People and Environment 2009

Department of Work Science, Business Economics and Environmental Psychology in cooperation with Department of Landscape Architecture

SPETSAMOSSEN
Urban Playground
Water
Grove
Skate park
Square
Entrence
Purling water
Hiding place in the reed
Jumping stones
Play and hide in the grove
Illuminated in the night
Climb
Sit-
Jump
Hide-and-seek
Temporary activities like exhibitions
or letting the children paint
0 10 20 30 40m
Water has many different qualities.
It fascintes, gives relaxion and en-
courages play.
Nature is an important element
in the urban environment. Here
children can play freely and cre-
ate their own little hide-aways.
In this, the concret boxes make
an exciting element.
Ground
The concret boxes give an urban
impression at the same time as they
are flexible and versatile; making
the basic blocks for many different
and changing surroundnings.
2
LK0069
People and Environment,
15 HEC
Mnniska och fysisk milj
The course is given as part of the Landscape Architecture Programme (admission
before 1 July 2007); Landscape Architecture Programme, Alnarp; Urban Land-
scape Dynamics - Masters Programme
Syllabus Approved: 6 November 2007
Subjects: Landscape Architecture/Landscape Planning
Level and Depth: Master D
Marking Scale: 5:Pass with Distinction = A and B / 4:Pass with Credit = C / 3:Pass =
D and E / U:Fail = F and Fx










Objective
The aim of the course is to provide insights into how the interaction between
people and the physical environment functions and what diferent outdoor en-
vironments can mean for quality of life, well-being and health. The course will
provide training in the ability to analyse and investigate peoples relationships
to their surroundings and to translate this knowledge into design and planning
processes.

After completion of the course, the student should be able to:
- describe perspectives and concepts within social science and behavioural
science, mainly within environmental psychology and urban sociology, that are
relevant for the knowledge area of Landscape Architecture
- apply a selection of the methods used for investigating how people use,
experience and evaluate external environments (e.g. interviews, street walks,
observations or surveys)
- problematise and analyse peoples diferent needs and interests in external
environments on the basis of e.g. gender, age, social situation, cultural context
and disability
- analyse and critically examine peoples relation to place and use this under-
standing in design and planning contexts
Content
The course is characterised by perspectives of social- and behavioural science
on problem issues within Landscape Architecture, Architecture and Town Plan-
ning. Seminars and exercises will provide training in the ability to investigate
and analyse peoples situation in relation to their surroundings. Students will
also be posed diferent design problems and will be given the opportunity to
translate their knowledge within environmental psychology and urban sociol-
ogy into planning and design proposals.
3
A course summary
This resport is a summary, a kind of review, of the four diferent assignments the
students had during this course. These projects were called Street Art, Places for
Memory and Meaning, Spetsamossen and Sommarsol.
The frst assignment was made during week 5-6, in the Urban Sociology theme.
Here the students chose wether they wanted to work with Street Art (supervised
by Emma Paulsson) or Places for Memory and Meaning (supervised by Sabina
Jallow) and handed in an individual assignment on it. During week 7-8 all made
individual assignments on Spetsamossen which is an urban playground. In week
9-10 all handed in individual assignments on Sommarsol; a rehabililtation centre
for people with neurological diseases. Finally the students, in eight groups, re-
viewed one of these four projects.
l Street Art
l Places for Memory and Meaning
l Spetsamossen
l Sommarsol
Alnarp, 27 March 2009
Carina Tenngart Ivarsson & Elisabeth von Essen
4
Street Art
People and Environment
Eva-Marie Samuelson, Karolina Bjerler, Jessica MacDonald, Mateja Havlicek, Sona Kralikova
5
Introduction
The intention of this summary is to highlight the main themes and trains of
thought present throughout the various projects. The projects focused on trafc
signs, switchboxes, tags and all street art. This summary analyzes the diferent
methods and results and compares the discussions between the various groups.
Method
Diferent methods used were mapping, photographing and categorizing.
Diferent groups had difculties making categories and clearly defning
them. Dividing street art from advertising and political messages was hard. A
general comment was that there was not enough time given to develop a more
efective method for gathering the information. Some groups thought it would
be benefcial to go back and see the same area later on or to investigate two
diferent areas within the city. Also to be able to look up the links included in
some of the art to see if it is actually street art or rather an advertisement for
something. It may have been benefcial as well to write some notes while you are
gathering the information about the diferent types and materials used as you
might not be able to see it from photographs.
Results
Groups with similar methods interpreted and presented the results in diferent
ways. Some groups created maps that showed the locations of the diferent
types of street art. Others created graphs that interpreted the prevalence of
diferent types of street art as well as the locations that they were observed.
Another group mapped out all of the trafc signs and numbered them on a
map showing their locations. The graphs were efective and presented the
information clearly but this method would not translate perfectly with the
diferent projects.
Discussion
The intention or message that street art is trying to get across was discussed,
if the message is too hidden or difcult to understand. The message behind the
street art is what makes it signifcant, however many people either do not look
at the street art or do not understand the message that they are trying to get
across. The length of time that the street art was present was also considered
because if it has been there for a long time the message may not be relevant
any longer. Street art was also seen as a method of communication between the
various residents within the city, it creates a dialogue between people who would
otherwise not communicate with one another.
The reason that stickers were thought to be so prevalent on the trafc signs was
also thought to be because there is such limited space on the signs. This limited
space does not allow for a masterpiece or a large installation so the artwork
adapts to ft the space available.
The right to the public space was considered concerning commercials and
advertising. The thought of how only rich people who can pay to have their
message communicated can have a voice within public space. Some people think
that street art takes up too much public space.
Street art could be considered the life between buildings. Jan Gehl mentions
that life between buildings is not just pedestrian trafc but includes social and
recreational activities (Gehl 2006, p.14). He explains that life between buildings
contains a wide range of activities that make the place have meaning and
aesthetics (Gehl 2006, p.14). Street art could be one of these activities that
create meaning within a residential area and personalize the space.
Diferent kinds of street art and grafti.
All images by Karolina Bjerler.
6
The legal wall at parking house Anna
in Malm
All images by Karolina Bjerler.
Especially concerning the trafc signs and the tags repetition was used to
emphasize their work. Repetition is a marketing tool that is somewhat abused by
those making use of trafc signs for advertising. Tags were repeated to compete
with others and to mark that space as their own.
Stickers were the most common in the trafc signs and tags were the most
common when considering the whole environment. This was thought to be the
case because both mediums are very quick to put up which is helpful when
you are doing something illegal. In the literature seminar concerning street art
the fact that street art is illegal was discussed as something that made it more
appealing. If street art was suddenly made legal it would take away from the
excitement of it. Free zones from the text by Lieberg (1995) were discussed,
opportunities for artists to freely express themselves. This discussion on free
zones or free walls can be interpreted both ways. It can be seen as a great
opportunity for an artist to spend more time on their work and not risk being
caught by the police but at the same time the context of the work is very
important to convey a message. So the message intended by an artist may be
lost if it is confned to the free zone defned by the city.
Something that our group thought was important but not discussed was the
level of street art that is acceptable and how the location also informs if it is
well received or not. One example was given by Emma Paulsson (lecture, 2009)
concerning Nazi symbols and a box said to be containing the gas that was used
to kill the Jewish people located near a Jewish synagogue. This type of work
brings up the question of what level is acceptable and what street has gone too
far. The location of this installation added to the inappropriate material raising the
question of where street art is appropriate and acceptable.
One thing that was discussed were the diferent surfaces that were used for the
street art and grafti. Smooth surfaces were more common and fences that were
perceived to be more public were used more often. Places that were more private
such as peoples homes were not as common, this may also be because artwork
and grafti are removed more rapidly.
Conclusion
The topic of street art exposed those who participated to diferent levels of grafti
and street art. The dynamic of public space and the discussions surrounding it
may have brought up more questions than answers.
References
Lieberg, M. (1995). Teenagers and Public Space, Communication Research, vol 22, no 6, 1995
Paulsson, Emma, Street art as a theater or a prospect, 26th of January 2009
Gehl, Jan (2006). Life between buildings: using public space. 6. Ed. Kbenhavn: The Danish
Architectural Press
7
Method
When approachning a problem, an adequate method is needed. The method has
to be carefully thought through as it will be refected in and perhaps afect the
results you get. It is also important to carefully describe the method to be able
to evaluate the results in a good way. One way to fnd a suitable method for a
specifc investigation is to start up with a background research and literature
studies, to fnd out what questions you want to be able to answer. Added to this
useful preparations can be making some kind of checklist to keep in hand when
in feld. Further on it is of importance to evaluate the used method as this can
lead to new and better approaches of investigation in the future. In the studies
done during the course project upon street art, a very limited area of Malm city
was given every group, consisting of a couple of streets. This was probably due
to the very limited time, but as landscape architects, we discussed this in a plan-
ners perspective and wants to point out that it is important to also look at the
city in a broader perspective. It is interesting to study the whole city as a unit and
not only secluded districts, which is important to have in mind for future studies.
What is Street art?
