Produced and published by RMIT Interior DesignSchool of Architecture and DesignRMIT UniversityMelbourne, Australia

2010

Editor: Suzie AttiwillPublication Coordination and Design: Alice Kohler

ISBN 978-0-9808101-0-3

Copyright © 2010 Individual Authors.All rights reserved. Apart from any use permitted underthe Copyright Act 1968 no part may be reproduced, stored in a retrieval system or transmitted by anymeans or process whatsoever without the prior writtenpermission of the publisher.

Cover image: drawing for Beyond Building ballotingposter and briefs by Rosie Scott, 2008.

contents

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13

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35

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student projects

Alice Kohler//‘Come Into Your Shell’

Suzie Attiwill//Beyond Building

Florian Kaiser//‘On Process & Positioning’

Narita Di Loreto//‘Crossing Thresholds’

Gregory Nicolau//‘Who Cares Wins’

texts

Tina Dimanivong//‘Repairing The Outside, In’

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Suzie Attiwill //Interview with Gerard Jones

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Rosie Scott //The Interior SItuation / Process

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74

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student projects

Nicholas Visser//‘Make Yourself at Home’

Yi-Zhen Kueh//‘Redefi ning Space to

Create Place’

Jana Mudano//‘From Space to Place’

Sarah Jamieson//‘Making’

63 Katherine Archibald//‘Peeling Back the Layers’

57 Dinah Lim Fat//‘Where You Sit is Who You Are’

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Beyond BuildingSuzie Attiwill

Beyond Building was a 2nd and 3rd year interior design studio held in 2008. The brief for the studio challenged students to examine how interior design might affect and benefi t the physical and emotional well-being of young people who have been placed into out-of-home care for any period between two months and eight years. Many of these young people have encountered abuse – physical, psychological and sexual – and some also have drug and mental health issues. While the residential care units should be an environment which not only protects these young people but also offer therapeutic support, the functional nature of the design of many of the units undermines the potential of environment in relation to well-being.

The studio developed from an initiative of Gregory Nicolau, a consultant psychologist who works with these young people and residential care workers. Gregory contacted the interior design program to see if it was possible to involve students in re-thinking the interior environment of the residential care units. After discussion and clarifi cation around the differences in approach between interior design and interior decoration we decided the best vehicle for addressing these issues was a design studio. The design studio sits at the core of the program’s pedagogy. Studios are project-based and each studio is dedicated to research through design of a project. Students learn through doing, through the actual process of design, as if working on an actual project. This approach emphasises the value of engaging ideas where design becomes an agent of change. Students produce different design scenarios – making propositions and projecting possibilities – in response to an initial brief/problem. The outcome from one studio is a collection of diverse design propositions addressing the design studio brief.

Each studio is led by two academics and involves 15-20 students. Beyond Building was led by me with Rosie Scott, a 2007 graduate from the interior design program whose research practice addresses communities and design as a strategic process. Gregory was also a vital contributor to the studio – presenting workshops on trauma for the students, providing guidance and expertise as well as insightful critique to developing ideas and projects.

Gregory’s initiative raised a number of issues in relation to interior design that made it critical to involve students in re-thinking the potential of interior design in this context. Interior design is a practice concerned with the relation between people and their environments in terms of inhabitation – both physically and subjectively. Therefore what could this relationship be in the context of residential care units? How could it develop? Can/how might interior design transform these environments into spaces which provide a therapeutic environment? What would this involve in terms of interiors?

We called the studio Beyond Building as an invitation to students to consider the question of interior design as a practice not confi ned to/contained by the inside of a building. Instead the invitation was to think about interior design in terms of relational conditions – between people, programs, different times of day and night, schedules, colour, light, tactility, psychological and affective qualities of design and interiors. This also shifts design as practice from one concerned with structures and physical form to one which takes into account temporal as well as spatial conditions, for example programmes and activities.

The studio involved a series of site visits. Our access to residential care units was limited to four site visits and only at times when the young people in residence were not there. We were able to meet some of the residential care unit workers. While this was expected and understandable, it was challenging for the studio as the development of an interior design brief involves developing a relationship with/understanding of those who will inhabit the design. Therefore the opportunity to meet with young people through the CREATE Foundation was an important moment in the development of projects. During the site visits, students were asked to conduct a situation analysis – ‘situation’ as distinct from ‘site’ highlighted the interior approach to the project as one concerned with an analysis of spatial-temporal conditions – physical, emotional, psychological and relational.

