AN ARCHITECTURAL EXPLORATION OF A DANCE/MOVEMENT THERAPY CENTRE A MASTER’S THESIS BY ELLA DAVIDSSON SPRING OF 2021 M OV E M E N T A N D M AT E R I A L I T Y M OV E M E N T A N D M A T E R I A L I T Y An architectural exploration of a Dance/Movement Therapy Centre Author: Ella Davidsson Examiner: Cristiana Caira Supervisor: Lin Tan Chalmers School of Architecture Department of Architecture and Civil Engineering Chalmers University of Technology Architecture and Urban Design Healthcare Studio Master’s Thesis Spring Semester 2021 ABSTR ACT - key words - TABLE OF CONTENTS - index - 01. Introduction 1 Thesis framework 2 Thesis questions 3 02. Background 5 History 6 The practice 8 Methods 10 Design requirements 12 03. Context 15 Location 16 Site analysis 18 Viktoriahuset 24 Vision 28 04. Design studies 31 Sun study 32 Volume studies 34 Volume reduction 36 References 38 Floor plans 38 Materiality 40 Material 42 Space program 46 05. Design proposal 49 Drawings 54 Site plan 54 Plans 55 Sections 58 Elevations 60 Details 64 Perspectives 68 06. Conclusion 75 Discussion 76 Bibliography 78 dance/movement therapy creativity, artistic expression health, psychotherapy Figure 1. The two key principles of dance/movement therapy, stated by Jenny Davidsson, certified dance/movement therapist and university lecturer at Karlstad University. (J. Da- vidsson, personal communication, February 19, 2021) Dance/movement therapy is one of the expressive therapies, using the creation of art as a means for therapy. In contrast to the traditional way of work- ing with arts, the focus is on the process rather than the outcome of the artwork. Expressive ther- apy can be especially useful for people who find it hard to put feelings, experiences or memories into words, as an complementary way of processing. American Dance Therapy Association (ADTA) defines dance/movement therapy as “the psycho- therapeutic use of movement to promote emo- tional, social, cognitive, and physical integration of the individual, for the purpose of improving health and well-being.” Dance/movement ther- apy examens the correlation between movement and emotions, focusing on the holistic view where body and mind are interconnected. This thesis aims to bring attention to the ben- efits of dance/movement therapy as a psy- chotherapeutic treatment by exploring how the typology of a Dance Therapy Centre can be incorporated in the area of Linnégatan in Gothenburg. It seeks to understand how the design requirements of the practice can be embodied and how to develop a program to facilitate the needs. This can contribute to a further understanding of the design choices impact on the psychotherapeu- tic treatment. The proposed building within the framing of this thesis deals with the complexity of an urban site, focusing on spatial organisation and materiality. By working with glass blocks as facade material, the building reaches the state of being translucent, but not transparent. The building is enclosed and provides a safe space for therapy, yet with gener- ous daylight, embracing the playful patterns gen- erated by the illuminated glass block facade. The aim of this thesis is to communicate the bene- fits of, and the need for, a Dance/Movement Ther- apy Centre in Gothenburg, as well as the architec- tural beauty it can behold. Keywords: dance/movement therapy, mental health, urban expression, glass blocks 0 1 . I N T R O D U C T I O N THESIS FR AMEWOR K - quest ions , methodolog y and aim - Purpose and aim This thesis aims to investigate the typology of a Dance/Movement Therapy Centre, to understand how the design requirements of the practice can be embodied and how to develop a program to facilitate the needs. It seeks to understand how material and design can enhance the client’s expe- rience of dance/movement therapy as a psycho- therapeutic treatment and how an urban site can be used as an active tool to make such a practice accessible to all. Methodology This thesis is developed through research for design and research by design. Literature studies, mainly the books of the Swedish researcher and dance/movement therapist Monica Thelin and the American pioneer Joan Chodorow and her writing based on the work of Jung, built the foundation of this thesis. The theoretical framework is complimented with interviews of Swedish dance/movement thera- pists, to understand the specific spatial require- ments of their practice, as well as interviews with dance teachers at a local dance company in Goth- enburg, to improve the understanding of the local context. Design studies, including sun studies, volume studies and site analysis, has further shaped the space program and the proposal, to fit the build- ing into the context of Olivedal and to meet the demands of the urban fabric at the selected site. Delimitations The typology of the project proposal does not cover clients’ potential need for psychiatric treat- ment or further physiotherapy. The program and building proposal of this thesis does not take eco- nomic or political restraints in consideration; the intention is to act as a conversation piece for the future development and use of the site Olivedal 1:3. Reading instructions This thesis begins with an historical background and an explanation of the methods used in dance/ movement therapy, as well as the spatial design requirements for the practise. This is followed by a context and site analysis, and later design stud- ies, to support a final design proposal, represented by drawings and perspective images. The thesis ends with a conclusion, commenting on the pro- cess and results of the thesis work. How can architecture enhance the use of dance/movement therapy as a psycho- therapeutic treatment? How can the typology of a Dance/Movement Therapy Centre be materialized in an urban context? - thesis questions - “Dance/movement therapy can be a helpful treatment for those with mental or psychosomatic problems, for example sleeping difficulties, anxiety, pain, tensions or eating disorders.” (1177 Vårdguiden, 2021) “Dance/movement therapy (DMT) is defined as the psychotherapeutic use of movement to promote emotional, social, cognitive, and physical integration of the individual, for the purpose of improving health and well-being.” (American Dance Therapy Association, 2021) 32 0 2 . B A C K G R O U N D HISTORY - f rom Jung’s theor ies to todays pract i