What is art and what is not? This is a very subjective matter that all groups within
these projects have had a hard time striving with. We cannot really defne what
art is in general, and therefore not street art. There are a lot of diferent motives
among artist why they do street art. It could be to send out political messages,
clearly shown or for the observer to interpret. Some artists see the reaction
perceived from people as the actual art. Artists might want to provoke the public
in this way. Street art can also be seen as a way for the artist to show his or
her territory and existence in the city. Some artist might just want to make the
streets more beautiful, like making a hidden corner in the city visible by putting
up a trophy for citizens to fnd. Art work seams to have some kind of meaning
for the artists but not always for the observer. If the meaning is known to the ob-
server he or she has the possibility to refect from a diferent point as compared
to when viewing the art when the meaning is unknown. We as designers are
refecting upon street art from our point of view and our amount of knowledge in
the subject. That is why it is important to decide on forehand what you want to
investigate to be able to choose a proper method that will take all user groups in
to consideration, when it comes to public spaces.
REFLECTION - STREET ART
This is a refection up on projects carried out during the course People and envi-
ronment LK0069 in 2009.
Street art in the public space
Who has the right to the city was one common issue put forth in refections. It
is considered to be a problem of democracy, referring to Mitchell (1995), where
the threat is that public space can start to function as a individual property, where
the owner sets the rules (advertisement companies, corporations...). In this way
the ones with fnancial resources has more control over the city. Furthermore it
was discussed that everyone should thus have the right to express themselves in
the city, but can this really be done everywhere in public spaces and in any way?
Then, if the public space belongs to everyone, what right do street artists have to
do their art in the city in relation to those who does not like street art; they have a
need and right to express themselves as well. We perceive the street art as only
one way to express oneself in the public space, there are many other, such as
with clothes, hairstyle and music for example. What we discussed more, was that
public space in fact is not thouroughly free of charge, where everyone is allowed
to act freely and according to his beliefs. Actually we are paying taxes so in this
way we are paying for the public spaces in cities. There were also some interesting
comparisons made how the public space can be perceived, like for example public
space as a canvas for street artists or the city as a playground and the streets as a
parliament where the street art phenomena takes place (Andersen, 2007). When
does street art take up to much space? When it becomes too much it can start to take
over the city and impede the view of the city, just like advertisement in some cases
do. Then there is no space left for the empty spaces that probably appeals to a lot
of people. When it impedes the function of a place it is also considered too much,
like when street art is put up on the front on a traffc sign and impedes the view of
it and in this way disturbs the drivers. It is also less accepted when the street art go
beyond the public realm and into the private. It can perhaps also cause disturbance
among people when it is placed in highly public places, where a lot of people not
only pass by but stay for a longer period of time.
8
Where does street art occur?
Street art is found everywhere along the streets, on objects, on the ground or on
the walls. Street art in general seems to occur more frequently in semi-public ar-
eas instead of the highly public areas. Repeated objects such as trafc signs and
switch boxes are frequently used. A constantly competition between street art,
advertisements and the ones cleaning the limited surfaces available is a common
scene in the streets. Artists probably think quite diferently about the location of
their street art. Some seems to place it very visible so that it is easy to spot for as
many people as possible and some seems to want to place it more hidden as a
surprise for the viewer. The connection with a certain place might also sometimes
be of importance, but in the projects there were no street art showing this con-
nection. The street art could though give a comment on that very specifc place,
like environmental issues on switch boxes commenting on the ongoing discus-
sion of the greenhouse efect.
How do people see street art?
We can make a conclusion that the perception of street art (and also what is
treated as such and what isnt) is in the eyes of viewer and of the individuals
knowledge and background. Is he or she familiar with the special meaning of the
expressed action? Some think that street art enriches the city, but others says
it cheapens places no matter the meaning behind it. Maybe it is also a matter of
scale when accepting something as appropriate to be there. For example, a bus
completely flled with grafti expressions perhaps might work as an art expres-
sion, but on the other hand just a tag on an otherwise clean street wall can be
perceived as an act of vandalism. An interesting theory about how we percieve
the environment is that we flter out the necessary information from the environ-
ment and disregard the rest, as all would be too much information to process.
(Grahn, P., Stigsdotter, U, 2002 p.62) street art would therefore most likely in
many situations get fltered out as not important information, at least for most of
us.
Appropriate and ofensive
Some people perceive street art as vandalism and perhaps fnd the expressions
of the art frightening and ofensive. The art is not afecting only the visual ex-
pression of the room but also the feeling and atmosphere of it. It may also inter-
fere with the movement pattern of people, for those who percieve the street art
as something negative. When people are afected in this way of street art it can
result in segregation, as people might feel that they dont belong in certain areas.
To divide Street art in accepted and not accepted art is as difcult as describing
art because there are no answers. In the public space where the street art often
occurs, we can discuss democracy and the question of who has the right to the
public space. Is some street art more accepted than other? From the researches
point of view in the studies carried out in Malm, schablons, stickers and posters
seems to be more accepted than spray tags. One reason can be the efort and
money put into the art and the more careful preparations to create a schablon,
sticker or poster in contrast to spray tags. Seeing the concept of street art as
temporary art installations stickers and poster are also visionary easily to remove
compared to the spray tags which can be another reason to why this kind of
street art is more accepted. Professionally printed stickers can also cost a lot of
money and many people might therefore think of it as more socially accepted.
Temporary art
As it was mentioned above, tags are the ones often seen as an action of van-
dalism. Making a tag more temporary by spraying it on a poster would perhaps
be precieved as more accepted. In relation to temporary art we discussed the
possibilities of using paint that is easily washed away in rainy weather. As it costs
a lot of money to remove spray paint and stickers from the streets, the more
temporary the art is, the more accepted it would probably be; something that
the society do not actively has to remove. The notion of dynamics in the public
space is also an interesting topic widely discussed in the course projects. The
appearance of the city and the street art within the city changes all the time and
agitates the feeling of the art being permanent.
9
Street art vs. advertising
There were the conclusions that advertising occurs probably more frequent in
the streets than street art does. Some groups expressed that they wanted to in-
vestigate this relationship further, which demands more time for deeper research
about it. However, it was found out that advertising consumes public space for
sure. And there were questions about the borders between street art and adver-
tisement. Is it possible for them both to overlap each other? Rather many refec-
tions resulted in the opinion that advertisement impedes the view of the city. It
is also a matter of relation between size and perception. Huge advertisements
mean that you have no chance to escape. On the other hand the city gets money
from advertising and not from street art.
In relation to city planning
When discussing the role of landscape architects or spatial planners in relation
to street art, we can draw a line that street artists do more temporary things.
One student expressed it as the street art is a way of temporarily tattooing the
cityscape and leaving visual traces behind. Landscape architects and planners
though plan and design the city as a whole and in a more permanent way. It is
also important to mention that these professions have a more objective perspec-
tive and see to the needs of the user groups. One can think of street art as a
beginning of revival of urban wastelands which ofer a lot of possibilities for
temporary uses and street artists areas where less people are afected by their
art. Street artists can be seen as catalysts in planning in the way that they bring
lost places back in peoples minds, as Oswalt (2007) claims. There is perhaps a
need to include this potential in our formal planning to make our surroundings
more interesting and exciting. There was also a notion of Liebergs thought of
backstage places in the cities where teenagers can try out new things, like street
art. As we can agree with Oswalts statement that spontaneous, temporary uses
could have positive long term efects, we can at the same time discuss that the
strictly defned areas where there is no room for backstage expressions maybe
cannot contribute to a place for all. The public space in the city should represent
the citys heart and its people.
Conclusion
During our task we came across with lot of further questions. We didnt feel like
we have the competence to completely answer them but to put them up for
further discussions. In our refection of the street art theme in the course we
therefore tried to scoop the overall refections, both from the student assign-
ments and the literature.

L e n a A g r e l l , E v a - B r i t t K a r l s s o n , Ta d e j a R o z ma n
Places for Memory and Meaning
Nicholas Pettinati, Karolina Alvaker, Marielle Karlsson, Shabnam Gholoobi
10
11

Memory and meaning in public spaces, whether an urban square or a
country road, is a difcult issue to discuss. However, this was the subject for one
of the projects in the course People and the Environment at SLU. The assign-
ment was to design an urban space in the Western Harbor of Malm as a place
for memory and meaning. The assignment started with a review of some relevant
literature and continued with a walking tour of some diferent spaces in Malm.
Ultimately, the students prepared a group presentation about their thoughts on
memory and meaning, and an individual proposal for the site they were asked to
design.
The students read through several relevant texts to gain a deeper un-
derstanding behind the concepts of memory and meaning. The texts dealt with
some very difcult theories regarding memory and provided a general framework
for the students. After a discussion of the texts the students embarked on a
walking tour to try and discover places for memory and meaning that already
existed in Malm. The goal was to try and photograph places that had charac-
teristics of memory and meaning as a basis for thinking about the site. These
spaces werent necessarily meaningful places, but spaces that could have some
elements that create meaning. The walk culminated with a visit to the design
site, and the begining of the design process for the students.
The goal of this paper is to summarize the results from these proposals
and the overall success of the assignment. There is also a brief summary of the
texts that were used for this assignment. We will start with a brief background
of the site, and some of the questions that faced the students as they began the
design process. Then we will move to a discussion of the proposals themselves,
and the themes that we felt emerged from the designs. Finally, we will end with
some of our own thoughts and comments on the project.