For their fi nal project, each student selected and developed a proposition for one residential care unit. They presented these to an audience which included people from the Department of Human Services and others. Gerard Jones, manager of the Residential Care and Sector Development (DHS), was a panel member together with government architects who were in the process of fi nalising designs for a new generic residential care unit model. The opportunity to present their designs to such an audience was invaluable for the students as they were keen to make a contribution to the sector. Through the various scenarios presented, the potential for change is activated. As such, it is not a question of solutions to a problem that their design propositions offer so much as the potential for thinking differently. As a form of research, they make such thinking available in a rich and engaging way which invites and incites further thinking and possible solutions. Posters of each proposition were produced

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by the students to be displayed on the walls surrounding the 2008 Kic Start Conference convened by Gregory.

Beyond Building has led to a second studio Beyond Building 2 in semester 1, 2010 led by Rosie with Jhana Pfeiffer-Hunt and a new group of interior design students. This studio moves beyond the existing residential care unit approach to pose the question and potential of the concept of a village-like environment as distinct from individual units. The studio considers this proposition within three different types of environments – urban, suburban and rural. We plan for this design research collaboration between the program and Gregory to continue with future projects incorporating design studios and extending to postgraduate research.

What follows here is a collection of texts from those close to the studio – Rosie Scott, Gregory Nicolau and an interview with Gerard Jones. These are followed by a selection of the students’ design propositions. Thank you to all these people and also to Alice Kohler, one of the students in Beyond Building, who has coordinated and designed this publication.

Assoc Prof Suzie AttiwillProgram Director, RMIT Interior Design

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The Interior Situation / ProcessRosie Scott

Part of the challenge for a designer working within the realm community or social concerns is developing proposals that respond creatively and sensitively to the complex needs of the group of people you are designing for. It can be very diffi cult to understand the system of relationships in a problematic, social situation, especially one where children suffering trauma (who may have also been physically or sexually abused) live after being taken away from their families. You cannot work off assumptions, for to do so would miss the point. It would be an outsider’s perception of how things could be better and would probably result in unconvincing design that does little to cause positive change, which is ultimately what we hope to do in this kind of work.

At the outset of the Beyond Building studio, we recognized that we had very little understanding of the situation of residential care and we didn’t know exactly what the right processes were to work through the projects. What we did know was that we wanted to work inside out, to explore the relationships, connections and encounters that happen between people and space – the situation. This required our thinking to work beyond the built fabric of the environment, beyond the traditional architectural typologies, so that we might offer innovative, insightful and relevant design proposals. In groups, the students undertook a process of ‘situation analysis’ of four different residential care units in Melbourne’s northern suburbs. We specifi cally differentiated the word situation as opposed to site – where the traditional research mode of site analysis studies all the physical elements of a site (site measure, built elements, site orientation, weather, landscape elements, user groups etc). A situation analysis looks at how the relationships between these

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things and the site’s occupants; this is an important distinction as it can be seen that it is the situation of the residential care units that is problematic rather than the site or the users independently.

This process of situation analysis uncovered some incredible observations and opportunities for the students to work with; from Alice Kohler’s work around control and expression in an adolescent unit to Tina Dimanivong’s understanding of damage in an under 12 house and its relationship to ‘storms’ (emotional and physical outbursts from the children). The insights from the process gave the projects great power and relevance.

Many of us involved were impressed and often moved by the sensitivity and insight of the students’ work. It was immediately rewarding to feel that the studio was contributing ideas back into the residential care system, having external guests from DHS at the fi nal presentations to see the projects. In a broader sense the studio was also contributing to interior design practice; by exploring and developing of a way of working, a process; which in turn helped to position the role of the interior designer in this kind of situation.

