Schematic design…what a battle. While during the development I had been treating this project as a series of empty space for me to fill with amazing architecture, the final stages of schematic saw this tipped on its head. The series of enclosed spaces I had been sketching led to a moment of clear thinking that filled these spaces, which were then carved away to allow the circulation and inhabitation of such spaces. This pushed the project towards a series of positive and negative spaces as a diagram of solid and void. This diagram was incredibly important in recognising the increased control of light that needed to be utilised in order to create an environment suitable for the rehabilitation of individuals coming from an environment of over-stimulation, little physical connection, and a false sense of understanding. The spaces being created would, therefore, be used as a tool to under-stimulate the patient, while moulding the psyche of the public, preparing them as they entered a gallery of artworks which may have any number of unknown effects on the viewer.
The vertically stacked spaces provide an opportunity to achieve these [almost] sublime spaces by simply providing void between the solid elements. These spaces of intense vertical scale with minimal horizontal movement offer an informal alleyway amplifying the [alleyway] experience of the project. This scale is also paramount in creating the spaces required to alter the psyche of the user through a severe control of light, offering only blade like interventions which lead the user to a destination without ever seeing the space they will enter. This forceful element drives the process of circulation [relying on the theory of the “phototropic” nature of humans]. It is an attempt to prepare the public user by offering some insight into the mental state of the patient. The darkness of uncertainty, the confinement and confusion of forced interaction, and most significantly, the trust that the light will lead you to a safe place, even without certainty.