INTRODUCTION
Background
The site that was selected for the design is located along the coast in
the Western Harbor of Malm. The physical site itself is a large square that is
elevated, overlooking the sea and the Oresund Bridge. Also, in the northwest cor-
ner there is a small platform that protrudes from the square and forms an over-
look. This corner has been nicknamed the Titanic after the scene in the movie
where the two main characters are hanging of the bow of the boat pretending
to fy. In the center of the square there is a stage that is handicap accessible.
The entire site is handicap accessible via ramps up to the square. The space also
fts into the larger scheme that forms a boardwalk along the coast. The area is
extremely popular in summer, with hundreds of people lounging, swimming, and
diving into the sea.
As was mentioned previously, the goal of the design was to create a
space for memory and meaning. Some of the difcult questions that the students
had to answer are how do you create a space for memory and meaning in the
public realm? Whose memory and/or what meaning should the space have?
Does there have to be an event that occurred to make a space meaningful?
What about the meaning that the space already has? What characteristics or ele-
ments give a space meaning? The design proposals answer all these and many
more questions in amazingly unique ways.
Pictures of the site (provided by Mateja
and Tadjea)
12
While each proposal addressed the issues associated with creating
memory and meaning in an urban public space in their own way, there were also
several themes that emerged from the designs. The three main themes focused
on the view of the sea, the element of water, and the use of sculpture.
The proposal by Jenny kesson, Johanna Verbaan and Sofa Fribyter
used the view as a major element in their design. They created cave-like rooms
(see graphic below) that could be entered and used as a place to quietly refect.
They wanted to highlight the view of the sea and the powerful meaning associ-
ated with it. and also use silence as a way to create meaning. ...The place could
be decrbied as a parallel reality where an anti sound installation makes you aware
of sounds by creating absolute silence at a place which should have sounds...
The next proposal, by Tadeja Rozman, also used the view as a driving
force for her design. To feel its drops, to smell and taste the salt (of life!), to hear
the roaring, to see the ocean`s horizon and its eternal vastness. Just being here
and now, in the present of the preseence of all sense sactivated. It gives a shelter,
a possibility to draw back, be among people, but still alone, hearing stifed sounds
of the ocean and of peoples voices somewhere around... She talks about using
this space as a place to pause from the everyday fow of life,
Picture from the proposal Silence by
Jenny kesson, Johanna Verbaan and
Sofa Fribyter
Graphic provided by Tadeja Rozman
THEMES
13
and creating meaning through taking this break. Using this space as a chance to
stop and refect on whatever we can.
The second theme that emerged from the diferent proposals revolves
around the element of water and its possible uses on the site. The proposal by
Mateja Havliek focuses on just this element. She wanted to create a space
where the experience of water drives the meaning of the place. She accom-
plished this through a shallow pool that fows into a waterfall of the edge. This
pool can be experienced by all through as many senses as possible, and as such
creates a new meaning for the space through water. The tactile experiences of
sight, sound and touch have a big value in this project.
Cordula Gielen also used water as an important element in creating
meaning in the space. Similar to that of Mateja, she brought the predominant
element of the site (the view of the ocean) into the actual physical space. As the
graphic above depicts, the center stage has been turned into a shallow refect-
ing pool that can be experienced in many diferent ways. Her main concept was
to use the idea of refecting, both metaphorically and physically (in the water), to
bring new meaning to the area. Consequently, this place provides possibilities
for being active as well as being spirtiual. They just happen side by side.
Finally, the last theme that developed from the diferent proposals
centered around the use of scupltures, and their ability to create meaning. The
proposal by Emily Hansen used a sculptural element to create activity and mean-
ing simultaneously in the space. She created several diferent pillars that can be
used for sitting, standing, jumping, demonstrating, and anything else someone
can think of. The focus is on the social interactions that can be created by these
elements and the people in the space, and the possibility for that social narrative
to evolve and change. The social character of the space exists in an alternate
sort of reality, one that continues to defne and redefne the space through ex-
periences and interactions of and between people in the collectively recognized
physical setting.
The proposal by Eva-Britt Karlsson also uses a sculpture to bring mean-
ing to the site. However, her sculpture is one that has a great cultural signifcance
and historical background. The idea she had was to have diferent artists to
create a sculpture of a hand in the center of the stage. This hand could change
through time and the idea of the hand has a great deal of meaning attached to it.
As the
Left: Graphic Provided by
Mateja Havlicek
Middle: Graphic Provided by
Cordula Gielen
Right: Graphic Provided by
Emily Hansen

14
graphic to the left depicts, even the shape\orientation of the hand can alter its
meaning. This simple gesture changes the makeup of this urban square and
accomplishes the goal of creating new meaning. No one knows who the hands
belong to, (accept the designer). The meaning is to show that all people have the
right to the public space.
The next proposal by Karolina Alvaker takes in the sense of hearing in
the memorial experience. Echoing sounds and wind passing through the sculp-
tural elements creating music which stimulates the senses and draws upon the
idea of remembrance in a playful way. With particular focus on sense and spirit,
and with the natural elements as a mirror rather than any connection to a god,
the Titanic Memorial is built to capture the individual person i a vast crowd.
The proposal by Ann Henrikson also uses the idea of wind and sculp-
ture to defne meaning in this urban space. Her concept revolves around the
idea of wind as a way to trigger a fascination about the site. The sculptures force
an extra awareness about the environment that surrounds the users of the site,
and adds a new dimension. The statue of the wind formalizes the idea of the
sculptures and the concept that they symbolize. ...a public meeting place where
the perception of feeling and being a human being is in focus. The memorial of
the wind is in fact a masque of the human perception of the wind...
Finally, the proposal by Nicholas Pettinati, deals with sculpture in a
slightly diferent way. He wanted to use the memories of the people who use the
site to add meaning to the space. He accomplished this goal by creating a photo
collage as the paving pattern for the center stage, and on the walls of the space.
The photographs to be used would be donated by people who use the space
and would be constantly evolving, with more and more photographs being added.
This collage is a physical representation of the memories that have occured on
the site, and as such embody the meaning of the place. The installation has a
pround efect on the meaning of the space. Now, it is not only about what activi-
ties are occuring there, it is also about remembering and re-living those experi-
ences and learning about the experiences of others
Conclusion
As evidenced by the various proposals, there is no correct answer on
how to add meaning and memory to a space, especially one in the urban public
fabric. However, there are some elements that emerged from this design exer-
cise as possible solutions.
All the proposals dealt with the existing conditions, and those conditions
have a large impact on the design of the site. The themes that developed evolved
from the interpretations of the site, and the conditions that are present there. It
would be interesting to see what would happen if a completely diferent site was
given for this same exercise.
The question of how to create meaning or memory in a space is still a
difcult one to address, but this assignment helped to shed light on some pos-
sible ways to deal with the very complex issue.

Top: Graphic provided by
Ann Henrikson
Bottom: Graphic provided by
Nicholas Pettinati
Top: Graphic provided by Eva-Britt Karlsson
Bottom: Graphic provided by Karolina Alvaker
15
We want to take this opportunity to share our thoughts and comments
on the project. To start some general thoughts on the process; The literature for
this project was helpful as a starting point, and defnately got us thinking about
memory and meaning. However it didnt directly relate to the site, or the task. For
us, it provided more of a framework for the design, and the design evolved more
from the site conditions and the individual thoughts of the students.
Memory and meaning also occur on a very individual level, and we
question whether you can create a space for everyone that is meaningful in a
spirtual way. The question of religious vs nonreligious is always at the back of
our minds when talking about this issue and another big question is how do we
resolve that?
Getting to the actual proposals, we thought it was incredible how there
were so many diferent solutions to this problem. Each proposal handled these
difcult questions in a very unique way. It was also really interesting to see how
the themes evolved from the projects. It showed us how while each project was
individual the group discussions had a great impact on how the process was
handled. The discussion with Sabina Jallow also had a very profound impact on
the process. Sabina Jallow talked about how the ocean allows us to be silent, and
even just that comment infuenced the designs.
Another really interesting aspect of this project was the requirement to write it as
an article from a third persons view. This was an excellent way to critique our own
proposal, but was difcult for some to get started. It defnately added a unique
dimension to the proejct.
Overall, we all really enjoyed this project and would reccomend
doing something similar in another course. It provoked some
very difcult and challenging questions about how people
interact in an environment. Those types of questions
we think are at the core of this course and
should be the ones to be explored
further.
REFLECTION
The Titanic Corner, Picture by Cordula Gielen
16
The following summary is made from refectons on the course
literature made by the students working with places of memory
and meaning and from our group discussions.
Spiritual places can gather people and act as meetng points
in the outdoor environment. The experiences of a tragedy also
ofen get people in difcult situatons which can make them work
together and get stronger. Memorial places can however also act
excluding in the way that they sometmes can have a too directed
design or purpose.
Memories can be personal and/or public. There have
therefore to be a balance between memorial places for individuals,
which are person-oriented and can be individualized, and places for
the public, which are spiritual and suitable for diferent people and
cultures. Every person has however their own mourning process and
there are therefore good if it is possible to make room for individual
mourning expressions in places with common monuments.
Both the past and the future are important for the present
tme as the present exists in between the two. Since we can relate
to things in the past it can be a great source of informaton and
inspiraton when forming the future.