se - C.G Jung The creative arts psychotherapies were first described in the early works of C. G. Jung, a Swiss psychiatrist and psychoanalyst. He wrote a paper in 1916 describing his ideas about access- ing the unconscious using expressive body move- ment. He described the technique he later came to referred to as active imagination, in which a person explores the unconscious mind by dance, drawing, work with clay and other types of artis- tic expressions. Jung’s paper was passed around amongst his students and was not publicly pub- lished until 1957 (Chodorow, 1991). C.G Jung described the practice of active imag- ination with two stages, the first one letting the unconscious come up, and the second one coming to terms with the unconscious. Non-ver- bal medium such as movement, clay or painting can be a catalysator for the process of describing experiences, feelings, and thoughts with words (Jung and Chodorow, 1997). In the middle of the twentieth century, a few pio- neers developed the methods of dance/movement therapy further. Treatment after World War II In 1942, Marian Chace was invited to work at St. Elizabeth’s Hospital in Washington, D.C, a result of the reputation she had as a special teacher work- ing successfully with her patients, using methods involving dance and movement. At the end of World War II, this federal psychiatric hospital was filled with former soldiers in need of psychologi- cal treatments. There was an openness at this time for new kinds of treatments and engagement in group processes, and within the walls of St. Eliz- abeth’s Hospital, “Dance for Communication” was born. The method and work soon developed into the mental health profession of dance/move- ment therapy. In 1947, Marian Chace was the first American full-time dance/movement therapist (Thomas, 1993). Authentic movement During the 1950s, Mary Whitehouse developed Jung’s ideas of active imagination by engaging the body and creating the practice of movement as active imagination, that later came to be called Authentic movement. This branch of dance/move- ment therapy is widely used today by therapist, artist and other practitioners. The Jungian Psy- choanalyst Tina Stromsted argues that this wide- spread use comes as ”a response to a growing need to embrace the wisdom of the body and its essential role in the process of integrative healing, development, and transformation” (Stromsted, 2018, p. 3). The American Association The American Dance Therapy Association was founded in 1966. The first president was Marian Chace, and the association is still working to develop and expand training and research, at both a national and international level (Devereaux, 2016). Dance/movement therapy is, of course, practised differently depending on culture. The therapy in America is grounded in modern dance traditions and does not, in general, embrace other types of dances such as folk, ballet or social dances. In many parts of the world, dance/movement therapy can be seen as a ritual practise present in many kinds of games, festivals, rites and celebrations (Panagiotopoulou, 2011). The European Association Similar to the American Dance Therapy Associ- ation, an umbrella organization for dance/move- ment therapy was founded in Europe in 1994. The first European Dance Movement Therapy Con- ference was held in Berlin, and from this event the idea of a collective association was born. The European Association Dance Movement Therapy (EADMT) is working to “further develop the pro- fessional practise and the legal recognition of the profession” (European Association Dance Move- ment Therapy, 2021). Swedish context Dance/movement therapy is a quite new form of therapy in the Scandinavian countries. It was used in the beginning of the 1980s in workshops with children and youths. In 1991, the first course in dance/movement therapy was introduced at Stockholm University of the Arts. Today, appart from undergraduate studies, Karlstad Universitet offers an second-cycle course (påbyggnadskurs på avancerad nivå) in dance/movement therapy (Svenska Föreningen för Dansterapi, 2021) (Karl- stad Universitet, 2021). The Swedish Association The Swedish Dance Therapy Association (Sven- ska Föreningen för Dansterapi) includes over 20 active dance/movement therapists in Sweden. The association functions within the contact net- work of other related organizations in Sweden and internationally. The ambition of the association is to promote and develop the dance/movement ther- apy method (Svenska Föreningen för Dansterapi, 2021). dance technique/ style psychotherapeutic theory dance/movement therapy method dance/movement therapy Figure 2. Diagram of the three fundamental pillars of dance/movement therapy, developed by the swedish dance/movement therapist Monika Thelin. (Thelin, 2008, p. 29) “Oftentimes the body has a very different story to tell us than the mind. With our mind, we have to create meaning, we have to function, we have to keep going. But there is a lot that happens to us that never gets processed and never gets put into words. People who work with movement and dance will often experience moving through an experience that doesn’t have any words, but that has been with them for a long time.” - Dr. Aline LaPierre (Takieddine, 2020) 76 THE PR ACTICE - chronolog y - Component Mindfulness Exercise Therapist Guided Movement Warm Up Mindful Moving Patient Directed Movement Symbolic & Expressive Movement Reflections & Closure Purpose Develop foundational skills in mindfulness practice. Cultivate mindfulness attitudes: non-judging, patience, beginner’s mind, trust, non-striving, acceptance, and letting go. Transition from verbal to non-verbal mode. Integrate mind and body with warm-up covering three planes. Prepare mind and body for movement—release tension. Coordinate breathing with movement—manage arousal. Transition patients from passive recipients to active participants in treatment. Engage patients as initiators of movements. Mobilize thoughts and feelings that are held in the body. Develop a neutral and objective observing ego. Reduce emotional reactivity – gauge tolerance. Alter relationship with the body. Promote self-efficacy. Increase spontaneity. Improve patients’ experience of reality. Access unconscious material. Express difficult emotions. Maintain safe distance from highly charged content—prevent overwhelm. Transition back to the verbal mode. Reflect on movement experiences. Make sense and make meaning. Discuss insights—integrate new understandings. Mindfulness Exercise Patient & Dance/Movement Therapist Relationship Therapist Guided Movement Warm Up Mindful Moving Patient Directed Movement Symbolic & Expressive Movements Reflections & Closure 1. 