Rosie ScottSessional Lecturer and Interior Designer

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Who Cares WinsGregory Nicolau

“In Victoria, the approach to the care of children in the Out of Home Care Sector is fragmented. Residential care in particular struggles to meet the therapeutic and treatment needs of these vulnerable children and lacks a formal, systemic, integrated approach to address the physical, psychological and spiritual requirements of children who have experienced trauma through abuse. Whilst the government and non-government sectors are full of very committed and highly motivated workers and carers this does not necessarily translate into better outcomes for children. If you don’t have the tools and resources to repair a damaged house, placing bandaids on it will only stave off temporarily its inevitable collapse.”Nicolau, Kic START Conference Key Note Address 2008

In 2008 after several consultations in ‘residential units’ I was of the opinion that the Out of Home Care sector needed to think more creatively about how we accommodated children in care. Many ‘homes’ (called residential units) lacked an environment that could in any shape or form constitute a ‘therapeutic space,’ that assisted and enabled both staff and children to ‘heal’. With this in mind I approached the RMIT’s Interior Design for help. In my ignorance of Interior Design – I thought they would choose colours and move furniture around – something quite cathartic occurred. Second and third year students were given the opportunity to refl ect on the use of space and light in relation to the physical, psychological and spiritual needs of our most vulnerable children, those who have experienced physical, sexual, emotional abuse and/or neglect. What they did was not only to open up my eyes to the possibility of doing things differently but also contributed signifi cantly to the

thinking of those in a position to make a difference within the Government and the Department of Human Services. This project has directly infl uenced changes in the architectural plans of the next generation of ‘homes’ for children in care, a shift that will provide a warmer, homelier, and more therapeutically ‘healing’ environment. Through this partnership between START, Prime Focus Consulting and RMIT new ‘doors’ have been opened to us in the way we think and create space and light as contributing elements in the healing process.

Gregory NicolauConsultant Psychologist

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Interview with Gerard Jones Suzie Attiwill

Gerard Jones was a panel critic for the fi nal presentations of the Beyond Building studio. He is the Manager of Residential Care and Sector Development at the Department of Human Services. It was valuable to have him there as he made connections between the students’ projects and what was currently happening within DHS in relation to the design of residential care units. We – students and staff – found it immensely rewarding to be able to present the outcomes of the studio to him as well as other colleagues from the out-of-home care sector who attended. I followed up with Gerard and asked him for his thoughts on some of key issues.

Gerard, what are your thoughts on current residential care units in terms of issues of space and design?

The older units are a mixture of very poor design and some better design in more recent times. There are many issues identifi ed by our various Post Occupancy Evaluations and also by the interior design students at RMIT. The key issues which seemed to come up in the work done by the RMIT students were around safety, dignity and a feeling of “home” or a good place to live. In many of the designs we have done in the past in both the new builds and the refurbishments we have tried to create safety but have actually created spaces which force kids into their bedrooms as the only place they feel safe. The homes are often very dark and there has been no real connection to the outside. This is an issue for us as many of our traumatised young people will hide from the world and we really want them to come out of their rooms and learn to be part of the world around them.

However we have great hope for the new design concept for Residential Care Homes which has been developed over the last 12 months. It has picked up on many of the themes from the RMIT work and I think particularly in the idea of safety we have added design features which directly refl ect work done by your students.

Your thoughts on the role of design in residential care?

We are piloting new models of Therapeutic Residential Care in Victoria and it is essential that our homes match our therapeutic intentions. Our new designs provide light fi lled safe places for our young people to live in. An example of other signifi cant rethinking is the fact that each young person will now have in the new designs their own ensuite bathroom and a semi independent space outside their bedroom where they can gradually move out of their rooms or where they can retreat to if they are not comfortable in the general living spaces.

What was your response to the Beyond Building studio – overall and also to the students’ projects?

I personally thoroughly enjoyed the experience of hearing the students’ presentations and the thought and research they had put into them. There are elements of our new home designs which are directly derived from the ideas and thoughts of some of the students. As mentioned above, the issues

raised around dignity and safety led to the inclusion of en-suite bathrooms for all bedrooms and the creation of a semi-independent space in front of each of the standard bedrooms. It was also great to have at the presentations our two project architects who were working on our design review project and we have discussed the day often since then.

What kinds of things do you see a design studio being able to offer to an organisation like DHS?

One of aims in our work is to hear the voice of the child in all that we do. The design studio was an interesting and innovative way for us to hear what our young people in residential care are saying about how they feel about where they live through the eyes and ears of other young people whose training is to interpret and then design.

