical security measure against the external world, offset significantly to give breadth to the clinic. Solid and Enclosed Water – A soothing feature, but also a sound muffling effect against protestors. Landscaping – Reduce visibility, create beauty.
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2. Flow Features: Outer Entrance – Outer space is critical and communicates the message of protection. Entry – Entrance sequence 1. First experience, most impressionable on a vulnerable group. Waiting Room – Entrance sequence 2. Enough space/privacy provided Reception – Entrance sequence 3. Engagement
Quiet Back Door – Well designed abortion clinic centres can be identified by the provision of a back door exit. Importance of recognising and designing for our facility as controversial > first impressions, respite areas, security and empowerment.
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Clinic Rooms – Privacy, in relation to the other patients.
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Axo n o m e t r ic F u n ct i o n Diagram
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A large driver when determining the scale and size of the VAD centre was the desire to have the space feeling ‘homely’ and ‘personalised’, so we decided to keep it relatively small in scale, spanning only two and a half storeys, also allowing it to blend into its residential context. The centre has eight patient rooms in total, based on an average of 120 VAD patients passing in Victoria each year, with the understanding that many will choose to pass at home if possible.
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Second Floor
The room types were based vastly on our research of similar typologies such as hospices, but we also took it upon ourselves to create ‘specialised’ spaces such as prayer rooms, consultation or meeting rooms, an integrated reception, lounge area and public cafes for community inclusivity.
Footprint
First Floor
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Ground Floor
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S p a t i a l Di a g ra m
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The central void was a critical design strategy that we developed to ensure that every single space in the building has access to natural views and sunlight to enhance mental health. It also dictated the buildings circulation to be centralised for easy way-finding.
Central Void Area
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Cross Section A-A by Belinda Krmpotic
The colour choice for our design plays a big role in healing, which helps to create a positive and relaxed atmosphere among patient visitors and also the staff there. The colours are to give an inclusive and welcoming expression. For the interior, very minimal natural colours with warm undertones are used, and for the furniture we’ve introduced a pop of colour to brighten up spaces.
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Co l o u r
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At m o s p he rical S e c t i o n B -B
this section shows the relationship and flow between the internal spaces and the external green space. Our main focus here was to highlight how the courtyard lets natural light in to illuminate the space, and provides that important connection to nature for users; an element of which we felt was essential for this site. Regarding the reception and entrance, as this is associated with first impressions of a facility, we wanted to remove that clinical and alienating aesthetic by creating an open, soft and comforting spatial environment. One of the elements we envisioned was a receptionist to greet individuals personally as they make their way into the facility.
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E l eva t i o n s
South Elevation | Primary Entry
by Rebecca Yang
GATEHOUSE STREET
West Elevation | Private Entry PAGE 41
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Spat ial Qual i t y
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By Hashim Fakhreddin
We aimed to provide a peaceful environment for people to get the care and service they are seeking. Ian Clarkes idea of architecture as a healing factor was key for us, creating a positive and relaxing atmosphere among patients, relatives and staff. Promoting dynamic multi sensory relationships between patients and their surrounding, through the inclusion of natural materials, views to the outside world and admission of natural light. To create a warm environment and forgot the usual clinical atmosphere, giving patients the ability to personalise their rooms thus promoting the patients sense of regaining autonomy and self-significance. making the room feel like their own, A home away from home.
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Moving forward, we hope to add and refine some of these spaces further to support our architectural intents of nurturing well-being and celebrating the final moments of our users. We hope to continue looking into the incorporation of meditative spaces and opportunities for soft community engagement, while developing rooms for ritualistic operations such as preparation of backhouse functions...
