Week 10

Monday Draft submission

Exterior, Interiors

Connor Hamill

Abstract

Intro

The nature of space is a fundamental element in design, but so too is the space for nature. In this instance, space refers to the development of the courtyard, which has in a number of guises, become both an internal and external space. The term ‘courtyard’ traditionally refers to an unroofed area that is completely or partially enclosed by buildings, typically a castle or large house (Lea, 2008).  They were also designed for a wide variety of uses such as food production, recreation, animal husbandry and cooking and they were located inside the urban dwelling (Marcus, 2016).

The courtyard has a variety of benefits. According to (Agboola & Zango, 2014), it acts as: playing ground for children; cooking area for women; washing area; space for craftwork; family gathering area; for festivals and feasting (for instance), child naming and funeral ceremonies; receiving guest and settling disputes.  Globally, courtyard typology is interwoven with the people’s traditions, religion and cultural values (Reynolds, Ganesh, & Luckett, 2002).

  

The natural environment has played an integral part in both the location and the design of structures throughout history. Much has been written about the ‘architecture of the well tempered environment’ (Banham, 1984) and how western culture has bounded and contained their design, limiting the design by the four walls configuration. But other societies have not been so constrained and focused their design instead on a central foci normally attributed to the natural environment. Housing design in New Zealand has largely followed our dominant European cultural heritage, albeit tempered by the new economic, social and political factors created by an emerging identity. So our focus has been on constraining and containing rather than a fluid integration of site and structure. But there has been a new discourse emerging, that has re-focused design on the core socio-cultural needs of modern suburban dwellers. It is this discourse that forms the basis of this report - the marriage of space and nature underpinned by a socio-cultural perspective.

We all know the adage ‘a man’s home is his castle’. It is the only place that we are truly free to be just ourselves.  We know that a house is a home; a form of shelter from the elements, but it is also “...an artefact, a product of human manufacture, a material extension of its occupants lives” (Sand, 2005). Sand goes on to suggest that “...the intimate family refuge was a man’s proof of his freedom and success in a competitive working world” (p. 2). So the house is more than simply a structure. It is a reflection of its occupants. (Maybe could discuss how they have also become status symbols...but there is a trend away from that now to smaller ‘homes’ that truly reflect the personality of its inhabitants)

In a way “..modernity destabalises, relocates and re-invents community at every level of society” (Sand, 2005, pg1). Gone are the single lodges or the small collections of cottages that house a single community. Now we build to live alone, facing inward and often forming a barrier against the community we are a part of. We have replaced single events with smaller social gatherings

Currently we live in structures/dwellings that aim to shut nature outside. Why do we do this? It has been proven that it is beneficial for humans to spend time within nature for many reasons i.e. physical, mental and emotional yet we shut nature outside and stay hidden away from it. I aim to change this and ask why we don't live with nature at the heart of the dwelling. (Need to put some research in here.)

The courtyard house is not a new idea. It has been around for centuries and illustrated across the globe from from Italy and Greece through to China and Japan. Japanese design in particular, focuses on the spaces between rooms as connections points (en’s) between the various functions of the rooms they connect (Lazarin, 2014).  In this way, the architects focus is less on the structure and form of a building, but rather its narrative. As Lawrence (1983) maintains, houses or dwellings in whatever shape or form they take, are a “...material expression of a matrix of socio-cultural influences”.  They are also a link to spirituality, and certainly in Japanese design, the focus on the transcendency to higher thinking, and being, is fundamental. By focusing on a courtyard or natural centrepoint, the narrative of the dwelling becomes not just about its inhabitants, but a connection to their own spirituality. It becomes a way to let things go in order to bring them back at a higher level of consciousness.

Traditional Middle Eastern homes have also focused on the courtyard as an intrinsic design element. They were known as the ‘architecture of the veil’ because its inner spaces are not visible from the outside. Developed from the nomadic concept of tents being put up around a central space, the houses are accessed through a small accessway that leads into the courtyard (Alabidin, n.d.). Due to the lack of decoration on the external walls and doors, it is often difficult to judge the relative wealth or poverty of its inhabitants. In this way it becomes a means of transition from the stresses and pressures of the external world to privacy and calm of the natural environment in the inner sanctum.