4. 2.6. 5. 3. Figure 3. Model of six components guiding a patient through a dance/movement therapy session. This example is based on a study of adult patients in active treatment for cancer or amyotrophic lateral sclerosis (ALS) at an outpatient cancer centre, therefore it is not a generalisation applicable to all sessions (Millrod, 2020). Figure 4. Explaination of the purpose of each component of the model for a dance/movement therapy session (Millrod, 2020). 8 9 METHODS - techniques - Breathing exercises Breathing is a life sustaining function of our bodies, but it also adapts to the state of our emo- tions. When we feel safe and clam, the breath is slow and deep, and as we feel worried, mad, or upset, the breath is faster and shallower, it moves higher up in the chest. When we feel afraid, we might even stop breathing for a second. Learning how to work with the breath, it can be a tool to deliberately control the emotions in our body. If a person feels anxiety or stress, it can be hard to deepen the breath and in this case, breathing exer- cises can be very helpful. It is common to start the dance/movement therapy session with breathing exercises to set the foundation for further thera- peutic work, no matter the theme of the session (Thelin, 2008, pp. 67-68). Body grounding/body centring The body centre is located right underneath the navel and is important to locate to find balance. When we let gravity influence the weight of the body, it can change our posture and energy flow. To be grounded is to feel the connection to the floor or the ground, no matter if you are stand- ing, sitting, laying down or moving. Many people with anxiety or stress have tense muscles and have only a vague connection to the ground and to the body centre, and this could be improved by dance/ movement therapy exercises (Thelin, 2008, p. 69). Mirroring A fundamental part of human relations is to see and be seen by other people. Mirroring is to acknowledge another person and verifying his or her existence, not necessarily by mimicking the movements of the body, but rather respond to, or imitate, the emotions of the body’s signals. This can create meaning, belonging and connection. For a parent/child relationship, mirroring is a means for communication (Thelin, 2008, p.70). Rhythm There are natural rhythms of the body, the beating of the heart and the phase of the breath. As a child, we are rocked to sleep as it is soothing and com- forting by nature. Rhythm can be used to affect our bodies and our movement; it can be a power- ful tool for example in sports and when moving in synchronization. In therapy, rhythm has a structur- ing function, it can create order in chaos, but it is also a tool to express or amplify feelings. Dancing together can break down isolation and exclusion. Rhythm affects the body in a direct way, as it can activate or calm straight to an emotional level, in a way words are unable to. Therefore, the choice of music plays an important role in a dance/move- ment therapy session (Thelin, 2008, pp. 72-76). Kinesphere The kinesphere is the potential space of move- ment of the body, the space that is reachable from the centre. Leonardo DaVinci’s painting of the Vitruvian Man can be seen as a reflection of the kinesphere. This is a visual method introducing personal space to “find” the body, to define and limit the personal space and to become aware of it. This can be a helpful visualisation for a client to learn how to say yes or no in relation to the body, whom to let into the personal space and whom to reject (Thelin, 2008, pp. 77-78). Authentic movement Authentic movement is a development of active imagination, to seek what cannot be explained in words trough movement, to find what you are unaware of. This is practised in dance/movement therapy in two steps. First, the client connects with the unconscious through movement, while the therapist can support either as active in move- ment or as an observer, a witness. Second, words are later used to describe and explain the non-ver- bal experience, to help the client come to terms with what was found (Thelin, 2008, pp. 80-81). Breathing Body centering Mirroring Rhythm Kinesphere Authentic movement Figure 5. Different methods used during a dance/movement therapy session (Thelin, 2008). The following methods are explained and used by the Swedish dance therapist Monica Thelin. In her book “Dansens helande kraft”, she describes her methods as a combination of dance, body therapy, physiotherapy and yoga. 1110 Jenny Davidsson is a dance therapist, physiother- apist and psychotherapist working as a lecturer at Karlstad University. Elisabet Rosén is a dance therapist, psychologist and psychotherapist affil- iated at the Department of Psychology at Umeå University as well as running her own practice. When separately giving their feedback on the architectural elements desirable in the space for dance/movement therapy, they agreed with each other on most features necessary in the room. In general, the room needs to provide a private envi- ronment where the client feels safe to share his or hers experiences and feeling with the therapist. Ceiling height The ceiling height needs to be generous in a room for dance/movement therapy. The client needs to be able to move freely, to jump, reach and stretch arms, without accidentally touching fittings in the roof. This could cause a regression in the thera- peutic treatment (E. Rosén, personal communica- tion, February 4, 2021). Corner for conversation It is important of have the verbal interaction in the same room as the dance/movement therapy ses- sion. If changing the environment, other impres- sions can ruin the moment. Usually, the therapist and the client get seated in a corner of the room or stay on the floor to freeze the moment (E. Rosén, personal communication, February 4, 2021). Soft/warm floor A lot of physical interaction is made with the material in the room. The floor and sometimes the walls are touched and leaned on and should preferably be made by a natural material