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Th i n g s
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R E FE R E N CE S Clarke, I. (2009). Design and Dignity. Hospice Foundation [Online]. Retrieved from: http://hospicefoundation. ie/wp-content/uploads/2013/04/Ian-Clarke-Design-Dignity-Essay.-October-2009.pdf Frame (2017). NORD Architects eases transition with a calming architectural language. Archdaily [Online]. Retrieved from: https://www.frameweb.com/news/nord-architects-eases-transition-with-a-calming-architectural-language Giffiths, A., (2017) Nord Architects’ Copenhagen hospice aims to provide a “unique place for the final journey”. Dezeen [online]. Retrieved from: https://www.dezeen.com/2017/04/04/nord-architects-urban-hospice-unique-place-final-journey-copenhagen-denmark-residential-architecture/ Pearman, H., (2017). Urban Hospice by Nord Architects Copenhagen. Architectural Record [Online]. Retrieved from: https://www.architecturalrecord.com/articles/12818-urban-hospice-by-nord-architects-copenhagen Urdesignmag, 2016. TERMINAL LIGHT SCULPTURE BY KAROLINA HALATEK. [Online] Available at: https://www.urdesignmag.com/design/2016/10/25/terminal-light-sculpture-karolina-halatek/
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Victoria State Government (2020). Voluntary Assisted Dying. [Online]. Retrieved from: https://www2.health.vic. gov.au/hospitals-and-health-services/patient-care/end-of-life-care/voluntary-assisted-dying Wade, S., 2019. The Luminous Nature Of Karolina Halatek’s Experiential Art Installations. [Online] Available at: https://www.ignant.com/2019/10/09/the-luminous-nature-of-karolina-halateks-experiential-art-installations/
https://www.ignant.com/wp-content/uploads/2019/09/ignant-art-karolina-halatek-halo-05.jpg https://www.urdesignmag.com/wordpress/wp-content/uploads/2016/10/4.jpg
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Advances in medicine, especially in medical technology, have allowed this fear and pain to be transformed into more varied and prolonged physical and mental experiences. As a result, death is no longer an event that is caught off guard.
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Ref le c t i o n . . .
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As this has been a challenging topic with its controversies and ongoing debate. Therefore it has been difficult to find accurate information on the building typology and requirements. Thus a large number of researches were needed in order to come up with the best assumption as possible from us. With these findings we have come to a clearer idea of which aspacts of our ‘architecture for final journey’ wish to target. For the mid semester review, our design was lacking the ‘magic’ in it for a piece of architecture that has so much meaning and uniqueness, therefore as our hypothesis has finalised, we will be focusing on creating forms and spaces that demonstrates our concept.
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H ypo t hes is
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Architecture has the ability to challenge current end of life healthcare typologies by providing physical and mental ease, thus offering dignity in death to those who choose VAD, and all other users involved in this process. To what extent can architectural design challenge current healthcare systems, as well as stigmas and taboos associated with death, to ultimately reduce ‘death anxiety’ and provide dignity to those who choose VAD.
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Co ncept Compression and Release/ Liminality
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“It breaks your heart open, our hearts have been closed, because we’ve closed them, we’ve defended ourselves against pain. And this opens them.” “We become attuned to constant stimuli. A sequence of spaces with unwavering similarity tends to move into the background of our perceptions. Sometimes this is desirable, often it is not. Compression/Release is a change in the experience of space by a physical spatial impact upon the senses.”
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Cold environment Minimal privacy Unfamiliar faces Small / no windows No quality of life
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Warm environment Private Places for visitors to stay Large windows Spacious and Homely
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PENDA HONGKUN FINE ART GALLERY
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Aigües de Vilajuïga exhibition centre
UCCA Dune Art Museum
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The Secret Garden House
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Mor e P r ece d ent s. . .
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S p a tia l Br ief
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Compression - holding together overwhelming moments of grief • Submergence • Low Lighting • Low Ceilings • Wwater and Density • Nook Spaces • Dispersion of Light
Release - release of grie and feeling of emotiona repreive • Courrtyard/ventilati air • Porosity • High Ceilings • Water and Flow • Open Plan • Windows and Light Wells
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Co n ce p t u a l Di a g ra m On the basement we have our meditation rooms with skylight above and water features flowing across. Providing a dispersion of light to the meditation room users at the same time proventing others to walk near the skylight and overlook.
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In the centre either a big floor to ceiling high tank which creates interesting light reflections of water, or a central courtyard with void. Having patient bedrooms in the back with a bridge connecting the communal and private spaces
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Inspiration - Havøysund Tourist Route by Reiulf Ramstad Architects
One option for the building form and entry is this ‘spiral’ form that curves in, with water feature on the ground level next to the ramp that leads to the basement where main entry is, and secondary entry on ground floor.
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Col l a g e E n t ra nce
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Co l l a g e E n tra n ce
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As we need to pay special attention to the feel of the spaces for our users, having a curved ramp entry may not be ideal as it is hard to know what is happening ahead.
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The reception was loacated on the basement at the end of the courtyard, led by a curved path that walks pass the beautiful garden. Then the receptionist will guide visitors to the consultation rooms or lifts which is covered.
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As we need to pay special attention to the feel of the spaces for our users, having a curved ramp entry may not be ideal as it is hard to know what is happening ahead.