Is there the potential for collaborations / partnerships between DHS and RMIT University along the lines of the research that a design studio can offer?

My view above is where I think we can have further discussions. We use a number of organisations to get the views of our young people including CREATE and REACH. The specialist knowledge and skills of your students may be very useful in the future around the building-related issues which we face.

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Repairing The Outside, InTina Dimanivong

investigations into repair

images:www.learningtoloveyoumore.com

step 1: blow a balloon into the hole in the walluntill it fi lls the hole

repairing a hole in the wall:

+ +materials needed

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step 3:paper mache two layers of newspaper over the balloon

step 4:allow to dry

step 2:cut newspaper up into small squares

The site that my project is dealing with is a residential care unit for children under the age of 12. The main focus of my project was to explore the ideas of damage and repair and proposes the question “can damage and the physical act of repair shape our experience within a space?” This was inspired from a quote from Greggory Nicolau, in his introductory talk to the class - “houses that are repaired tend to assist in the therapeutic, rehabilitation process”.

Through my exploration on the ideas of damage, I realised that damage was not just caused physically, but can also occur emotionally and psychologically as well. Due to the trauma that the children in care have experienced they are often considered as being “damaged”, therefore I wanted to explore the possibilities of repair and whether the physical act of repair could encourage a process of healing within. Repair is not just to make good again, but rather the process of repair which transforms the damage into something else to signify a process of healing and moving forward.

The fi nal design proposition is a Repair Manual, which is directed at the children of the residential unit. The methods of repair outlined in the manual utilise recycled and ready made materials.These methods are not set and are designed to be adapted and changed to the situation. I want these methods to be a starting point/ the building blocks for the children to utilise and adapt the methods to become activities of creation. Blank pages are provided at the back of the manual to encourage the children to create and come up with their own methods. This will encourage and enable the design to be ongoing process.

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Come Into Your ShellAlice Kohler

The shell acts as a protective device for the young people in residential care units

Through the situation analysis, three main elements came forward as important shaping aspects within the environment. Each aspect was more active within different areas of the unit, and this was a key to understanding the space, and how it is being used. These elements were expression, found in the young people’s bedrooms; protection, found in the carer’s offi ces; and control, found in the public areas of the house,

My project seeks to create a physical and emotional protective shell for the inhabitants of the residential care unit. It can be put up and taken down according to their needs at the time, and engages the young people to form relationships through the act of making and building up the screen. Through the act of making the shell, the young people engage in the transformation of the environment in residential care units through the introduction of change and control.

The carers may also use this as a system to understand potential ‘storms’ of young people, and are still given visual access to those behind the modular wall. The young person can experience a greater level of control through the building of the room divider, as well as creating a feeling of privacy in public spaces.

The design acts as a catalyst for initiating change in the residential care unit, with a movement towards responsive spaces and monitoring systems as a potential framework for the design of new residential care units.

Using the empowerment model of youth work we see that young people who experience a lack of control in their own lives may act out. This ‘acting out’ may manifest itself in angry outbursts, physical or emotional bullying, or even through the destruction of property. The balance between control for safety and discipline and the functioning of a normal household can be hard to achieve. The purpose built residential care units in the future may use this ideology as a ‘kit of parts’ to help understand the implications of design.

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On Process & PositioningFlorian Kaiser

Having changed from another Australian university to RMIT, Beyond Buildingproved to be a double challenge: to adjust to a new program but also to rethink my position/role as designer.

Although Gregory briefed us before we did our fi rst site visits, the state of theunits we saw was pretty upsetting to me. It showed me again the gap betweenparts of our society and it fi lled me with a certain shame and embarrassmentthat such a gap is possible in a wealthy country like ours.

The visits to the units provided me with valuable insight into the challenges and problems the care workers face on a daily basis. The workers were generous in sharing their experiences and we, as a group of design students, were then able to ask questions, some of them more general, some of them design-related. My initial response was, that I as a designer, needed to stand back and observe what presented itself to me on site. How could I see the true situation, understand it and where could I see the possibilities for change? I felt that there was richness to the bedrooms in the units, whereas the common areas seemed sparse, empty and uninhabited. The bedrooms were overfl owing with signs of life; with marks residents had left there. It was obvious that residents were eager to leave a mark, to mark territory, where the ownership of the common areas seemed unclear.

