Light Shadows of Serenity

I - Intersections between architecture and mental health

            Returning to the initial questions posed at the beginning of this chapter, we aim to summarize these inquiries and provide a roadmap for the reader in the following sections. After establishing the interdisciplinary framework that encompasses Environmental Psychology & Psychiatric Architecture, we then proceeded to analyze five psychological constructs of space.

            i. Perception and cognition serve as the foundational constructs underpinning the interactions between the human mind and the physical environment, highlighting their universal role in bridging these two domains.
           
            ii. The Stimuli for spatial friction underscore the importance of fostering serenity as the core purpose of therapeutic spaces, ensuring that this tranquility does not stifle human will and courage.
           
            iii. In examining Cultural notions of aesthetics, the significance of beauty in enhancing the human condition is emphasized, particularly when beauty is expressed in harmony with nature, enabling individuals to access deeper levels of emotional connection.
           
            iv. The Sense of belonging reflects the patient's need to integrate into new environments, a process that can be facilitated by the infracultural qualities inherent in the natural environment.
           
            v. Eco-psychological awareness extends the patient's integration into their environment by advocating for actions rooted in environmental sustainability. In the context of space design, such awareness can enhance patient well-being by fostering a harmonious interrelationship with the natural world.

            The analysis of the Psychological Constructs of Space (PCS) led to an exploration of the architectural element—the window—as a critical interface between the interiority of the human mind and the exterior physical environment. The qualities of this archetype, particularly relevant in the context of clinical hospitalization, were subsequently identified as key refining principles for our case study. We then transitioned to examining the practical applicability of these theoretical concepts within the framework of architectural design for therapeutic support.

            i. at the Paimio Open-air hospital, we came across a paradigm case of architectural design in support of a clinical need, which revealed an online article about the role of nature in therapy and, consequently, the Friluftssykehuset in Oslo;

            ii. In the light of the White Arkitekter we absorbed current EBD data, coming into contact with the practice of this firm through Stefan Lundi, and the importance of his reference and the influence of Roger Ulrich's research;

            iii. Viewing nature through the window proved to be particularly relevant, capable of producing recuperative effects in the cases analysed by Ulrich, affirming the concept of caesura as the transition between external and internal worlds.

            iv. Gradually we moved Towards Södra Älvsborg, where in Östra the view through the window that had guided Lundi's spatial conception gesture, and in Södra the wills of the work that preceded it were refined, making this the main case of our investigation.

           Thus, the structure of our presentation on the studied content was designed to function as a process of selection and formal organization, guiding our photographic expression of this case study, alongside other complementary approaches.

II - Photographing the experience of therapeutic space

            To conclude the second chapter, we have prepared a prospective summary to facilitate the transition from the content discussed toward the main practical exercise involving the pinhole model. We began by identifying two types of photographic narratives that captured our interest:

            i. In this Photo-documentary approach to four case-studies, we explore the first of the narrative types, aided by a comprehensive description of the PCS of the works visited;

            ii. In the forest of Borås we were able to perceive the presence of immeasurable properties in our positive experience of that place, motivating us to integrate it into the object of study.

            Having felt some difficulty in describing the phenomenon we experienced and wanting to analyse it in its relationship with SÄS, we set out to broaden its interpretation through an artistic expression founded on a philosophical system of its own:

            i. the Phenomenological approach to the person-environment studies has proved to be a suitable starting point for this system, in tangent with the discipline of EP;

            ii. About the 'dialogue between' could Lisbeth Funck's concepts of the abstracted space and the caesura participate in a fusion of their evocative virtues;

            iii. the Gradations of permeability between spaces elucidated how the influence of the external environment on the internal space could be considered;

            iv. the Participation of space in the act of photography aimed to explore the animistic qualities of space, giving it the autonomy of a subject capable of expressing itself;

            v. Of the latent potential in the pinhole model, we saw an ancient photographic technique act in complementarity with an architectural study tool.

III - Câmara Serena

            i. a first introduction to the Conception of this object;
           
            ii. is followed by an explanation of how proceed towards the Concretization of photographic results.

              i. analysing the simulation of these Rooms that see, we arrived at percentage of how the elements from the outside world participate in this internal spaces; 

            ii. noticing the poetic aura of these light phenomena that the dialogue between matter and psyche manifested, we decide to ‘clear the stage’ and silence ourselves against over-explanations. Instead, we trusted the photographs’ autonomy to speak for themselves to the observer.