They have however, not been a particularly common sight in the 20th and 21st centuries as there were newer ways to build that followed the trends of the times. The edwardian style of building with it’s use of patterns and light colours was the common trend of the early 20th century. It then moved to a period of modernism with its flat roofs and open floor plans and then through to a period of post modernism which showcased bright colours and asymmetry.

“The traditions of architecture, as we have commonly understood the concept, have been forged in societies and cultures that are committed to massively structural methods of environmental management” (Banham, 1984, pg. 20).

We have much to consider in future design. Ecology, sustainability and environmental co-construction are new fundamental terms that align with design considerations. But we must not forget that design also needs to consider historical, political, economic, cultural and social influences. However, in terms of this investigation, the focus must be primarily on a marriage between the two. The natural environment has a significant place within modern housing design for a number of reasons.

Humans were designed to live in harmony with the natural environment. It provides us with what we need to survive. Trees and plants turn carbon dioxide into oxygen which we then breathe. Native flora also indicate sources of water and grow the plants we need to survive. The natural environment is also a fundamental part of our emotional and psychological health. Unfortunately our modern environment largely limits our exposure to the natural environment. Joye (2007) reminds us that often we leave home, travel by bus to work and then reverse the process, engaging in endless hours of screen interaction never having once interacted with nature.  He maintains that there is significant evidence that this loss of natural interaction is problematic because of the associated physiological and psychological health effects.

Ulrich (1983) suggests that the natural environment can elicit immediate positive reactions in all of us. He maintains there are 6 different elements or preferenda that define this. They are: complexity (the number of elements present), gross structural features (structure and organisation of the scene), depth or spatiality, texture, presence of tensions and deflective vista (where the line of sight is deflected). These are important considerations when looking at creating a natural space as an internal design feature.

Joye goes on to suggest that humans naturally have a preference for four types of natural contents: savannas, water features, vegetation and flowers. In a modern design context, a savanna becomes a park-like expanse which has evolved into a lawn. These four criteria evoke an emotional response and connection because they all link to the concept of survival - protection and sustenance.

Historically those humans who could respond more positively to stressful situations survived better. Arguably, this is still an important consideration in our modern social environment. Roger Ulrich conducted a study into the direct correlation between the natural environment and stress reduction in a number of participants. In particular he discovered that vegetation and water features had a positive influence on mood and emotional state (Joye, 2007).  Also referenced in Joye is a study completed by Parsons et al in 1998 that indicated that “...artefact-dominated environments were associated more with physiological indicators of stress (e.g. rise in skin conductance) than nature dominated settings. Second, recovery from stress was slower, and impeded for subjects exposed to artefact-dominated settings, than for those exposed to nature dominated settings” (pg 33). This evidence that nature can impact physiological and psychological stress more effectively than socio-cultural artefacts and souvenirs is significant in terms of housing design.

Biophilia is defined as the human need to immerse themselves into and within, nature. It is the way we identify with it and choose to interact with it. Biophilic design is a natural extension of this idea and is all about incorporating the natural world into design elements. Incorporating biophilic affiliations can reduce stress, enhance creativity and improve our well-being. As Browning et al (2014) suggest, theorists, research scientists, and designers continue to work on developing aspects of nature that positively impact our satisfaction with the built environment. The go on to explain that biophilia is the reason why we love a fire in winter, why water features fascinate and soothe us, and why a garden vista can enhance our creativity. There are 14 different patterns of biophilic design identified by Browning et al. These are:

• Visual connection with nature - a focus on living systems and natural processes
• Non visual - auditory and olfactory stimuli
• Non rhythmic sensual stimuli
• Thermal and airflow variability
• Presence of water
• Dynamic and diffuse light
• Connection with natural systems
• Biomorphic patterns and symbols
• Material connection with nature
• Complexity and order
• Prospect - an unimpeded view
• Refuge - a place for withdrawal
• Mystery
• Risk/peril

The key to good biophilic design is to consider such underpinning concepts such as health issues and socio-cultural norms and expectations to develop spaces that are at once both functional and restorative.