For a person who is morning it can be very hard to look into the
future as one wants to remember the past, but it can also be hard as
you see that the future will be diferent than you had pictured.
MEMORY AND MEANING
Spiritual and memorial places can be used for all outdoor
actvites; necessary, voluntary and social actvites. These places can
today also ofen be more symbolic than religious. As the tme goes
on, the use and meaning of a memorial place furthermore changes.
Many memorial objects, such as statues in the city, act for instance
as places for meetng where the original meaning of the object no
longer is important.
The remembrance can be voluntary, but it can also be
uncontrollable. Memories are ofen recalled by complex and
individual triggers and not by places themselves. The triggers can
be a certain symbol, feeling, spatality, detail, etc. Of these triggers,
some can be more efectve than others. One of the triggers that
can be very important for our remembrance is the actvaton of our
senses since they are a primitve part of us.
Sometmes people want to remember actvely, which ofen
make them connect the memory to a certain thing or a place. The
actve remembrance can however be created in a lot of diferent
ways.
Memories are not the whole truth, but a creatve imaginaton
of the past. The memory and meaning of an event or thing can
therefore vary a lot between diferent individuals.
The reviews where based on the literature, which references are on
the next page.
Literature reviews- a summary
17
These guidelines are inspired by and canalized of what we have read
in the literature reviews/artcles and of our discussion.
TOOLS: TEASE THE SENSES & SYMBOLISM
TEASE THE SENSES
- To strengthen or weaken one or more senses:
o Stmulate one sense by e.g. using a signifcant
smell or sound.
o To mute one sense by e.g. make a place quiet.
o Stmulate all the senses by using one phenomenon,
e.g. water that you can touch, smell, taste and hear.
o To emphasize by using contrasts, e.g. dark and
light, loud and quiet, small and big, high and low, etc.
- You can control some senses more than others e.g. you
can decide whether you like to touch something but its
harder to not experience a smell or a sound.
Gehl, J. (2006). Life between buildings: using public space. 6.
ed. Kbenhavn: The Danish Architectural Press. Or in Danish; Gehl,
J. (1996). Livet mellem husene. Udeaktviteter och udemilj.3. uppl.
Kpenhamn: Arkitektens Forlag.
Hillier, J. (2007). Stretching beyond the Horizon. A Multplanar
Theory of Spatal Planning and Governance. pp 94-95Lieberg, M.
(1995). Teenagers and Public Space, Communicaton Research, vol
22, no 6, 1995, pp.720 -744.
Mitchell, D. (2003). The Right to the City. Social Justce and
the Fight for Public Space. New York: The Guilford Press. Chapter 4,
The End of Public Space? , pp 118-160.
Parr, A. (2008). Deleuze and Memorial Culture. Desire,
Singular Memory and the Politcs of Trauma. Pp 181-189. Edinburgh.
Edinburgh University Press.
Petersson, A. (2004). The Presence of the Absent. Memorials
and Places of Ritual. Lund University: Dept. of Architecture. Chapter1
and 3.
Santno, J. (2006) (Ed). Spontaneous Shrines and the Public
Memorializaton of Death. Goldstein, D. E. & Tye, D. The Call of
the Ice: Tragedy and Vernacular Responses of Resistance, Heroic
Reconstructon, and Reclamaton. New York. Palgrave Macmillan.
The Wans Foundaton (2008). Loss. Svenle, E. Defning the
Past within the Present: Loss at Wans. pp 13-32. Laholm. Trydells
Tryckeri. ISBN 978-91-973972-9-2.
References Guidelines and Tip-ofs
18
SYMBOLISM
- Who will understand the symbolism and what does it
mean if you do not understand the symbolism?
- Use symbolism from the past, the moment or for the
future.
- Beware of the change of symbolism, e.g. the swastka
that was a symbol for sun but now are connected with
Nazism and the christan cross that should be the symbol
for hope but now are perceived as a symbol of death by
many.
- Use the universal symbolism of nature elements, e.g.
water can be recognized as the source of life.
- Use contrasts that make the symbolism clear, e.g. a water
element might have a stronger infuence in a dense city
than in direct connecton to the seaside.
- Use the writen language, e.g. quotatons writen on a
street in Stockholm that remind you of certain things.
BE AWARE OF: THE PUBLIC SPACE & THE PERSONS
THE PUBLIC SPACE
- A memorial place can exclude some people e.g. diferent
religions, diferent cultures, people who are not mourning,
etc.
- Memorial places can act as meetng points where people
can share a memory with others, e.g. a memorial place of an
accident.
- The accessibility, e.g. for disabled people, wheelchair
users and diferent genders, ethnicity, religion, age, etc.
- How to raise a memorial.
- How to take a memorial away e.g. build up something
new with another meaning.
- That diferent places are more or less appropriate for
memory and meaning and that the right design for the place
is important.
THE PERSONS
- That a traumatc memory can pop up trigged by some
thing in the environment.
- That the memory can be actvely evoked, e.g. by some
ritual.
- The fact that a memory is not the whole truth but a
creatve imaginaton of the past, e.g. some childhood
memories of certain happenings get more pink afer a
period of tme.
- Diferent kinds of stages in for e.g. the mourning.
Is this hope?
...or just Summer?
What happened?
What do we remember?
How does the dis-
tance afect you?
19
It was quite interestng to regard the infuence of the literature
background on the fnal design proposals. We fgured out that
there is an obvious connecton between the given literature and
the proposals. The literature directed the thoughts of the students
design process. While discussing about the diferent proposals we
notced that for us senses could play an important role in triggering
memories. Although senses like the sense of hearing play an
important role in several designs, students hardly discussed about it
perhaps as they had no text to rely on.
Even if the students had the same theoretcal background, the
literature was used in diferent ways. Some students used clear
references to the texts and thus created a proposal with a very
scientfc character. Other students however used the literature
more like a frst inspiraton. Although they did not use strict
references it is obvious that they refer to the same theoretcal
background.
We regard it as very important to do either or. If one uses references
one should try to do it in a correct and stringent way because parts
of the proposal without references seem to be ones own ideas.
Without any references the reader of a text might be aware that the
author draws upon a given theoretcal framework.
Every design proposal is based on, frst of all, the persons own
experience of the place and it has the marks of the concerning
literature. As people worked on this task in several groups, and they
had group discussions, the efects of the discussions are notceable
in each persons individual work. For example:
when elements of nature were emphasized on a discussion, it is
notceable on the students works
it is the same efect with triggers
or the importance of public interacton
the most of students kept the original identty of the traced area
and a group which discussed the importance of height, view
and freedom, it is mentoned in the individual texts as well.
As we notced, every work was seemingly completely diferent,
but looking behind it reading the text there were marked signs
which group they belonged to. This shows the importance of
talking to diferent kind of people, diferent kind of user groups and
professionals.
Infuences by the literature Infuences by the group
20
SPETSAMOSSEN
Group 7: Anna Ekdahl, Anna Stefkova, Hrafnhildur Hrafnkelsdttir, Karin Ingemansson, Sigrid Lnnerholm
21
Our task was to make proposal for a kind of urban playground in part of Spetsa-
mossen park in Vaxjo. The city is surrounded by water, which is a major element
of this town. The park is located in the downtown. People pass through the site
everyday to get to work or city centre but there is no inviting atmosphere that will
make them stay and spend some time there. The municipality have now decided
to rebuild the park because it is considered to be unsafe and of limited use by
the citizens. The new suggestion for the park structure came from Kragh & Ber-
glund architects.
Difculties:
One of the difculties we were confronted with was how we were supposed to
make the proposal if we didnt know how the place exactly looks like and didnt
have opportunity to see it.
Another question was the concept of an urban playground. An urban play-
ground feels a bit on contrary to what we have learned or read in the literature.
Many people defned urbanity with materials, shapes, vegetation which can give
an urban character to a space.
Safety: A lot of people didnt consider the park as a safe place. Lighting and also
vegetation were considered as elements to counteract this perception.
Activity was also mentioned according to diferent age groups. People came up
with question if it is possible to include all age groups to one place and make
everybody satisfed and active. If you try to please everyone you may loose the
fascination of the place.
The term playground tends to be used for children and it was confusing to work
with. Also play was included between all age groups- from the children to elderly
and disabled people.
Some people made their assignment as a professional design proposal for the
municipality; the others made it more as a school assignment and were writing
more refectively about their ideas than promoting them.
THE TASK
Illustration: The proposed activity area
(Kragh and Berglund Architects)
22
In this assignment we were given an overall proposal from the Architect Com-
pany Kragh & Berglund. The students have diferent attitudes to this concept,
whereas no one has chosen not to work with it all, people have used their con-
cept diferently and in varying degrees.
The distinct paths are a subject that many students have mentioned, and many
have seen the paths as an urban shape and something that will contribute to the
desired urban character of the park. Some have decided to work further on these,
also on a more detailed level in the urban activity area that we were given. And
that seems to have worked well, the activity area then look more connected to
the rest of the park.
Some are critical against the elevated paths, that they will direct the movement
too much and prevent people from fnding their own way around in the park. And
also that they will give a feeling on being on-stage and possibly make people feel
very visible, vulnerable and exposed.