1. Entry 2. Water feature 3. Central Courtyard 4. Formal Lounge 5. Reception 6. Stairs & lift 7. Mortuary 8. Lift 9. Platform/transition to private spaces
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SANAA aimed to produce spaces and an atmosphere that people can enjoy living and spending lots of time in. They conceived of the building as bright, layered stacked housing with an enjoyable garden. Each garden and room opens toward outside environment while maintaining privacy.
Okurayama Apartments by SANAA
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In s pi ra t i o n
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I terat ion First Level
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Ground Level
Basement Level Central Lift & Staircase
Garden & Water Feature
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S t ra te g y Iteration 1 was designed in a way with different spaces all spread out , therefore iteration 2 was created with a tighter, more interacted layout
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D e s i g n
Variations in controlled spatial volumes - for literal and figurative compression and release, the architecture reflects the emotions of grief, including the process of moving forward. Manipulation of water throughout - Phenomenology, this caters to the sense of sound and has a soothing effect for users. It reduces noise from the external world and can enforce spatial embodiment. Manipulation of light - Light and shadow plays a key role for an immersive experience when embodying each space. Integration of Green Spaces Visual relief and privacy screening. Nature also releases the happiness chemical serotonin. Curved Lines - Privacy through sightlines, no dead ends for easy way-finding
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K ey
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F l o o r Pl a n s In te ri m
Basement Level
Gr
round Level PAGE 65
First Level D I S R U P T I V E H O S P I TA L S -
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S e c t i o n In te ri m
A - A
D I S R U P T I V E H O S P I TA L S -
B - B
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S e c ti o n I n te ri m
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D eve l o pm e n t
D I S R U P T I V E H O S P I TA L S -
Th e o r y
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F u r t h e r
Reviewing Ian Clarkes Design and dignity article we find that Its central thesis is that well-considered design has a significant role to play in the promotion of dignity for patients, relatives and staff in hospitals, It is proposed that a significant goal in the design of healing environments is the promotion of the quality of being for the occupants on a moment-to-moment basis. Patients will need different things, because they will cope in different ways at different times, and so choice and flexibility are therefore imperative However a number of core characteristics are common to most situations and we have noted a few 1. Reduction of adverse direct stimuli, such as glare or unwanted noise 2. Reduction of patient stress from engaging with their environment, such as unwanted invasion of privacy or perceived isolation 3. Patients’ sense of regaining autonomy or the potential for it, providing inbuilt support to a patients latent capabilities. 4. Promotion of the sense of connectedness with the natural world, with something bigger and ultimately more dependable than the self. 5. Avoidance of exposure to the distress or grief of others. 6. Underpinning all these points is the promotion of choice, a central issue to self-worth.
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And o
Tad a o
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“Nature in the form of light, water, and sky restores architecture from a metaphysical to an earthly plane and gives life to space. A concern for the relationship between architecture and nature inevitably leads to a concern for the temporal context of architecture. I want to emphasise the sense of time and to create compositions in which a feeling of transience or the passing of time is a part of the spatial experience.” - Tadao Ando in Arc Magazine, 2019
Key
D e s ig n
S trate g y
Curved walls also featured heavily in our design. This reduces sightlines to increase privacy and allow moments of reprieve without closing off spaces. The curvature of walls also has a ‘hugging’ effect. Studies indicate when people have walls that curve around their backs, necks and head, it has a ‘wombing’ effect which makes people feel safer and reduces anxiety. Natural lighting boosts employee productivity and moods, and helps them feel more energized. In a healthcare environment, employees with access to natural light and views of nature have lower levels of stress and health-related absenteeism, which ultimately benefits patients. Exposure to sunlight will also boot serotonin for patients and families to benefit their mental wellbeing in an otherwise extremely difficult time.
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Refi n e d
Similarly, we have integrated water as a strategy into our design for that connection to nature. The sense of serenity that water brings and The audible effect of running water also has soothing benefits for the users and reduces noise from the outside world.
D I S R U P T I V E H O S P I TA L S -
Integration of green spaces, through healing gardens and courtyards. Evidence Based Design research indicates that exposure to green spaces in health care has a healing effect on the mental and physical wellbeing of patients and staff alike.