such as wood. The surfaces should not be cold against the skin (J. Davidsson, personal communication, Feb- ruary 19, 2021). No self-judgement Avoiding the presence of mirrors and posters of performing dancers is important. The aim is to reach the state where you are not seeing your body from the outside, but from the inside. There is no evaluation of the movement or the looks of your body, in contrast to traditional dancing (J. Davids- son, personal communication, February 19, 2021). DESIGN R EQU I R E M E N T S - room for dance/movement therapy - Daylight The room for dance/movement therapy should have generous access to daylight, but with the possibility to cover the windows if necessary (E. Rosén, personal communication, February 4, 2021). Square space To avoid the axial movement generated in a rec- tangular room, the room should preferable be square shaped. The corners of the room can repre- sent safe and “pausing” space, and can be useful in different excersices (J. Davidsson, personal communication, February 19, 2021). Sound privacy Sound privacy is of high importance, as for all therapy forms where talking is involved. A con- versation needs to be confidential, and the walls needs to create a good acoustic environment. (E. Rosén, personal communication, February 4, 2021). Minimize insight It is important that the client feels safe in the room for dance/movement therapy and that the room is a private space. There should be as little insight into the room as possible, from the street outside but also from other rooms in the building (E. Rosén, personal communication, February 4, 2021). “The ‘talking cure’ is not enough, particularly where repressed, preverbal, and/or dissociated material and traumatized affects are concerned. These take up residence in the body, until circumstances are safe enough to allow them to be felt, mirrored, brought to consciousness, and healed.” (Stromsted, 2018, p. 3) 1312 0 3 . C O N T E X T LOCATION - s i te - The site is located in Olivedal in Gothenburg, in connection to the street Linnégatan. 1:1 1:3 1:2 The plot was previously part of Olivedal 1:1, location of Viktoriahuset (Hagabion). Today, the plot Olivedal 1:3 is occupied with paved parking space. Viktoriahuset site: Olivedal 1:1 (2521 m2) Project site: Olivedal 1:3 (1764 m2) 16 17 Cillandi odis di aped que culparum quam hariasp eriatibuscia susci ommo eosame non res velestento quia pa volorepro con- sectur solorpor re quibus alibusa ndendun- dam viderspiciet quiandist quat. Lent voluptaerum faciuscidit preptae con- seque perro odi consecae sunt, ut modiore scienis andit, officaepel maximpor re nus sapis eniminctus. Optiisincti as ad ellaut lant mi, sit, cumquia voluptatis soluptat as restia nullorem iust ea dem aut maximpe rchicatem. Et volup- taesed magnis enest, cusaped uta dolorem- quam, simi, ut ut aped mi, aturitatem qui des explaccust acienduciis magnat denima vendunt minulpa rchilit la diae simin non comnit, cus errovit et laudam lam is ute plandendi bla conet is etur aute re prepe nam doloria ssusam aut od etur suntia voluptas et aut aliquodi de nus voluptat rent aut fugiant inctur molutatium que estem- porem doluptaturio volupta erecae sim ut lacea velesciam rati doluptio temposam quo verchil liquam, te parcipsanto quia quiam aute consequo velluptatiur maione simil idem sitisqu aspediam ipsam eum nonsend usanihitat doluptur? Occaboreptae eosaperum sit abor audae conestistrum hitatquamus, sitat. Fictorem expeliq uaspelignis eos mo et qui as a nis quatetu reictur re, to coribus rest, si cusandic tem quidemquo con platiae secum res et aut quaspedi tendam sin cuscide re natent as nobitiae explit ullendis sitius, everepro officium sedis repra dolupta testia sum doles doleniet eum cor molorio miliq- uia adiscium quidi arciis con perumque ipi- ento ipsunde bissimi, alibero SITE A NA LYSIS - the urban fabr ic - Infrastructure There are three tram stops along Linnégatan with noumerous tramlines and busses operating. The closest one to the site is Prinsgatan, where tram no 1,6 and 8 are operating. At Järntorget, there is a junction for the west-east bound trams as well. 1. Järntorget tram stop 2. Prinsgatan tram stop 3. Olivedal tram stop Green areas The site itself is lacking greenareas in the imme- diate sourrunding, but a few blocks away the hill of Skansen Kronan can be found, where one can enjoy the green environment with a view of the city. South west of the site lies Slottsskogen, a larger city park with trails, open grass areas, a zoo and viewpoints. 4. Skansen Kronan 5. Slottsskogen Buildings The most relevant building in close connection to the site is Viktoriahuset, also known as Hagabion. Originaly, the two sites where one, before the municipality devided the plot. Another building land mark is Oscar Fredrik Church, located west of the site. 6. Viktoriahuset (Hagabion) 7. Oscar Fredrik Church 8. Hagabadet Neighborhoods The site is located on the boarder between Haga and Olivedal, two urban subdivisions of Gothen- burg. “Långgatorna” are four streets in the north area of Olivedal where there is a lot of cultural activities, such as shops, bars and restaurants. 9. Mashuggskajen 10. Långgatorna 11. Haga 12. Olivedal Opportunities Threats WeaknessesStrengths • Natural flow of people at Linnégatan • Central, easy to access by tram/foot • Lack sunlight in afternoon/evening • Dense/no green areas • Relation to Viktoriahuset • Structured urban fabric, housing blocks • Noise from street • Find places to enjoy evening sunlight • Create open public spaces in the city 1 10 9 12 2 3 4 11 8 6 5 7 Site plan 1:4000 1918 As one approaches the site from Järntorget, Viktoriahuset is framed within the view. Photos of facade details of Viktoriahuset, built in stone, brick, and ironwork. 2120 Upper photo: The north facade of Viktoriahuset, displaying strict organisation of windows and facade elements. Lower photo: Houses at Linnégatan, opposite the site. Brick buildings from to different decades neighbouring each other. Upper photo: Nordhemsgatan and the different height of the buildings. Lower photo: Overlooking the site facing north, towards Järntorget. 