The Kragh and Berglund concept have raised a discussion about urbanity among
many students. Especially when they mentioned that materials as asphalt and
concrete would contribute to the urban character many students questioned what
urbanity is? The conclusion is that urbanity partly lies in the choice and use of
materials, but also distinct shapes, elements and lighting etc. are important to get
the desired urban feeling. Also it is argued that the many diferent activities that
will take place in the park can give it an urban feel, that this density of activities is
very urban.
Some think that the Kragh and Berglund proposal have divided the diferent ac-
tivities in the park and not made the park inclusive enough. They describe it as a
park consisting of diferent activity islands. Some have refected on that it might
be a good idea to extend the Urban activity area and lead the main path trough
it so that it will be a natural place for people to stop by at, and thus avoid it to be
another separated activity island. This division is feared to lead to divided age
groups and less integration in the park.
THE KRAGH AND
BERGLUND PROPOSAL
Illustrations from top: Carina Daubner,
Zita Lndori, Sofa Fribyter
23
THEMES IN DESIGN
PROPOSALS
Illustrations from left: Anna Ekdahl, Erika
Jonasson, Emily Hansen, Jessica Macdonald
A great variation in handed-in material could be noted. Some proposals were very
conceptual whereas others were more detailed, some had illustration plans and
others simple sketches illustrating basic ideas. When looking through the design
proposals we found some common themes and similarities.
Wetland/Bog
A lot of the proposals discussed the context of Spetsamossen as a former
wetland and used this as an inspiration for the design of the activity area. This
background was frst introduced in the Kragh & Berglund concept.
Nature-like design or actual biotope
In some proposals the wetland as a biotope or natural elements from it have been
used, for instance:
Dewateringareawithreedandjumpingstones
Symbolic
Other proposals have mainly been inspired by the shapes or forms found in wet-
lands, for example:
Areadividedintoislands
Inspirationforidiom
Water
Water has been used in almost all of the proposals in one way or another. It is, by
many, considered a playful element that increases well-being just by being pres-
ent.
Water-play
Fountain
Streamingwater
Stillwater
Use of all senses
Exploration with other senses than just vision (touching, tasting, smelling and
listening) afects the experience of place. Activity does not necessarily have to be
physical, it can also be mental.
Tactileelements
Exploringwithyourbodyandactivatingyourbrain
24
Illustrations from left: Mateja Havlicek,
Merle Talviste, Magdalena Galle, Eva-
Britt Karlsson
Eye catching objects
Objects that attract attention and evoke curiosity. Work like magnets that draw
people into the area from where they can start-of and discover other parts.
Some examples of this:
Maze
Disco-gamewithmusicaltileslightedindiferentcolours.
High-ropecourse
Originalswings/hammocks
Spectacularfurniture
Redpath
Play-sculptures
Creativelighting
Hills and levels
Arguments for using hills or other diferences in height include that they promote
motion and evoke curiosity of what might be behind. They can also provide a
place for overview of the area. Examples of this:
Rocksorstructurestoclimb
Largehillasborder/viewpoint
Groupofsmallerhills
Modelingoflandscape
Multifunctionality
This theme includes objects or elements that have no specifc function and can
be used in more than one way. Places can also have multiple functions.
Idiom
Some have used an over-all idiom, like a certain shape or pattern, often devel-
oped from the concept of Kragh & Berglund, others have used objects conse-
quently throughout the area.
Security
The problems with rape and criminality in the park have been considered in many
of the proposals, often by avoiding dense shrubberies and putting emphasis on
lighting. Other aspects of security are all the regulations concerning play equip-
ment and public places. This is not something that is discussed to any larger
extent in the proposals, perhaps because it might be limiting in the conceptual
stage of the design process.
Accessibility
Access for all seems to be an important issue in all of the proposals. It has been
considered in the choice of ground-material, by making paths and by allowing
activities for everyone, including people with disabilities.
25
We think it is important to think about who will be reading your proposal. Who is
your target group? Will your use of the references be easily understandable to
those who have not read the literature, or have forgotten what the literature was
about? The references must be presented in such a way that the reader will
know what they are referring to and be able to connect them to your work.
References in individual proposals were used to strengthen and support the
students concept in the design proposal. Some were relevant to the literature
we have been reading, while others werent.
Refections on childrens play, public places, the senses, activities, users, objects
and vegetation were the most common ones. The researchers with the most
references to their work were Gehl, Cele, Mrtensson, Kylin and Boldeman.
References - literature for every-
one;
Boldeman
o better motor skills in natural environments
o diferent height levels important
o a green environments triggers activity
o vegetation protect children from dangerous sun radiation
o physical qualities of outdoor places important to trigger healthy behav
iour in children
o physical elements like sculptures result in more spontaneous play than
prefabricated equipment
o fenced-in surfaces can have a hindering afect on physical activity
Cele
o object
o problems with creating labelled places
USE OF REFERENCES
Illustration: Lavanya Asogamoorthy
o three elements: the permanent, the changeable, the momentary
o provide a feeling of freedom and keep play going
o use of all senses when experiencing place
o awareness of geography, concrete place and not just abstract
o gender perspective, boys do not necessarily need more space than girls
Cooper Marcus and Barnes
o gardens must convey a sense of security
o positive efects of water
o positive efects of being outdoors
Gehl
o people gather where the main attractions are
o primary seats and secondary seating
o new activities begin in the vicinity of events that are already in
progress
o people as social creatures
o activities grow from the edge to the middle
o people are attracted to other people, especially if they are active
o public places have changed from being used because of needs to being
places for optional, recreational activities
o human scale
o other people are the main attraction of public spaces
o public spaces need to have opportunities for people and meetings
Giford
o passive observation most of the time
o people have diferent experience and thoughts of place
o if groups feel welcome and use it, there will be more life
26
Grahn and Stigsdotter
o elements that allow you to test your senses
o benefts of being outdoors
Kylin
o absence of large green areas
o children, special place, special meaning
o childrens need to manipulate environments
o dens hidden places where children can observe without being
observed
o possibilities to climb, hide, meet with friends
o layers of vegetation is important to play
o dens vary from very secret to very social
o vegetation promotes activity
o children needs a more intimate scale, this triggers them to create their
own space
o teenagers need to have opportunities to feel free and independent
o step-by-step, smaller children keep closer to parents
o respect for childrens own creativity and needs is necessary when
planning for them
Lieberg
o on stage, ofstage
o teenagers seek to avoid adult supervision
o teenagers have few places in the city in which they can hang out
o in between/ free zones
o places to retreat
Illustration: Emma Ekdahl
27
References - from lectures:
Grahn
o easier to fnd something they like if the place ofers one function, and
easier to fnd something to do if one part is used for a particular
play or activity
o usage of the eight park characters
o using an orange colour as stimulation of activity- white and bluish co
lours are good in relaxing environments
Mrtensson
o objects
o objects, something to touch, things to do
o own rules, play and usage of space
o vegetation promotes activity
o vegetation should be emphasized in the outskirts of the area, focus on
edges which promote play
o children create their own world in which they defne roles, places that
can be related to each other like high or low, dense or open support this
kind of play
o areas for children are often too organized
o children need to have places for their own
Nebelong
o stimulate the senses
Illustration: Cordula Gielen
References for further reading:
Jacobs
o the mixture of users and uses is what changes a place into an urban
place
Ward
o defning aspect of a park is accessibility
References - from other than those in our literature
list:
Appelton
o prospect, refuge
Delshammar, Tim
o user participation
Diarmuid Gavin
o wooden platforms inspired one student
F.L.Right
o quotation: form follows function
Gaventa
o traditional public places are not enough to meet the needs and wishes
of people today
Kaplan and Kaplan
o sitting places with open front and closed back make you feel
comfortable
Both of the images are illustrating my second characteristics of
this area. These are the pathways. These roads are levelled
from the ground as the existing proposal suggests. I have de-
cided to keep it higher because it gives another dimension. The
areas itself is flat what make it rather dull, compared to levelled/
hilly landscape. The research have shown that the more varied
landscape is more valued (P.A. Bell, T.C. Greene, J.F. Fis-
cher, A. Baum , 2001). In some places the way lowers to the
ground giving the easy access to different spaces. It is espe-
cially important for example elderly people, wheelchairs, mothers
with carriage, disabled people. It could be seen also as a tool for
experience. Children , youngsters could use the edges for try
out the balancing or just enjoy jumping down.
I have added additional element to the pathway; integrated sit-
ting areas. I find it interesting to transform one object smoothly
to another. I see it also as a possibility to bond different spaces
together and it creates more unit feeling. As seen in these il-
lustrations then the rubber material has transferred from visual/
play object to a sitting place (creating in itself a smaller place).
Could the material use in a different context create a more com-
fortable urban place for everyone? I mean that if for example
adults use it first as a sitting place, will they be courage to use
also rubber balls to sit on. Can the material be used as a place
making attribute?
The rubber material is not only used during the day time. I have
thought it as a lighting material. These colored objects will be
glowing during the night time and makes it then also accessible
when it is dark. Urban places should be used round-the-clock.
The matter of safety is not only about the amount of light. It is
a lot about the use of space by the people. When the area is
attractive and pleasing for the citizens then there will be people
walking around (Composition and Material lecture, SLU Al-
narp 2008). Where there are people, the crime is more unlikely
to happen.