I was able to refl ect on my experiences and from that my positioning emerged.The position of passivity was new to me and was caused by the stories I hadheard and the impressions I had seen. I felt that I needed to be sensitive in mydesign-approach – not only to the site but also the social situation. To rush

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in and propose changes in certain areas of the units did not seem right, as the problems were more complex and this would have neglected the other areas in the units. As a designer I did not want to focus on a particular area within the units but rather address the spatial perception of the residents and workers. Ultimately this proposal failed. I shied away from a bold approach. But over the course of this project I was able to gain a new understanding of my position as a designer and this has informed my design projects since.

The ethical design approach to me involves standing back, involves listening and engaging in conversations and collaboration. It involves a certain awareness of social issues and the ability to connect with people on many different levels. In this project I didn’t fi nd my voice. But the juxtaposition of being silent and sensitive at the beginning of a project and then developing a clear and strong proposal is what is emerging as a new method of working for me. It is the tension between the silent and the loud that I want to explore further.

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design experimentationFlorian Kaiser

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Crossing ThresholdsNarita Di Loreto

This project is an exploration into the idea of Crossing Thresholds and how this simple, physical act of moving through space can consequently affect one’s emotional and psychological state. This idea responds to what I identifi ed as being extreme and confl icting conditions which currently exist within the residential care units.

These factors are usually the intangible forces which contribute to the overall morale of the spaces. An example being the comfort and security felt in the bedrooms of the youths (private spaces) in contrast to the anxiety, restrictiveness and intimidation felt within the rest of the unit (public/shared space).

In response to these issues the fi nal proposition was to design and create a gradual experience of transition which focuses on methods to achieve a sense of diffusion through space. As a result, creating a more calming and progressive experience for the inhabitants, as well as creating a fl ow and connectivity throughout the unit, both visually and psychologically.

The logic is that if this is achieved, an overall greater feeling of comfort within the whole environment will cascade and effect other areas positively, such as establishing a greater sense of community, improved use and respect of communal spaces and further interaction between both carer and youth, and between youths.

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My design is only one proposed outcome from which could potentially be a series of design responses using the strategy I have implemented regarding the area of concern identifi ed. Essentially this project delivers a new way of thinking about the sensitive issues surrounding residential care housing from a design perspective. I have chosen to manipulate surface to achieve this desired atmospheric change and transition, as it can be applied and adapted to suit any existing unit and would be a fi nancially viable option.

The pixel graphic was chosen because it represents the idea of a singular element which although may be considered simple, plain or ineffective on its own can begin to produce quite detailed and beautiful images as a collective, a metaphor I thought fi tting for this environment. At the points in space where there are existing thresholds, the pixel pattern is at its greatest density. The random application of pixels will then disperse out into the surrounding spaces on either side of the invisible thresholds, even scattering onto the ceiling and fl oor. This creates a visual extension of the space while acknowledging the areas of intensity and attempting to draw them out within the subconscious.

The surface fi nishes of these pixels vary in shade, tone, refl ectivity and texture and will appear to transform throughout the span of a day, changing qualities with the light and creating renewed and engaging spatial experiences, which animate the space and liven the otherwise dull interiors.

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Where You Sit is Who You areDinah Lim Fat

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The residential unit is not perceived as a home for their residents. The situation analysis shows the contrast between private and public spaces. The bedrooms are full of self-expression and life whereas the communal spaces are empty, cold without any ‘traces of life’.

In proposing to encourage a stronger sense of personal identity through the active action of sitting, the project aims to refl ect on ‘where you sit is who you are’, in exploring the different relationships and scenarios between corporeality and space.A design strategy was developed throughout looking back at a detailed situation analysis of the unit, setting up objectives and opportunities but also being aware of the different obstacles.

Taking in consideration the problem of a low-cost budget and the issue of self-harming, the tactic was to use the idea of up-cycling and soft materials.Therefore, experimenting with a variety of materials the project explores the possibilities of adding value to things that are not considered as such, giving them a new feel, a touch of softness.

The design proposition, based on the active action of sitting, emphasised in building a stronger sense of personal identity; in changing, shifting the views, allowing scenarios and interactions to happen within the environment and their residents.