Designers such as Ian McHarg and Frank Lloyd Wright re-focused on the natural environment as a fundamental element of the design process. Wright’s Fallingwater home is still a timeless reminder of how human life is an intrinsic part of nature. Rather than imposing ourselves on the natural environment, it is incorporated into the within the design process. Wright challenged his architect apprentices to question whether at the end of the building process, the landscape was an improvement on what it had been before (Wiebe, 2014) . Arguably some modern ‘one size fits all’ design does not adhere to this brief.

http://www.homedit.com/gorgeous-inner-courtyards/contemporary-la-planicie-house-courtyard/

“ A modern town house sheltering an enclosed interior garden ‘a court house’ was the urban counterpart to the free standing country villa.” Ian McHarg (1969). McHarg decreed the interior courtyard as an ‘object of art’ because it represented an ‘oasis of creation’. He maintained that the union of sun and shade, trees and water are an indispensable part of the human environment and psyche. His poetic description of the natural environment providing the ‘small sounds under silence’ promote the idea of a tranquil haven far from the emotional and physical stresses of the modern habitat.

It is time for the courtyard house to return, designed for the 21st century.

Where clever design comes into play the most is on a limited site with a limited budget. How can the designs utilise the most space while saving as much money as possible without skimping the essentials. (Tease this out further by looking at modern design specifications).

Having a courtyard at the centre of the home has many benefits both for the dwelling and the

occupants. As humans we have a strong connection to nature as we evolved to survive and thrive from it. But as a species we have advanced a huge amount in a small amount of time on an evolutionary scale our bodies have not evolved to handle they way we live today. By living in a courtyard house we can return to the environment that we evolved to live in but still have the safety and necessities of modern home. By having the courtyard at the heart of the home the occupant can have a sensory connection to nature no matter where they are within the home.

The courtyard will also provide fresh air for the occupants while also providing a space to clear the mind. It will also fill the space with sun during all hours of the day aiding in heating the space.

 

Earthships are a way of designing a home to work with nature by building half underground. A positive side effect of this is that you can create an indoor greenhouse where tropical fruit can be grown. (more focus on how this fits in)

We always need new design. There is always something to be improved on and refined. Housing design should never stop evolving. As new technologies surface and introduce new ways of building, the way homes are built today will be the same as looking back on the way they built homes in the middle ages. We also need new designs to make building homes cheaper. The cheaper a new home is to build, the more will be created furthering the design of homes.

In today's society the kitchen is often referred to as the heart of the home. Traditionally the kitchen was placed outside the home so cooking smells did not permeate the entire home. It was also the realm of servants. Kitchens have come a long way since German architect Adolf Meyer presented his first design of what was to become the modern kitchen. Initially the focus was on functionalism and clean, clinical lines were presented alongside a purposefully designed space (Bech-Danielsen, 2012). In our modern society the kitchen has been incorporated within the home as it is often placed at the central point. Not only because the chef does not want to be isolated from the social environment,  but also it has become a central focus of where people gather the most within the home. We use eating and the creation of our meals, but also as a focal point for our social relationships (Visser, 1991).

Bech-Danielsen reminds us that food; its preparation and enjoyment, has become a sensory experience. We incorporate spices and textures to create something that we can all enjoy together in a social setting.

It therefore stands to reason that there should be a shift in the way homes are laid out and that a central courtyard or garden should take the place of the kitchen centred at the heart of the home. This to some would be a radical shift away from the norm, but once the benefits have been unpacked, the relevance will become abundantly clear.

E hoa ma, ina te ora o te tangata means my friends, this is the essence of life and is often used to signal a satisfying meal, spent in the company of good friends and family in a social environment. This concept is certainly not alien to Maori. Manaakitanga which literally means caring for a person’s mana, reflects the idea that offering hospitality to all guests is essential in making people feel welcome (Neill et. al, 2015). While mana is concerned with the respect we afford to all of our guests, manaki reflects our desire to care for our visitors spiritual and emotional well being while in our care.

As a definition of hospitality, it suggests a world view far superior to the westernised understandings. However, you look at it, hosting friends and family in a social setting, is an integral part of our Kiwi culture and identity.

New Zealands and Australians in particular, have embraced the concept of cooking food outside via a barbecue. In a way this means that cooking has come full circle, returning back to keeping the cooking smells outside. However, rather than being the realm of the serving class, cooking the food has become a fully social activity.

(Bit here on the hangi, and linking to core Maori principles around manaakitanga and how that fits with modern understandings of the social function of the home).

Summarising what all this research has developed.

A small drawing of what a courtyard house could look like.