Integrated sitting facilities gives the possibility to rest, observe, listen, meet randomly a friend. These are
one of the activities that can take place next to a urban playground. Children are experiencing the rubber
human figures. The figures in a active poses can trigger others also be active in this park.
Rubber element next to the playground (first characteristics). It function as a space in its own. It opens up a view to
another space that can catch the interest to join the activity. Object offers different possibilities to enjoy the park;
more actively or passively. The material creates the unit that permeate different spaces.
Spetsamossen playground
Illustration by Merle Talvieste.
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This project holds the summary and refection of the project Spetsamossen.
The ideas, opinions, and discussions are that of spring 2009 students of the
class People and Environment. This student project took place in the campus of
Alnarp, SLU Agricultural Sciences. The results and refection are those concern-
ing the design of the site Spetsomossen and general design elements that may
be efective elsewhere. We tried to provide an impression of all these proposals
without evaluating each design proposal. Thus, we wanted to refect and maybe
provide some feedback on how to incorporate the design of Spetsomesson to
future design proposals. What were the basic questions asked by students? How
can this be related to the current understanding of the publics view? What is
the outlook on future designs concerning the matters discussed in this project?
What elements are repeated? These are some questions that are addressed in this
report.
Our given proposal site is in the Spetsamossen Park. Our task for the site was to
create an untraditional urban playground. This space had previously been very
unsafe and more of a forgotten nature area. It has been neglected and underap-
preciated. The municipality would like to change the park to something that all
citizens can use and take pride in. Kragh & Berglund are the landscape architects
taking part in this project and have provided a proposed plan for the entire site.
However, our task was to look into this one specifc part located south of the
skateboard area. We were supposed to create a suitable design considering the
context and requirements of the site. In this process questions and discussions
were formulated to provide a better understanding of the task at hand. This sum-
mary and refection is a conclusion of our fndings, of our questions and future
design possibilities.
INTRODUCTION
The proposed urban pathways for
the Spetsamossen park illustrated by
Kragh&Berglund.
SPETSAMOSSEN PROJECT
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Amfi_ Sittplattformar
Lekplats_Gummibelggning
Cirkusplats
Minigolfbana
Parkering
Parkering
Parkering
Allmnning
Skatebane
Petangue
Lekplats
Avvattning_ Hoppstenar
Avvattning_Vasskog
Grillplats
Bollbanor
Ankomst
Sittsten
Sittsten
Sittsten
Sittsten
Dagvattenbassng
_ Vasskog
Dagvattenbassng
_Grs
Grs
Grs
Grs
Grs
Energipil
Energipil
Sittsten
Grs
Grs
Grs
Sand
Sand
Sand
Grus
Grus
Grus
Grus
Grus
Grs
Grs
Grs
Sten med vide
Sten med vide
Sten med vide
Sten med vide
Sten med vide
Grs
Grs
Elefantgrs
Bladvass
Sten med siv
Sten med vide
Grs
Tuvttel
Grs
Projektorer
Projektorer
Projektorer
Projektorer
Projektorer
Skrmar
Skrmar
Skrmar
Skrmar
Grs
Grs
Grs
Grs
Grs
Grs
Grs
Grs
Grs
Paviljong
Paviljong
Paviljong
Paviljong
Paviljong
Grs
Grs
Grs
Grs
Sten med vide
General ideas
The proposal from Kragh & Berglund is to create an urban park that ofers many
diferent activities. Spetsamossen should be a place for everyone; a park where
people can meet and integrate.
Kragh & Berglund main idea is that the park should have an urban feeling and
being a central meeting place. They state that a functioning urban space should
consist of three elements; permanent, changeable and passing elements. This
means the park should contain solid objects and interior that is permanent as
well as having a possibility to arrange temporary social events. But there is also a
wish for creating a place where spontaneous activities and meetings can occur.
The design proposal features a system of irregular concrete pathways that will
connect the diferent parts of the park with each other. The main idea with these
paths, besides getting an urban feeling, is to encourage movement in the park
and to divide the park into diferent zones, where every zone has its own activi-
ties. The range of diferent activity-zones provides an opportunity for every
group to have a place to go to. The main road will go through the park instead
from around it and this will bring more people to the park, even though they are
just passing through. Some other elements in the park will be storm-water basins
and a wetland character in the choice of plant material.
Thoughts about the proposal
The students had a lot of thoughts about the proposal of Kragh&Berglund and
formed diferent opinions about their design-ideas.
In general, the proposed design seems to be too determined, infexible and not
open for spontaneous movement and play. Every area has a certain function.
Kragh & Berglund separated diferent activities from each other and thus there is
less possibility that diferent people can meet and interact spontaneously. Difer-
ent groups have their own area that likely causes a lack of integration.
In this context there were doubts about an appropriate choice of the activities
locations (skatepark next to barbecue and pentague area).
KRAGH&BERGLUND
PROPOSAL
When having a closer look at certain elements there
might be too less lighting to animate people to use
this area in the night as well.
The shape of the paths was something people had
contrarily opinions about. On the one hand, it creates
an urban character and provides an interesting design.
On the other hand, the elevated paths probably will
cause a problem of accessibility for elderly and disabled
persons. They might even prevent spontaneous move-
ment and animate the people to stay on the paths and
not to go into the single parts because they direct too
much. Furthermore, the elevation creates a feeling of
being on-stage and therefore being vulnerable. People
feel uncomfortable.
The uncommon pathways might even induce people
to avoid the park at all because shortcuts are not easy
to be done and people always think about the shortest
way.
How students worked
with the ideas
Resulting out of these thoughts, there have been dif-
ferent ways of dealing with the proposed design.
A lot of students tried to integrate Kragh & Ber-
glunds ideas. To work with the paths, the dewater-
ing zone, certain materials and elements (stepping
stones) and vegetation can be taken as few ex-
amples.
There have been also ideas of how to solve weak
points of the Kragh & Berglunds design. Putting attrac-
tive elements into the islands might trigger people to step
from the paths and therefore to foster a more intense interac-
tion between people and this place.
There was also the idea of changing certain activities or to locate them at
a diferent place.
The proposal plan for Stetsamossen by Kragh & Ber-
glund Landscape architects.
31
Because we were supposed to make a proposal for an untraditional playground,
more like an activity park, everyone was struggling with the question: What is
activity? What does activity mean for diferent people and groups?
Activity is a broad concept and can mean both play and calm activities which
means that we can create activity for the body as well as for the mind. Even
though passive is the opposite word of active most of us were in common
thought that there is both an active activity and a passive activity. Is there any
way you can create both active and passive activation in the same place?
WHAT IS ACTIVITY?
How to defne activity is based on diferent factors like age and physical ability.
But overall does active activities mean more advanced physical activities like
playing and sports and the passive activity is calmer and includes observing and
sitting, listening, talking; evoking our senses and just being in the present and
being aware of yourself here and now.. Social interaction is another activity,
and it is important that children are a part of the social life (Cele, 2006). Its impor-
tant that there is room for passive activities like observing, because if we cannot
see people we might not go to a place, although the place ofers attractions
(Gehl, 2006).Furthermore, if there is not room for basic activities - that are more
passive - the advanced activities do not proceed (Gehl, 2006).
The diference between user groups is that children are more physically active;
they become active through interaction environment and use their whole body
in their play. They run around, climb and searching. For kids play is a way of living
and through that they learn and sense the world (Kylin, 2003; Cele, 2006). Even
though they are mainly active, they also do more passive activities. Children need
calm places too where they can withdraw and be by themselves (Kylin, 2003;
Cele, 2006).
Adults and elderly do more passive activities like sitting and observing, talking.
But they can do more active activities if they wish and have the strength. Adults
play could be described more as an entertainment. Usually it is conceive as a
pleasure where the competition moment adds the adrenalin. Many of us com-
mented that it is difcult to know how adults see at activity and play since there
is hardly any literature about the subject.
Teenagers are both active and passive. They are looking for specifc activities like
sports and skateboarding, as well as being out of reach of adults supervision and
hang out. They need both on-stage and of-stage places in their environment
(Lieberg, 1995).
Le: Placing of the hammocks
Below: How it can look
Hammocks as a symbol and equipment
The hammock is a talked-about symbol for lazy summer days and the feeling of holiday (Wikipedia, 2009-
02-18). It stands for long permissive days with a book in the shadow under a tree and total freedom to
do whatever you like. Hammocks are equipment that invites you to relaxaon but they also invites you to
play. You can swing in them, try to turn each other out of it and climb in them.
The most common place where you use to have hammocks is in the country, or at least in your garden,
it is something rural and idyllic about them. But with bright colors and tougher material I think that they
can be a surprising and fun element that gives the urban area a fun twist. They will serve as the necessary
contribuon that transform this entrance area from a place you walk trough on the way to all the other
acvity places in the park, to a gathering place where you can stay, meet your friends, rest for a while or
play around.
Johansson, M. & Kller, M. 2005, Svensk miljpsykologi, Grahn,
P. Om Trdgrdsterapi och Terapeuska Trdgrdar, Lund
Kragh & Berglund Landskabsarkitekter A/S, 2007,
Spetsamossen, Kpenhamn
Wikipedia, 2009-02-18, search word: hngmaa
An example of hammocks that invites you to lie in them
and relax but also to act more active by swinging in
them as illustrated by Maria Malmstm.