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D e s i g n S t ra teg y D i a g ra m by Rebecca Yang
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Compression / Release
Green Space
Curves
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Light & Shadow Water Feature Community
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S p a t i a l D i agram C i r c u la t i o n
&
Private Spaces Green Spaces
D I S R U P T I V E H O S P I TA L S -
Public Spaces
Water feature Public Circulation
Our aim for this building was to create both phenomenological spaces, as well as everyday, homely and mundane spaces. This contrast is in acknowledgement of the different ways in which people grieve. Public spaces such as large lounge rooms can cater for loud families, where as private spaces are intended for deep introspection and grieving
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Back of House Circulation
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F l o o r Fi n a l
Pla n s Our main point of entry leads users down a linear ramp wrapped on either sides by bodies of water. This act introduces the users of the first spatial expression of compression, and metaphorically addresses the stigmas associated with death as users look down the ramp into an open courtyard, which represents the act of release as the spatial volume increases and opens up to the sky and green spaces. Our formal reception is on this level - serving the function of introducing new users to our centre and if needed, performing preliminary assessment meetings of VAD accessibility.
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Meditation rooms line this courtyard space, offering moments of solace and comfort for patients, families and staff. An arrangement of columns occupy the courtyard to break up the expanse
Basement Level
The flow from here into neighbouring zones is defined by moments of transition.
D I S R U P T I V E H O S P I TA L S -
Our building heart is designed as an ‘informal’ reception/lounge shared with an open plan kitchenette used by all.
When leading into patient rooms an arrangement of arches frame the passage, and bridges over water are travelled across to reach patient reserved, private gardens and rooms. Similarly, corridor movements are lined with nook spaces and views inwards.
Ground Level
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All these interior spaces are contrasted by skylights and a large expansive courtyard injecting moments of release as you move throughout the building.
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The first floor is predominantly patient based, containing 6 bedrooms, a kitchen and communal dining space, and staff facilities. In a continuation from the Ground Floor, this floor aims to provide a natural flow of circulation between spaces for users. Framed archways aim to break up the private and public spaces and create a moment of transition.
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Considering and respecting the users of the space, the first floor supports moments of grief, reflection and emotion by providing small nooks and places to dwell, within both the outdoor and indoor spaces.
First Level
A
D I S R U P T I V E H O S P I TA L S -
S e c ti o n s Fi n a l
Section A-A by Hashim Fakhreddin
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A
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B
S e ct i o n s Fin a l
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B
Section B-B by Isobella Lord
Section A-A This section cuts through the recessed courtyard on GF and through two of the patients rooms. Incorporating a recessed courtyard was to create a more intimate and grounding experience for the users and the ramp can also be a transition from inside to out. Considering the patient’s circumstances we have strived to create many small moments within our building. In nooks, under skylights and next to nature.
D I S R U P T I V E H O S P I TA L S -
S e c ti o n s
This section cuts through the ramp as it recesses into the courtyard that serves as our main entrance. The monumental pillars which break up this courtyard reach four metres in height to create visual intrigue for the surrounding community and introducing them to the notion that there are spaces below ground level. These pillars serve as a reminder that there is no shame in death through visual exposure to otherwise hidden areas.
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Section B-B
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Co l o u r s & M a te r i a l s Option 1 Glass
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West Bund Museum Shanghai China David Chipperfield Architects
The exterior is cladded with translucent, jade-like glass, lending the complex an opaline quality. These façades, appearing iridescent during the day and prismatic at night, stand in contrast with the smooth brightness of the plaster clad hovering roof canopies.
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Option 2 Timber Slats
Timber cladding/ slatted woods is a very subtle texture that adds softness and warmth to the spaces.
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Col o u r s & M ate r i a ls
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Co lo u r s & M a te r i a ls Option3 Colours
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Colours can provide people different emotions, such as soothing blue colour is proven to have calming effect to people.
D I S R U P T I V E H O S P I TA L S -
Co l o urs & M aterial s Concrete is know to be durable, sustainable and versatile. It is also very suitable for our curvy building, wall structure.
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Option4 Concrete
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Materior:
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E x terio r a combonation of Concrete, timber and mesh.
As for glass exterior, even though its transluscency and the various lighting effects it could achieve, glass still gives people a cold feel which is the last thing we want.
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Sticking with neutral colours because even though different colours have different benefits to people’s emotions, however bright colours are still very subjective and personal, therefore in order to avoid any aggravation to patients’ mental health, soothing colours are chosen.
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05
I N D I V I D UA L S PAC E D E S I G N
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F i rst F l o o r B e d ro o m s
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TECLA - 3D Printed House D I S R U P T I V E H O S P I TA L S -
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Nayun Xingkongsu Hotel
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Garden Pavilion A Creative Pool project by Nelson Chow
Are a . . . A private residence in China
Nayun Xingkongsu Hotel
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Living
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I n spi ra t i o n s
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Bed ro o m. . . Skylight is an important moment for my design comcept.