2322 The city park Slottsskogen began to be con- structed in 1875. Four years later, the water stream Djupedalsbäcken, leading up to the park entrance, was culverted and transformed into the street Lin- négatan. During the last decades of the nineteenth century, houses in stone and brick were built along Linnégatan, Viktoriahuset being the first one to be completed, constructed between 1875-1877. Viktoriahuset was designed by the architect Bror Viktor Adler and was housing Viktoriaskolan for a century. It was one of many schools constructed in Gothenburg in the late nineteenth century, to deal with the needs of the growing population, caused by the large families of the working class and the rapid urbanization. Viktoriaskolan was planned to house 744 children of different ages, and had a gym, workshops, lecture halls, two apartments for teachers in the attic and an outhouse on the courtyard. In 1975, the school moved to new facilities, and Viktoriahuset was transformed to house different associations as well as the cinema Hagabion, part of Folkets Bio. Today, there is about 25 different non-profit organizations with their facilities in Viktoriahuset, all working with issues related to culture, environment, peace, and solidarity (Sty- relsen för Föreningen Viktoriahuset, 2021). V IKTOR I AHUSET - ne ighbour ing context - Figure 6. Original drawing of Viktoriahuset, 1875 (Stadsbyggnadskontorets arkiv, 2021). HAGA BION HAGA BION HAGA BION PRODUCED BY AN AUTODESK STUDENT VERSION PR O D U C ED B Y A N A U TO D ES K S TU D EN T VE RS IO N PRODUCED BY AN AUTODESK STUDENT VERSION PR O D U C ED B Y A N A U TO D ESK STUD ENT VER SIO N Hagabion, Linnégatan elevation 1:400 emphasized basement/entrance level symmetrical and aligned window placement visible vertical structure in facade 2524 Linnégatan, street elevation 1:400 emphasized basement/entrance level, differentiation in material/colour symmetrical window placement and facade elements Currently, there is no existing detailed develop- ment plan for the site Olivedal 1:3. The Prop- erty Management Committee of Gothenburg has developed a proposal and requested a planning notification for the site. If the municipality give a positive response, a detailed development plan will be enforced. The proposal for the requested planning notifi- cation has been developed in collaboration with Norconsult and consists of three buildings in total, two housing units and one preschool. The largest housing unit, placed along Linnégatan, will be seven stories tall, according to the proposal. The courtyard, partly enclosed by the buildings, has the same elevation as the outdoor area of the res- taurant in front of Viktoriahuset, aiming to link the two areas together. The argument of the proposal is the need for hous- ing and schools in the city area of Gothenburg. The Property Management Committee states in appendix 4 of the proposal, “Angående grönyta och förskola i Linnéstaden”: “Stadsutvecklingen av parkeringsytan vid Haga- bion bör fokusera på stadens behov av skola/för- skola och bostäder. Fastighetskontoret har i sin utredning lagt fram alternativ nr. 2 som ger både en förskola med tre avdelningar och ett tillskott av bostäder med verksamhetslokaler i bottenvå- ningen. Med hänsyn till ovan samt att alternativ 2 även möjliggör för kulturverksamheterna i Hagabion att få vara kvar, anser vi att fastighetskontoret ska utgå ifrån detta alternativ i det fortsatta arbetet.” (Bilaga 4 till begäran om planbesked 2019-10-21. Dnr 4959/18. Stadsbyggnadskontoret, 2021) It is true that the city needs more housing and school properties. One could, however, argue that the site in Olivedal is not the proper placement for such buildings and activities. A preschool should preferably not be neighbouring a busy street like Linnégatan, and the lack of open spaces and green areas is profound in the proposal. The semi-pri- vate courtyard of the proposal is primarily for the residents of the housing units and does not bring quality to the public space. There is rather a need for a relief in the urban fabric at this site, with open space for public use. The dense area of housing blocks and the lack of interactive space for pausing along Linnégatan makes this the perfect place for a public square, accompanied with a public building open to all. A Dance/Movement Therapy Centre, and a public outdoor area in connection to it, located at a site like this would give more to the city, improving space for social interaction and putting the impor- tance of mental and physical health on display. V ISION - c i t y development , a d i scussion- Figure 7. Proposal includnig two housing units and a preschool at the site Olivedal 1:3 (Bilaga 3 till begäran om planbesked 2019-10-21. Dnr 4959/18. Stadsbyggnadskontoret, 2021). 2928 0 4 . D E S I G N S T U D I E S SU N STU DY - ident i f y ing dark areas - 10 am W in te r Sp rin g | Fa ll Su m m er 1 pm 4 pm Sun study of the site at different occasions throughout the year; at summer solstice, winter solstice and equinox. During winter, the sun barely reaches the site at all, due to the inclination of Linnégatan. By overlaying the results of the sun study, the south west corner of the site, at the gable of Viktoriahu- set, can be the detected as darkest area. 3332 VOLUME STU DIES - spi t models - “Spit models” are many models produced in a short amount of time, without focusing on details. Almost like you are “spitting” out models. Each model took five minutes for cutting mate- rial, arranging it on the site and take photos. This explorative method was used to further under- stand the possibilities of the site and to blindly experience the unexpected results of “doing with- out thinking”. Some of the models gave spatial qualities to the urban space and to the streetscape of Linnégatan, while some where perhaps more provocative than inspiring. Comments: 1. Overhang. Creating sheltered exterior spaces. Invitation? 2. Free standing volumes. Interrupting or creating an experi- ence of negative space? 3. Stepped gable. Terraces towards inner square. Possibility for performance/audience? Afternoon sun. 4. Free form. Translucent. Playing with sunlight. Texture. Fierce or out of context? 5. Connection. Entrance, indoor/outdoor space. L-shape. 6. Zigzag. Creating division. Perhaps uncentered. 7. Cube. Connecting to urban fabric. Boring or realistic? 8. Emphasised square. Framing the afternoon sun. Unfriendly towards street. Walkable roofs? 9. Twisted tower. Terrasses. 10. How tall is too tall? 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. Volume exploration with spit models, revealing potential qualities of the site and creating an open- minded approach to further design research. 