VARIOUS SWINGS | Everybody can do it if the
DESIGN of the swing fits the user group.
And its social too.
STEP1: Irresistible SWINGING.
UNIFORM SWING CHARACTERS | Visible from a
distance, perhaps lending the shape from
the street lamps.
C' = /''
P A G E 5
SPETSAMOSSEN
Urban Playground
Water
Grove
Skate park
Square
Entrence
Purling water
Hiding place in the reed
Jumping stones
Play and hide in the grove
Illuminated in the night
Climb
Sit-
Jump
Hide-and-seek
Temporary activities like exhibitions
or letting the children paint
0 10 20 30 40m
Water has many different qualities.
It fascintes, gives relaxion and en-
courages play.
Nature is an important element
in the urban environment. Here
children can play freely and cre-
ate their own little hide-aways.
In this, the concret boxes make
an exciting element.
Ground
The concret boxes give an urban
impression at the same time as they
are flexible and versatile; making
the basic blocks for many different
and changing surroundnings.
Observing is an important passive activity as illustrated
by Magdalena Galle Rambe.
Activating your body and challenge yourself as
illustrated by Jessica MacDonald.
Social integration by cooperation illustrated by Emma
Ekdahl.
Playing for children is more than running around. Its
also about calm play and learning about the world as
illustrated by Lavanya Asogamoorthy.
32
o hilly landscape is interesting and makes people curious
Michaela Lica
o colour afection
Mitchel
o grass root activity
Moore & Cosco
o safe and security can sometimes result in a loss of play opportunities
for children
Osberger
o colour afection
Skovbakke Villadsen, Kielgast
o strongly specialized spaces can become destination places for
networking in the neighbourhood and the city
Sullivan
o quotation: form follows function
Villarreal, Edgar L.
o stormwater in an urban context
Worpole
o users need protection from each other
Illustration: Anna Stefkova
Walker
o public spaces are for everyone- question of accessibility
33
Activity and User groups
Children Adults
Older people
Teengers
Main target group Secundary target group Secundary target group Secundary target group
Mainly active but
also passive activity
Mainly passive but also ac-
tive activity if wished.
Mainly passive but also ac-
tive activity if wished.
Both passive and active
activity, depending on the
time of the day and the
amount and type of people
in the area.
People and Environment Lk0069
Assignment: An urban playground
Johanna Verbaan
2009-02-19
Who is the target group and what are their needs? The target group can be any
group of people divided by age, gender, social status, background, disability,
illness, and so on. Each of these target groups has their special needs such as
considering physical challenges, accommodation, and culture to name a few. Be-
cause of each target groups special needs conficts can occur when facing other
groups because of difering views and interests. For example, children like to play
and be noisy but adults desire peace and quiet.
Is it appropriate to integrate all user groups into one space or it is better to divide
the space? Focusing on a single target group means their individual needs are
met but when shared with other users it means that the needs of the whole are
met rather than the individual group. If one separates the target groups there is
the loss of interaction with other users. There are fewer challenges in the social
realm.
To bring together diferent users invites greater social interaction in which one af-
ter efect is infuence. Thus, is it better to force diferent users to interact through
creative activity? If so, then how to bring about multiple target groups into one
space? This might mean we need to generalize the interests of each user or vice
versa and include many activities and alternatives so that all interests are met. It
might mean using one user group to invite or force other user groups to partici-
pate within the space. For example, to create a place for children might infuence
the space used by parents and grandparents.
We should also keep in mind that people attract other people to come to a space.
Maybe, understanding that adults need play as well can bring together various
user groups. How to incorporate challenges that satisfes all target groups? Many
in their review of Spetsamossen have explained that maybe nature is the answer.
Nature provides interest for all audiences and provides play through the imagina-
tion.
TARGET GROUPS
Illustration by Johanna Verbaan.
34
The assignment was to create an active place for everybody in an urban context
for the park of Spetsamossen. Therefore, every student asked about the term of
urbanity.
There have been thoughts about the use of certain materials (concrete, asphalt,
glass, plastic), and shapes (sharp, strict, determined) but also colours (grey or
more intensive ones like blue, red, green, yellow). But it has to be mentioned that
some students really defned urbanity in this way and some asked about if this is
meant to be urban.
For a lot of students urbanity goes together with a high density of (mixed)
people who meet and interact with each other. Furthermore, urbanity might
be connected with a lot of activities that happen in one place, diferent activi-
ties according to activities in natural environments (skateboarding, etc) and a
lot of movement and happenings in general. Kragh&Berglund proposed special
lighting for this park of Spetsamossen. The huge lamps initiated thoughts about
lighting and urbanity. When considering the sun as the natural light, (such) artif-
cial lights create an urban feeling anyway.
Some groups thought about the need of an urban park in this place of Spet-
samossen, if it suitable at all. On the one hand, there was the municipalitys
demand for an urban park and the central location that might make an urban
character eligible. But on the other hand, there were proposals that struggled
with an urban character being aware of Mrtenssons (2009) statement of a
natural environment that is more suitable for childrens play. Some even negated
urbanity for this place.
It was often the case that urbanity has been put in relation to natural/rural envi-
ronment.
Some were thinking about if urban character excludes nature or how it is pos-
sible to integrate nature in an urban way. Maybe just to shape vegetation in a
sharp or geometric form, or to use uncommon species for the certain location
instead of planting common species in more layers, can be one way of how
to bring the two terms together. Urban seems to be more determined, more
shaped, more defned and natural more complex, unordered, undirected, more
open for creativity and fantasy. Thus, there was this notion that it has been
difcult to decide how to integrate urbanity when it is more determined, less
fexible and seems to have a certain function. When designing an active place
URBANITY
for everybody the environment has to be multifunctional and open for diferent
kinds of fantasy and creativity.
There has been also the opinion that urbanity excludes nature, that urbanity
means less greenery or that nature does not ft into an urban context at all.
As one can see, there are diferent opinions about urbanity and that it can mean
diferent things to diferent people. One group stated the difculty to handle this
as planners because everybody has his/her own image of urbanity and one never
knows if it meets other opinions and if this urban character is recognizable and
appreciated by others at all.
When looking at the single proposals it becomes obvious that the discussion
about urbanity and the results of it lead to design-ideas.
The use of defned shapes and certain materials like Magdalenas concrete boxes,
the eye-catching-efect of intensive colours (Johannas cubes or Merles red rub-
ber objects) the importance of social interaction (Jennys dancefoor, Cordulas
ferries) as illustrated by images.
The more people
you are, the fast-
er it goes and the
sounds will become
a melody.
Regarding lo aclivily, valer has a greal
fascinaling effecl on eoIe and is oen for
chiIdren's crealivily. ecause of lhese
asecls I decided lo inlegrale lhe eIemenl
of valer in lhe shae of a Iake in my
design as veII.
Going logelher vilh my idea of a
chaIIenging and exIoring Iace, differenl
ossibiIilies are given lo cross lhe Iake and
lo exerience il fromdifferenl
erseclives.

Wilh lhe heI of a roe one can lransfer
oneseIf fromone shore lo lhe olher by
ferry or can have a haIl al lhe lvo isIands
lhal aear on lhe vay. The isIands are
inlended lo have differenl characlers
vhereas I do nol have eIaboraled designs
for lhemal lhis momenl. ul I amlhinking
of areas vilh lransformabIe maleriaIs Iike sand, fragranl Ianls, and lhe ossibiIily lo
have access lo valer. Iurlhermore lhese isIands can be allraclive for silling under a
lree, observing chiIdren in lheir Iay or leenagers comeling 'vho viII be lhe firsl al
lhe olher shore'.

Examples for the usage of the ferries
In our group we have discussed light, both as a way of prevent the
feeling of an unsafe environment, (main point in safety is people in
movement), but also as a element belonging to the urban context.
On the Stepping concrete blocks you can jump around surrounded
by a shallow open water surface, you can chose to jump over to
the pavilion or towards the trees. There are difculties in joining
aesthetical and safety for the steeping concrete blocks for the
wheelchairs, but the edge on the path is so far the best solution.
The joints are not a problem since they can be lled with materials as
silicone colored as well as transparent.
To be able to choose where you would like to go and who you want to
meet is important for the personal feeling of freedom (Cele, Gifford).
The viewpoints are important for the fascination keep to the interest
of what is happening around the corner but struggling with the fear of
violence in the park the balance between open and closed have to be
carefully considered. The main character is according to Kragh and
Berglund open and at.
The pavilion is considered to be a roof, for sun or rain protection.
The benches are partly movable, tracks in the concrete oor makes it
possible to furniture the scene. To be able to change a place gives this
area a dynamic design, and its satisfying to be able to change your
environment (Mrtensson,Kylin). I have a vision where I see different
age groups as Lieberg or Gifford says hanging out here and socialize.
Walking trough the area you will meet a mix of adventure and
possibilities, here you can try out your abilities and be aware of
you body. What seems to be an easy walk for most of the citizens
is perhaps true. But the path is not totally straight and plane so if
you are in a wheelchair this will be an adventure as well.
