SUBSTANCE ABUSE FACILITY DESIGN AND SENSE OF COHERENCE
The Salutogenesis theory, which focuses on the generation and maintenance of
health, was developed in the late 1970s by the medical sociologist, Aaron
Antonovsky, supported by a model of positive coping based on comprehensibility,
manageability, and meaningfulness, conceptualized as “sense of coherence” (SoC) . SoC is considered to be an emotional and cognitive tool that helps individuals bring order into their lives by increasing their capacity to believe in their competence to accomplish goals set for their future, to structure their lives, and to face any challenges regardless of how difficult they seem (Bothmer & Fridlund, 2003).
Researches based on Antonovsky’s salutogenic theory have shown that substance abusers usually have a low sense of coherence (SoC), which can be influenced by generalised resistance resources (GRR). These resistant resources can be internal (e.g.: genetic strength, immunologic features) or external features (material or nonmaterial in nature - e.g.: living conditions, education, wealth, social life and support)(Antonovsky, 1987).
This project primarily focuses on the impact of the physical environment of substance abuse facilities on patients’ comprehensibility, the way in which the person sees the world (e.g.: spatial and perceptual cognition, nonstigmatising environment, ambiguity ); manageability, the resources available to cope with both internal and external demands (e.g.: overcrowding, private bedroom, noise reduction, provisions for basic tasks, wayfinding); and meaningfulness which is the way in which the person is motivated to think and act in challenging circumstances (e.g.: foster access to social support, access to nature, environmental richness).
The purpose of this project is to explore design factors of substance abuse facilities as resistance resources which may affect patients’ comprehensibility, manageability and meaningfulness, therefore increasing their sense of coherence and positive treatment outcomes.
The project is inspired by Marc Jacobs’ style: a blend of classic and retro designs, with bold, innovative looks. The concept is centred on the juxtaposition of old and new found in Sydney and the layers of history and technology that shape the city. The main idea is to merge the online and offline, history and technology, old and new into one; and create a space where customers can not only find all the interaction from the Marc Jacobs website, but also experience the social, historical and cultural aspects of the Rocks. Aesthetically, this project aims at creating a high-tech and contemporary design while highlighting the original structure of the building.
Lumos Labs is a neuroscience research and development company that creates online applications to improve brain health. As a creative company, Lumos’s people are the engine that keeps the company growing, adapting, improving and innovating. In order to be creative, the staff needs a workspace that requires high levels of collaboration, but it is also important to allow spaces where to focus and concentrate.
The main idea is to provide a variety of settings that support individual work or collaboration. Each of these settings is distinct in purpose, scale, and sociability and can be easily customizable, allowing employees to express their own personality and adjust the space to their own needs.The aim of this project is to give the employees the freedom to think and work the way they want.
The apartment was inspired by the right side of the brain, the feminine side; which is responsible for our emotions, arts, imagination, feelings and intuition. Juxtaposition of colors, forms and materials, in addition to unexpected proportions, recreate the way our emotions and dreams flow: organically, asymmetrically, illogical.
The apartment was inspired by the left side of the brain, also known as the masculine side; which is associated with linear thinking, numeracy, analysis and writing. The use of raw materials such as timber, concrete, steel and leather gives a sense of sturdiness and stability. The geometry and monochromatic color scheme of Bauhaus furniture evoke order and logic.
The brief for the project was to design a weekend house in the mountain. A place where the client can scape and relax, and forget about stress and the crowded city.
DULUX COLOUR AWARD 2014 Finalist
The Osklen’s headquarters is located in Sao Paulo, the largest city in Brazil and one of the largest in the world. The brief for the project was to inject a truly Brazilian flavour for the five-story modernist building, and provide a dynamic and stimulating workspace for the employees, which presents a pleasant counterpoint to the greyish and harsh landscape of the city. Inspired by the Brazilian rainforests, the colour palette──vibrant hues of green and blue, punctuated by rich shades of purple──contrasts against urban materials, such as burnt cement, exposed concrete and wood, creating an eclectic combination of rich tropical shades with urban patterns and textures.
The facade features a gradient of colourful panels arranged from acid greens to deep purples. They provide protection from the sun while creating a warm and organic structure on the urban landscape. The bright gradient continues in the interior, creating an almost seamless feel between the inside and outside. The central atrium, enveloped by the multicoloured balustrades, is the cheerful heart of the building. It receives a generous amount of natural light, which reflects the rainbow-hued layers, creating a tinted luminosity at the space. Not only does this simple colourful feature achieve high visual impact but also it works as an efficient wayfinding
WINNING DESIGN - Rockdale City Council 2013
FINALIST - Dulux colour awards 2013
Located in Arncliffe, the library is linked to the Arncliffe Early Childhood Centre. Thus, it has been designed with a strong focus on children and youth. The aim of this project was to create a space that stimulates creativity, interaction and enthusiastic learning. The colorful palette and extensive use of graphics were used to create distinctive spaces; while the neutral backdrop of concrete and wood balance this explosion of colours. For all these reasons, it provides a vibrant space for the community to gather, socialise and enrich themselves.
The main idea of the project is to create a more flexible and transparent workspace, which enable mobility and communication. Informal zones, such as lounges and cafes, allow for both individual work and quick collaborative efforts. A natural palette and extensive use of plants presents a pleasant counterpoint to the grey and harsh landscape of the industrial area.
SYDNEY INDESIGN 2013 Winning design
Inspired by the process of mixing colours, the design utilises various hues and textures from Signature Flooring’s extensive CYMK range. Through innovation and creativity, this design response showcases and celebrates the product's potential.
User interaction is an integral part of the design as it encourages visitors to engage with the product on another level. The cellular structure allows for individual rotation of selected hexagon faces, and reveals two significantly different designs. As each wall features over 150 hexagons, it opens up a world of possibilities of colour combinations that the individual can experience when personalising their tile palettes.
By involving the user in the process and allowing them to co-design, it enhances the relationship between user and product. The wide range of colours represented, reinforces the ideals of collaborative design. The mixing of colours is symbolic of the involvement of the designer, product and the end user/consumer.
Eggs. Chocolate. Flour. Three simple ingredients that combined create the choux pastry. From this point, the concept of the pop-up bar started to be conceived. The main idea was to create a sensory experience; a luxurious and extravagant space that engages all the senses through a combination of the best food, art and design. The modular kitchen is centered on a solid steel beam with flexible fixing points, which allows it to be reinstalled in many different spaces.
Nothing is perfect. Nothing is finished. Nothing is permanent.
Inspired by "Wabi-sabi'', a Japanese philosophy in which imperfection and transience are the touchstone of beauty, the house celebrates the contradictions, asymmetries and imperfections that make something unique. The materials used - wood, stone and natural fabrics - are warm, opaque, rough, and are not spoiled by ageing. In contrast, their expressivity is enriched by contamination, oxidation and corrosion. The colour palette is borrowed from Nature. Hues ranging from soft slate grey to earthy tones, with occasional spots of rust breaking into the subtle spectrum. The exterior façade consists of two asymmetrical panels, comprised of horizontal wooden stripes, which envelop the building as a piece of origami. They work as exterior blinds that can be tipped, raised and lowered for full control of light, sun and view. It provides the clients a variety of spatial experiences. The façade is clad in marine plywood and double coated steel. The plywood gives the impression of being an unfinished construction, while the dark steel dematerialises the building, creating a “crack” in the cliff.