3534 VOLUME R EDUCTION - form f inding - volume block, vertical alignment with Viktoriahuset01 . 02 . 03 . sightline, from Järntorget square with afternoon sun exposure, drawback from the gable of Viktoriahuset 04 . 05 . 06 . level ground with neighbouring outdoor area seamless connection to Linnégatan water fountain, bring in natural element 3736 R EFER ENCES - f loor plans - The dance studios inside the newly constructed English National Ballet in London are square shaped to allow movement in all directions of the room, similar to the design requirement of a studio for dance/movement therapy (Astbury, 2020). The floor plan of the dance school in Lliria shows an example of how to limit exterior view of the dance studios, while still accessing daylight, by layering the windows with thin, vertical wooden elements (ArchDaily, 2013). - English National Ballet in London by Glenn Howells Architects -- Dance School in Lliria by Hidalgomora Arquitectura - 3938 R EFER ENCES - mater ial i t y - The Maison Hermès in Tokyo shows an example of the possibilities with a facade completely built in glass blocks, without supporting structural elements visible from the outside (Miller, 2019). Working with pure glass blocks, architect Hiroshi Nakamura managed to shield of the noise and the view from the busy street outside, obtaining privacy in the garden without limiting the access to sunlight (Fuji, 2020). - Maison Hermès in Ginza, Tokyo, by Renzo Piano -- Optical Glass House in Hiroshima by Hiroshi Nakamura & NAP - 4140 Vetro Group is a supplier of glass blocks in Sweden, providing clients of large projects with glass material. The glass blocks are manufactured in the Czech Republic and weights 2,25 kilograms per piece. They have a sound reduction of 42 dec- ibel and the thermal transmittance value (U-value) is 1,1 W/(m2∙K) at its best. It is possible to further reduce the U-value with 0,1 W/(m2∙K) by adding argon gas between the glass layers, but the effect of the argon gets reduced over time, due to sun exposure. The glass blocks can also be made with bulletproof glass if necessary. (J. Öberg, Vetro Group, personal communication, April 20, 2021). M ATER I A L - glass block s - There is a variety of corner blocks, they can be made round, chamfered or orthogonal. The orthogonal corner piece is glazed to the very edge of the corner. Glass blocks diffuse the view but does not limit the light, it merely distorts it. The glass is translucent, not transparent. 4342 “I work a little bit like a sculptor. When I start, my first idea for a building is with the material. I believe architecture is about that. It’s not about paper, it’s not about forms. It’s about space and material.” - Peter Zumthor (Pogrebin, 2009) The program is divided in two categories: the private space and the public space. Dance/move- ment therapy is a private experience for the client, and the studios are therefore elevated from the entrance level. This is both beneficial in the aspect of disconnecting the client from the everyday noise and sights of the street, but also to create a journey as you do the transition from ground level to the studios. The entrance level is public, housing the restaurant and the reception for visi- tors of the therapy centre. The basement level is private and mainly intended for staff facilities and restaurant kitchen. This floor is also housing the clients’ dressing rooms, accessible with an alter- native staircase. SPACE PROGR AM - public , pr ivate - Spatial program Therapy space Dance/movement therapy studio Clients’ kitchen/break area WC Woman’s dressing room Men’s dressing room Accessible dressing room Reception Lockers Restaurant/bar Indoor restaurant area WC Restaurant kitchen Storage room Refrigerator room Scullery Cold storage Staff facilities Therapist’s office Conference room Staff break room Bicycle storage room Staff showers/WC Supporting functions Storage room Garbage room Technical equipment HVAC systems Cleaning storage Circulation/stairs/elevators Total Quantity 4 2 5 1 1 1 1 1 1 3 1 3 1 1 1 1 1 1 1 4 6 1 2 1 3 - m2 100 70 2-5 20 19 7 40 18 127 3-6 48 3-6 4 6 4 22 25 46 12 6,5 2,5 5 12 23 2 - Total 400 140 19 20 19 7 40 18 127 12 48 13 4 6 4 22 25 46 12 26 15 5 24 23 6 470 1551 m2 Studio Studio Kitchen Bicycle storage room Scullery Refrigerator room Cold storage Storage Storage WC WC Cleaning Cleaning Storage Lockers Storage Storage Accessible dressing room Garbage room Break area Staff break room Women’s dressing room Men’s dressing room Conference room WC Therapists’ office Reception Staff showers/ WC Technical equipment Indoor restaurant area Restaurant kitchen HVAC systems Technical equipment Main entrance floor Basement floor Therapy floors (second/ third floor) pr iv at e (s ta ff) pu bl ic pr iv at e (c lie nt s) Space program for the proposed Dance/Movement Therapy Centre. Space program distribution at different floors in the building, according to level of privacy. 4746 0 5 . D E S I G N P R O P O S A L Linnégatan elevation 1:400 0 2 10 20 m DR AW INGS - plans - DR AW INGS - s i te plan - Site plan 1:500 0 2 10 25 m Ground floor plan 1:200 16. conference room 17. therapist’s office 18. WC 19. reception 20. cold storage 21. storage room 22. technical equipment 23. WC 24. restaurant/bar 25. storage room 26. therapy centre entrance 27. restaurant entrance 16 17 18 19 22 23 24 25 26 27 25 20 21 0 1 5 10 m A A B B +7,0 +5,0 +7,0 +6,7 +7 +4,0 +5,0 Plantagegatan Nordhem sgatan Linnégatan Tram stop 5554 Second/third floor plan 1:200 28. dance/movement therapy studio 29. break area/kitchen 30. WC 31. lockers 32. cleaning storage 28 32 32 28 29 30 31 A A B B Basement floor plan 1:200 1. bicycle storage room 2. staff break room 3. garbage room 4. storage room 5. restaurant kitchen 6. storage room 7. refrigerator room 8. scullery 9. technical equipment 10. HVAC systems 11. cleaning storage 12. staff showers/WC 13. accessible dressing room 14. women’s dressing room 15. men’s dressing room 2 3 12 13 11 10 9 8 6 5 7 4 1 14 11 15 A A B B 0 1 5 10 m 0 1 5 10 m 5756 DR AW INGS - sec t ions - Section A-A 1:200 0 01 15 510 m 10 m Section B-B 1:200 PRODUCED BY AN AUTODESK STUDENT VERSION PR O D U CE D B Y A N A U TO D ES K ST U D EN T VE RS IO N PRODUCED BY AN AUTODESK STUDENT VERSION PRO D U CED BY A N A U TO D ESK STU D EN T VERSIO N PRODUCED BY AN AUTODESK STUDENT VERSION PR O D U CE D B Y A N A U TO D ES K ST U D EN T VE RS IO N PRODUCED BY AN AUTODESK STUDENT VERSION PRO D U CED BY A N A U TO D ESK STU D EN T VERSIO N +4,0 +7,0+7,0 +4,0 5958 DR AW INGS - facades - South elevation 1:200 East elevation 1:200 6160 North elevation 1:200 West elevation 1:200 6362 DR AW INGS - de tai l s - Schematic wall section 1:100 02. 