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Katherine Archibald

Peeling Back the Layers

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This project explored the concept of blurring boundaries between inside and outside the residential unit in order to analyse if it is possible to facilitate and encourage the use of the therapeutic external environment by the children and carers.

As well as negative elements there are many positive elements in the unit whichcould be better utilised. I feel my role is trying to create better connections between these positive elements rather then correcting broken or negative elements.

Analysis and exploration of this project involved the design and developmentof insertions that will act as an alternative to the existing security grates on the windows. This second skin helps to visually and psychologically blur the boundaries between outside and inside.

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MakingSarah Jamieson

change me

change me

change me

change me

This project operates within the understanding that the interior is a dynamic relational structure constructed from physical, social and psychological relationships. In the context of this brief, research identifi ed the ‘process of making’ as an agent of relational transformation.

This project works with carers and residents to facilitate encounters that transform relationships (and therefore, transform the situation) through the ‘process of making’. An analysis of the existing conditions of a case study residential care unit was converted into a series of situation based making projects designed to shift the existing relational conditions. The projects are translated into simple doing directives & printed on stickers.

‘Making’ is offered as an annual subscription in which a pack of stickers are posted to residential care units monthly.

The sticker packs contain three types of stickers; action, event and time stickers. Action stickers are expressed as simple doing directives such as ‘change me’, ‘colour me’, ‘shuffl e me’, ‘fl ick me’, ‘move me’, ‘bake me’, ‘stencil me’, ‘meet me’ and ‘show me’. Event stickers with blank spaces to be fi lled out by the user, include ‘ _______ hour’,’ _______ day’,’ _______ swap’, ‘_______ tour’ and ‘ _______ comp’.

Both action and event stickers may combined with a completed time sticker. Through applying the stickers, residents & staff interact to transform existing objects & surfaces into potential actions and events. The interior becomes a situation that is constantly made and re-made.

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Make Yourself at Home

Nicholas Visser

make yourself AT

home

make yourself AT

home

Both residents and carers are literally invited to ‘make’ themselves at home through a process of designing objects. This ‘process’ of design is intended to benefi t both individual and the collective, and provide an enriched therapeutic environment for all. Invited to undertake a 5-week workshop, participants are taken step-by-step through the process of design (assisted by a designer). The program is ultimately intended to be on-going, with the full potential to run autonomously.

The young people are each allocated one sheet of material (2.4m x 1.2m), and all pieces (components) are asked to come from that one sheet.

The fi nal design will need to be approved by the majority of the household. Once the design has been approved, all drawings and models will be sent to the manufacturer. The company will fi nalize the design, organize all the joinery, eliminate structural problems and cut out the components. These components will then be sent back to the house for assembly.

So, how does it all work?

Week 1. Introduction, Research and IdeasWeek 1 introduces the program to the household, an explanation of ‘how it all works’ is offered up along with examples of previous work, possible ideas and inspiration.Participants are asked to think about:• What is needed or missing within the household?• What could enhance or better the household?Participants are invited to do their own research, surfi ng the Internet or a visit to the library. Websites and recommended reading are provided.

Week 2. Initial Sketches and EvaluationWeek 2 invites participants to try and sketch as many ideas as possible. Residents are encouraged to assess these sketches and ask another house member for feedback.

Week 3. Selection and Model MakingResidents are encouraged to select 3 of their strongest concepts and make a model for each. It is asked that all models are built from card and at a scale of 1:10, 1m equals 10cm, so a 2.4 metre long tabletop = 24cm long model. This model making stage is critical to the success of the project as the majority of problems will start to reveal themselves allowing for modifi cation, If the concept works in card there’s a good chance the fi nished object will be successful.

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Week 4. Model EvaluationWith the assistance from the designer and other house members, the participants are encouraged to evaluate, refi ne and remake their models for fi nal presentation.

Week 5. Final ApprovalParticipants are asked to submit all drawings/models/fi nishing details to the household; the concept needs to be approved by the majority before it can be manufactured.

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Redefi ning Space to Create PlaceYi-Zhen Kueh

“Redefi ning Space to Create Place” is a project that explores the possible outcomes in which interior design can offer in terms of providing a more cohesive living space to residents of a particular contingency unit, where young people are assessed then transferred to residential care or foster care accordingly. Their stay may vary from days to months so the unit has to prepare for the different possible scenarios.