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Nayun Xingkongsu Hotel Hangzhou - China
D I S R U P T I V E H O S P I TA L S -
No harsh edges, sufficient sunlight, great view
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Villas in Santorini
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B a t hr o o m . . .
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Bathing is a key experience for the users, a space where people to ‘detoxfy’. Nature, sunlight and reflection are important moments for my bathroom design.
D I S R U P T I V E H O S P I TA L S -
Aranya Children’s art classroom,China by odd
Co rrid o r Curved Walls Warm Colours PAGE 95
Practice in City Urban Ashram-the first “future store”
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Plan
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I ni t i a l S ke tc he s
Bathroom
Bed Lounge Room PAGE 97
Inspiration D I S R U P T I V E H O S P I TA L S -
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This design has a strong focus on internal experience of the patient themselves. Encouraging the introspection, awareness of ones own body and space. When patient first enters the room, on the left theres an arch opening leads to a generous bathroom with a feature bath tub, which patients could either lie down or sit in the bath while enjoying the beautiful scenary to their private garden through the arch opening.
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In the middle theres the patient bed, hugged by a clean curve of timber slats, acts as a screen separating different zones as well as creating a personal space. On the right side theres the dining area. And next to it it’s the living area with a suspended fireplace to add a feature of warmth that brings people together. The lounge again, has the simple, clean curves that appears through the design of this room.
P la n
Finally at rear we have a private balcony that enters through a glass door.
Bed from private balcony
D I S R U P T I V E H O S P I TA L S -
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Bathroom from private garden
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S e ct i o n
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D I S R U P T I V E H O S P I TA L S -
The design is also about senses exploration and self replenishment. Light plays a big role in this design concept. There is a generous amount of opening that allows natural sunlight through, apart from providing brightness, Sunlight also has many health benefits, such as improving circulation of the body, wards off seasonal depression, and Improves sleep. For example the skylight above the shower, providing soothing sensation while experiencing contrast of the Feel of cool tiles under their feet. The bathing experience is a key moment for this design, the opening to the garden allows sufficient sunlight in and when it hits the water theres the beautiful, serene water reflections upon the arched roof which was specially designed for this experience.
I have kept minimal movable furniture to ensure easy wheelchair access. These comfortable dining chairs could be moved around to the lounge area if needed.
Bathroom
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In the middle the patient bed is secured into the bed area.
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Plants are scattered around the spaces, when entering the room you first see the little tree behind the timber slats next to the window in the living area. And a featured plant with dry stones is the first thing you see when entering the bathroom which guides you into an nature embracing journey.
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This room design is focusing on introspection, for patient either by choice or with no choice who chooses to spend last days alone with themselves. The fireplace still brings warmth to the patient physically and emotionally.
Axo n o m e t r ic Di a g ra m
The timber door next to the curved slats directly in front of the room entry is to access the patient bed and able to quickly pull the patient bed out and exit the room when needed.
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Lounge Area D I S R U P T I V E H O S P I TA L S -
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R E FE R E N CES Cogley, B., 2018. Natasha Thorpe uses timber to soften mood at Quebec dental office. [Online] Available at: https://www.dezeen.com/2018/03/07/natasha-thorpe-design-timber-soften-mood-go-orthodontistes-dental-clinic-quebec/ Frearson, A., 2012. Havøysund Tourist Route by Reiulf Ramstad Architects. [Online] Available at: https://www.dezeen.com/2012/06/29/havoysund-tourist-route-by-reiulf-ramstad-architects/ Urdesignmag, 2016. TERMINAL LIGHT SCULPTURE BY KAROLINA HALATEK. [Online] Available at: https://www.urdesignmag.com/design/2016/10/25/terminal-light-sculpture-karolina-halatek/ V, C., 2019. TECLA, the new 3D printed house. [Online] Available at: https://www.3dnatives.com/en/tecla-3d-printed-house-301020195/ Wade, S., 2019. The Luminous Nature Of Karolina Halatek’s Experiential Art Installations. [Online] Available at: https://www.ignant.com/2019/10/09/the-luminous-nature-of-karolina-halateks-experiential-art-installations/
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Zaxarov, A., 2020. Okurayama Apartments by SANAA. [Online] Available at: https://www.thisispaper.com/mag/okurayama-apartments-sanaa
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I MAG E S
THANK YOU W ENDY ZHANG Master of Architecture Design Research Studio B Semester 2, 2020 Swinburne University Unit Convenor - Dr Ian Woodcock Studio Leader - Dr Stephanie Liddicoat