03. 01. 04. 05. Glass block facade detail - elevation and section 1:5 Vertical Ø6 stainless steel rebar Horizontal Ø6 stainless steel rebar Panel anchor and isolation pad Mastic seal Bitumen expansion joint UB support steel 1. 2. 3. 4. 5. 6. 1 2 4 3 5 6 01. 6564 1 54 3 2 6 Rainwater pipe Ø170 Roof construction 5 plastic roof sealing layer 2 anodized aluminium sheeting 9 roofing board - vapour barrier 350-500 thermal insulation 280 reinforced concrete 500 space for installations/ sound absorbers 60 concrete composit aucoustic panels/ diffused LED light panels Mechanically adjustable sunscreen blinds Sheet metal panel, insulated, 50 mm Steel beam, IPE 375x300 mm, with 25 mm fire-resistant coating Studio floor construction 8 solid pine flooring 2 x 9 plywood sheeting 20 elastic bearers 190 reinforced concrete floor slab with screed around underfloor heating 680 space for installations/ sound absorbers 60 concrete composit aucoustic panels/ diffused LED light panels 1. 2. 3. 4. 5. 6. Section details 1:20 02. 03. Basement floor construction 10 concrete finish 80 screed with under- floor heating 300 reinforced concrete 4 bitumen sealant 400 thermal inslutation 350 macadam - geotextile Foam glass insulation Entrance floor construction 10 concrete finish 80 screed with under- floor heating 20 sound impact insulation 230 reinforced concrete Basement wall construction - geo textile 500 macadam 200 rigid insulation 4 bitumen seal 440 concrete 10. 7. 8. 9. 7 8 9 10 Section details 1:20 04. 05. 66 67 PERSPECTI V ES - v i suali za t ions - Staircase accessing the dance/movement therapy studios. With generous sunlight, it invites for a prolonged transition from street level, entering a more private sphere for the therapeutic session. Light has not just intensity, but also a vibration, which is capable of roughening a smooth material, of giving a three-dimensional quality to a flat surface. - Renzo Piano (Piano, 1997) 6968 The dance/movement therapy studio is embedded with two exterior walls completely covered in glass blocks, filtering the sunlight, making the walls translucent but not transparent. During dark winter months, the building becomes a gently luminous landmark. The entrance of the therapy centre is clearly emphasized, and the restaurant has generous windows overlooking the street. 0 6 . C O N C L U S I O N DISCUSSION - author’s comments - Typology There is no building devoted for dance/movement therapy in Sweden today, nor does it seem to ex- ist in any other country in the world. The build- ings always have one or more parallel functions, making the architecture of the dance/movement therapy space a compromise for the therapists and their clients. To define and develop the typology of such a building has been the greatest challenge of this master’s thesis. Function In the beginning of the thesis work, the aspiration was to design a multifunctional centre, an urban hub for yoga, dance, meditation and, of course, dance/movement therapy. As I learned more about the dance/movement therapy practice, I came to understand how it distinguished itself in terms of design requirement and that there was a need for a space solely devoted for the field. It has been an intriguing journey to understand the complex- ity of this specific field of therapy, to understand the vulnerability of a person seeking help and ex- posing themselves, both physically and mentally, during therapy. Materiality Working with the materiality of glass blocks, with its possibilities and constraints, already at an early stage of the process defined the architectural out- come of the proposal. Exploring the qualities of the material added another dimension of the at- mosphere of the building, letting the material be a solution to requested characteristics of allowing daylight but not insight into the studio. The build- ing is enclosed and providing protection from the exterior, but still bright as if you were outside, with the playful patterns generated by the illumi- nated glass block facade. Transition The transition inside of the building, moving up the stairs to the floors designated for dance/move- ment therapy, is an important part of the proposal. The movement from ground level, representing everyday life and tension, reaching the safe space for therapy, is emphasized with a staircase align- ing the exterior facade, where the brightness of the glass block facade is putting emphasis on the journey of transition. Future studies There are ways of which the proposal within this master’s thesis could be improved. The construc- tion could be developed with more sustainable materials such as cross laminated timber, instead of metal beams and concrete columns, to make the project more environmentally sustainable. The choice of not investigating this further has been a conscious delimitation, since the combination of a glass block facade and wooden structure is uncommon and would need proper background research to support the design. To improve the insulation of the exterior walls, additional glass could be added on the interior side of the glass block facade. The choice of not including this in the proposal is to retain the tex- ture qualities of the glass blocks, to experience the architecture not only by sight, but also as haptic design. There could also be a need for improved sun protection of the facade during the summer months, maybe including additional shading de- vices, as the interior sunscreen blinds might not be sufficient. To optimize the acoustics of the dance/movement therapy studios, an acoustic consultant should be involved in the design. To address the possible acoustical adjustments, additional space in the ceiling construction is made available for suitable installations, displayed in the detail drawings. Context The relationship to Viktoriahuset has been one of the challenges of the site. To have such a historical building close by, yet not proposing an extension, is putting the building