Seeking to mediate the disjointed temporary and stagnant environment inhabited by children in care and their carer, the project focuses on incorporating physical and sensorial qualities into the communal and private spaces that can be activated in response to the different situations the contingency unit may be faced with. These qualities could mediate the transition of young people from traumatic backgrounds into a foreign environment by redefi ning boundaries within the unit, allowing the potential for positive interactions between and within spaces. With the idea of activation in mind, the contingency unit will be divided up into three scenarios. Flexibility is an important aspect as the house is activated according to its inhabitation.

Scenario one looks to accommodate 1-2 young people, where only particular areas will be activated i.e. smaller living area, bedrooms close to one another. This smaller but more intimate unit may encourage more close engagement between carer and young people but also attempt to aid the transition of the young person into a foreign environment. Young people may feel less intimidated in this scenario as compared to occupying an entire unit. Sliding panels are used to open up a smaller but more intimate unit. Perforation on the panels allow light to diffuse into the space Scenario two accommodates

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3-4 young people, where it involves opening up some spaces, allowing occupancy throughout the entire unit, expanding the communal and private areas. Sliding panels open up the entire unit. Spaces are converted into a communal area, whether it is being used as an extension to the living area or an activity room.

Scenario three is a situation where maximum occupancy (5 young people) is reached. Here, part of the communal area will be transformed into a bedroom, expanding the private area within the unit. Sliding panels close off the extended part of the communal area to open up a bedroom for the fi fth young person.

Other concepts of activation are the brightly translucent fi lm on the exterior, which illuminates the spaces and as sun shines through the screen, colour shadows are cast across the white bleak interior. Smaller parts of the windows can be opened, allowing air fl ow into the house without having to lock the windows for the young people’s safety. During the day, light passes through perforated screens in the living area, projecting coloured pixelated pattern across the ceiling. At night, it becomes an installation on its own, generating warmth within communal area with its coloured glow. The pixelation idea extends onto the bare walls of the bedrooms, where foldable coloured panels can be used as shelving units according to occupants’ desires. The perforated screens in the bedrooms act as a fi lter to veil inner spaces from the outside and allows occupants to dwell inside their bedrooms against a light but calm backdrop. Perforation on screen allows light into space, creating a patterned effect on the interior, bringing vitality to stagnant spaces.

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From Space to PlaceJana Mundano

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I think that for the young people in residential care to deal with their personal issues and go through the necessary therapeutic processes, it is essentially important that they feel comfortable in their environments. The act of expressing themselves is also an important component of going through the healing process, and this can only happen if they feel comfortable to do so.

At the moment, it appears that the young people spend most of their time isolated in their own bedrooms rather than interacting with each other and the care workers in the communal spaces of the unit. This restricts the possibilities of positive affi rmation, relationship building and expression of the thoughts and emotions they may be harboring.

If the young people had a sense of place within the unit, rather than feeling indifferent to it, it would contribute to them feeling comfortable to express themselves and socialise in all spaces of the unit, rather than shutting themselves away in their bedrooms.

To create a sense of place is to transform a physical environment, space, into one which has meaning, brought about through lived experiences, relationships and interactions within that space. Therefore, to confi gure space through interactions with the body, produces a sense of inhabitation, hence place. Studies carried out showed how the current confi guration of the unit inhibits and restricts particular bodily interactions and movement to and throughout the communal spaces of the unit. The current confi guration of the unit is inhibiting to movement and interaction within the communal spaces due to their arrangement being disjointed and separated.

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The care worker at this particular unit said that if someone initiates interaction in the communal rooms, the others are likely to join. Visual access into the communal spaces by the young people is also currently obstructed and limited. With limited visual contact, these social interactions that could be potentially occurring in the communal spaces are unknown and intimidating to the young people.These kinds of interactions may or may not be occurring, it’s a matter of assumption. But even if they are, chances are they’re occurring in isolation. The living, kitchen and meals areas are all divided from each other by walls.

In considering the planning of units and reconfi guring the layouts, bodily interactions and movement throughout the space becomes more of a natural fl ow and is more inviting. With careful consideration given to the arrangement and confi guration of residential units, the potential for social interaction and positive relationships can become much greater.