proposal at test. The solu- tion was to comment the old but with a modern touch, relating the proposed building to the sur- rounding facades with a distinct basement floor and brick-like elements of the exterior, only in glass rather than stone. A proposal in some ways similar, perhaps in its timelessness, but still fierce- ly distinguishing itself within the context. Site The site in Olivedal was a strategic decision of placement for the project. Of course, a Dance/ Movement Therapy Centre could perhaps have benefitted from a context closer to nature with pleasant landscape views. This would, however, made the building and the therapy less accessible, as well as less visible to the public. The placement of the building, at Linnégatan in central Goth- enburg, contributes to reduce the stigma around mental health issues, as well as promote the spe- cific therapy method of dance/movement therapy. “I hope this project can communicate the benefits of, and the need for, a Dance/Movement Therapy Centre in Gothenburg, as well as the architectural beauty it can behold. - Author 7776 BIBLIOGR APH Y - re ferences - Research references Books Chodorow, J. (1991). Dance Therapy and Depth Psychology (7th edition) (pp. 1-2). Routledge. Jung, C. G., Chodorow, J. (1997). Jung on active imagination (pp. 9-10). Princeton University Press. Thelin, M. (2008). Dansens helande kraft (pp. 67-70, 72-78, 80-81). Carlsson Bokförlag. Articles Devereaux, C., Kleinman, S., Johnson, G.M.M. et al. American Dance Therapy Association Historical Time- line: 1966–2016. Am J Dance Ther 38, 437–454 (2016). https://doi.org/10.1007/s10465-016-9239-8 Karkou, V., Aithal, S., Zubala, A., Meekums, B. (2019) Effectiveness of Dance Movement Therapy in the Treatment of Adults With Depression: A Systematic Review With Meta-Analyses. Front Psychol. 2019;10:936. Published 2019 May 3. doi: https://doi.org/10.3389/fpsyg.2019.00936 Millrod, E. (2020) Medical Dance/Movement Therapy in the Infusion Room: A Model for Individual Sessions with Adults in Active Treatment. Am J Dance Ther 42, 61–89. https://doi.org/10.1007/s10465-020-09323-w Panagiotopoulou, E. (2011) Dance Therapy Models: An Anthropological Perspective. Am J Dance Ther 33, 91–110. https://doi.org/10.1007/s10465-011-9118-2 Thomas, D.C. (1993) Foundations of dance/movement therapy: The life and work of Marian Chace. Am J Dance Ther 16, 127–131. Doi: https://doi.org/10.1007/BF02358572 Webpages European Association Dance Movement Therapy (March 1, 2021) Mission Statement https://www.eadmt.com/?action=article&id=43 Styrelsen för Föreningen Viktoriahuset (May 4, 2021) Om Viktoriahuset. http://www.viktoriahuset.se/ Svenska Föreningen för Dansterapi (February 5, 2021) Om dans- och rörelseterapi. https://www.dansterapi. info/?page_id=25 Referenced photos/drawings Webpages Astbury, J. (March 23, 2020). Glenn Howells Architects creates lantern-like school for English National Ballet. Dezeen. Retrieved 9 May 2021 from https://www.dezeen.com/2020/03/23/glenn-howells-architects-english- national-ballet-architecture/#:~:text=Glenn%20Howells%20Architects%20has%20built,that%20give%20 glimpses%20of%20rehearsals.&text=It%20combines%20spaces%20for%20the,on%20a%20relatively%20 small%20site. Dance School in Lliria / hidalgomora arquitectura + Eva Alvarez Salvador + Andreas Feder (12 Jul 2013). ArchDaily. Retrieved 9 May 2021 from https://www.archdaily.com/398725/dance-school-in-lliria- hidalgomora-arquitectura Koji Fuji / Nacasa & Partners Inc. (September 13, 2020) Optical Glass House / Hiroshi Nakamura & NAP [photo]. ArchDaily. Retrieved 9 May 2021 from https://www.archdaily.com/885674/optical-glass-house- hiroshi-nakamura-and-nap Peter Miller. (October 7, 2019). Maison Hermes - Ginza Tokyo [photo]. Flickr. Retrieved May 9 2021 from https://www.flickr.com/photos/64210496@N02/49440924737 Referenced quotes Books Piano, R (1997) Renzo Piano Logbook. (p.253) Monacelli Press. Articles Pogrebin, R. (April 12, 2009) Pritzker Prize Goes to Peter Zumthor. The New York Times. Retrieved 9 May 2021 from https://www.nytimes.com/2009/04/13/arts/design/13pritzker.html Stromsted, T. (July, 2018). Embracing the Body, Healing the Soul, C.G. Jung Society of Atlanta Newsletter. http://jungatlanta.com/articles.html Takieddine, Z. (2020) What it feels like to be safe. A Dance Mag, 03, 98-111. Webpages 1177 Vårdguiden, Västra Götalandsregionen (November 11, 2019) Dansterapi kan ge ökad livsglädje. https:// www.1177.se/Vastra-Gotaland/behandling--hjalpmedel/behandlingar-vid-psykiska-sjukdomar-och-besvar/ dansterapi-kan-ge-okad-livsgladje/ American Dance Therapy Association (ADTA) (May 9, 2021). What is Dance/Movement Therapy? https:// adta.memberclicks.net/what-is-dancemovement-therapy Construction details Books Herzog, T., Kripper, R., & Lang, W. (2004) Facade Construction Manual (pp. 200-201). Birkhäuser - Publisher for Architecture Schittich, C., Staib, G., Balkow, D., Schuler, M., & Sobek, W. (2007). Glass construction manual. (2nd edition) (pp. 175-177). Birkhäuser Verlag AG. Watts, A. (2005). Modern Construction Facades (pp. 90-94). Springer-Verlag/Wien. Magazines Alila Yangshuo (2019). DETAIL magazine, 1/2, 64-65. Art Gallery and Arts Educational Centre in Washington (2009). DETAIL magazine, 5, 464-467. Flagship-Store in Shanghai (2017). DETAIL magazine, 6, 52-57. Laban Centre in London. (2003). DETAIL magazine, 7/8, 791–797. Office Building in Zurich (2019). DETAIL magazine, 1/2, 66-71. Swiss Re Next (2019). DETAIL magazine, 1/2, 64-65. 7978 STU DENT BACKGROU ND - e l la dav idsson - Educational background Master’s Programme in Architecture and Urban Design, Chalmers, 2019-2021 Erasmus exchange program, Técnico Lisboa, Portugal, Autumn 2020 Bachelor’s degree in Architecture and Engineering, Chalmers, 2015-2018 Master’s Studios Architectural Design Studio IV, Autumn 2020 Architectural Competitions, Spring 2020 Reality Studio, Spring 2020 Urban Space Design, Autumn 2019 Work experience NCC Infrastructure, summer employment, 2020 Forum Arkitekter, architectural internship, 2018-2019 Thank you, Jenny Davidsson, Elisabet Rosén and Elodie Labonne, for sharing your knowledge in the field of dance/movement therapy. Joakim Öberg from Vetro Group, for material samples and inspiration. Lin Tan, for your support and enthusiasm. My friends, for enjoying this final piece of education together. And to Anton, of course.