The rst part you will be walking over bridges. The ground
covering material on the bridges is plastic and has a structure
pattern for a safe walking during winter and rainy days. It can be
made in different forms and shapes. The surface is also possible
to feel with your hands.
The poles for balancing and climbing are for training the body
abilities. All are not able to use them but it is meant to be a
challenge as well as a aesthetic value. If you fall down the soft
grass will moderate the fall. High vegetation like perennial grass
spices will grow under and around the bridges and out in the
storm water area moisture lowing plants will be growing.
The poles are in two different materials (after the discussing that
too many materials give an untidy expression the last decision
has not been made). Some of them are in wood and some of them
are in plastic, the once in plastic will be shining during night. Too
many orange sticks will in my opinion be takeover the impression
of the surrounding. Wood is more to be a part of the nature and
not interfering with the surrounding in the same way, the color of
the wood will change affected by the wetter.
The dynamic lighting and colors of the dance foor fosters social
integration as illustrated by Jenny kesson.
Ferries fostering cooperation in the design by Cordula
Gielen.
Urban shapes and materials as illustrated by Eva-Britt
Karlsson.
Principal sketches
6
CUBS
The cubs are made by plastic and should be hollow so they not become so
heavy. The cubs will be placed where the pathways get wider. The thought
is that the cubs can be moved around and people can use them for different
kind of purpose. I was also thinking that the cubs can be a chance for
children to experience their body, use their balance, use their creativity and
see the world from different angles. For example children can build a dens
or jumping around and playing dont touch the ground. Eldery people can sit
on the cubs, watching the children, the vegetation or the cubs that in some
way also can be seen as artwork that have different shapes every day. The
place will change and it will be interesting do go there and see what have
happened, what have other people create. Some of these cubs are stuck to
the ground and on the night there will be light inside them.
I will also put some of the stucked cubs into the vegetation. Because I got
the feeling that the rised pathways give the feeling that you are only allowed
to go on them and and not in the vegetation. Through putting out ordinary
things into the vegetation I think that people will feel more secure to walk
in the vegetation. The cubs can then be used as a bench where you can
lie down watching the sky, reading a book or study other people moving
around. They can also be meeting places for teenagers that just want to hang
out or used by families for picknick in the vegetation. There are so many
possiblities you just have to use your imagination.
Why these forms? I wanted to use I form that could be associated with many
different things and also work good to put together to create other things. So
it up to the viewer to decide what it is or should be. My thought was also to
have a form that we can associate with the urban sorrundings. I have chose
to work with strong colours on the cubs so they will be visible and make
people curious to find out what it is. I took some inspiration from the picture
in the design program but I havent really thought it through so much. Im
aware that some people might be stressed of to much colour or maybe dont
like it. But this is just a little bit of the park so they have the possibility to go
to other parts that dont have so many colours. It is also important that the
colour fit to other colours in the park.
Of course there is a big risk that these moveable cubs will disappear from
the place. For me its not a big problem then the place is built to work also
with out them. But I think that if the place work well and people get attached
to it they will stay. Maybe visitors will move them around in the park but
thats also fine with me because then they have become more creative.
Movable, multifunctional, plastic cubes
in bright colors evoke creativity illus-
trated by Johanna Bilfeldt.
35
Multifunctional use
Is it better to have a fexible or more specifed design? A place and elements
that can be used in many diferent ways can evoke creativity and fantasy. There
may also be a risk of, when using very defned functions or elements, that it may
distract some user groups negatively since they feel that its not made for them.
Consequently, a more open-ended design can therefore be an advantage. When
being able to transform the place yourself, perhaps there is a better possibility to
generate place attachment because you have the opportunity to make the place
whatever you want it to be.
On the other hand, a few people raised the question that very open-ended de-
sign could make people uncertain about how to behave. Perhaps more defned
elements, where its clear what the purpose of the function is, might make it
easier for some people. For example, adults might not be as used to as children in
interacting deeply with their natural environment.
Attracting people and plan for
social interaction
Seeing, meeting and talking to other people is not only an important part of
being activated people are also very attracted by other people and especially
when other people are active. A good way of creating activity is therefore to plan
for a good meeting place. This might include choosing a good setting close to a
main path and providing good places for seating. Another way is to design some-
thing spectacular, fascinating or irresistable. This, in itself, will attract people and
make them want to explore the place. Another way is to plan for activities that
fosters cooperation, and which gives people a reason to interact.
Stimulate diferent senses
A design that stimulates diferent senses has many advantages. It creates a closer
and deeper interaction with the environment. It means that there are more di-
mensions to explore. It can also be a very successfull method when dealing with a
variety of user-groups because it has something to give people regardless of dis-
ability or limitations. It can be choosing diferent materials or materials that have
many diferent qualities, like fruit-trees, soft leaves, pouring water and rounded
stones. Plants and vegetation is very useful because it stimulates so many difer-
ent senses and also provide diverse qualities throughout the year.
Create variation and possibilities
A design which has variation in rooms and possible experiences can serve difer-
ent uses and user-groups at the same time. It is also likely that a variated place
will hold peoples interest for a longer time. It also evokes a sense of freedom
when one can choose where to go. People need both on-stage and of-stage
places which a design should take into account (Lieberg).
Heights and levels
When the ground plane varies, this can motivate people to activate too. Climbing
hills, walls, steps or benches provide diferent challenges and healthy physical
movement and body-awareness. Hills are a well-used element in playgrounds for
children, but can be an enjoyment for adults as well.
Benches
Sitting is a very important activity, perhaps especially for adults and elderly. It
gives possibilities to rest, to observe other people, to read a book or talk to a
friend. Strategically placed benches is therefore an important part of the design
and should provide diferent possibilities in privacy, sun/shade and on-stage/
of-stage. Light, movable chairs has even more possibilities for people to choose
the perfect spot and to interact with each other. Seating is very important in the
public square as it one of the requirements suggested by William Whyte.
DESIGN FOR ACTIVITY
VISIONS/IDEAS...
This sketch could illustrate my visioned first characteristic
area. It is a rather open area next to the water collecting
pond. There is a combination with rubber balls and stones.
The surface here is sand. I found it very important because
a lot of people make this relation to beach, maybe vacation,
relation. So this could work for a adult as a restorative area,
sunny spot or make a will to clime? As in the research (lec-
ture with P.Grahn) with the children the sand is very impor-
tant play tool. So here it isnt putted in a box, it allows to act
everywhere.
The wooden pathway leads to a hidden place on the water.
A lot of research has shown that water is a very pleasing
element in the landscape. The wooden pathway allows to
access to this spot fort every one, even elderly people.
Levelled pathway that leads
through the area. There is a
larger are on the way, where
could rest, meet other person or
observe what is happening.
On the left side the wood sticks
thicket creates see trough
screen.
Stones next to the wooden
pathway allows to enter differ-
ent room. The red rubber form
catches the eye from the dis-
tance. The use of it depends
on the user groups. It could be
a meeting place, sitting area or
used as a slide or climbing tool.
Entry to a water
platform. Bend-
ing pathway
makes wonder
what is behinf the
corner.
I have though to use rubber that is covered with a smooth coat-
ing, as an outstanding material. It is more about trying to com-
bine it with natural materials, like stone and wood. In a one had
it is a question about emergence , but the other hand it is also
about being visible and triggering. On my illustrations have de-
cided only color the rubber elements, to emphasize their loca-
tion and place in the space. I have used mostly rounded shapes
in my vision. The use of this form is mostly about accordance
with the natural forms. I see in my design also a different kinds
of stones that could be used as jumping stones, for sitting, hid-
ing. My idea was to try to combine the similar form but different
materials. Even though I cant get a feedback about that , but I
would like to know would it triggers people to use more different
materials in a combined way. The rubber elements will be the
recurring feature through the playground. I see this as a object
that could establish this kind of urban context.
SPETSAMOSSEN
Urban Playground
Water
Grove
Skate park
Square
Entrence
Purling water
Hiding place in the reed
Jumping stones
Play and hide in the grove
Illuminated in the night
Climb
Sit-
Jump
Hide-and-seek Temporary activities like exhibitions
or letting the children paint
0 10 20 30 40m
Water has many different qualities.
It fascintes, gives relaxion and en-
courages play.
Nature is an important element
in the urban environment. Here
children can play freely and cre-
ate their own little hide-aways.
In this, the concret boxes make
an exciting element.
Ground
The concret boxes give an urban
impression at the same time as they
are flexible and versatile; making
the basic blocks for many different
and changing surroundnings.
7
Stone islands
Stones are other objects that can be used to experi-
ment with different height levels and also be used by
children in their play by climbing up and down the
stones or lying down or fnd spots between the stones
where they make their own private places.
Ive thought of creating stone islands and by using
different materials, not just natural stones but also in-
organic material like concrete and plexiglas the users
can experience and touch different textures which ac-
tivate the brain. By combining different height levels
with different textures gives the place more dimen-
sions which is very important for the experience of
the place (Grahn, P. Lecture 2009-02-13) Textures are
also a particularly good way to let blind people feel
and experience the place (Cele, S. Lecture 2009-02-
09).
Stones can also work perfect as seating. Gehl discuss
the important meaning of having both primary seats,
like chairs and benches but also secondary seating
like stairs, fountains or as in this case stones. By com-
bining these seating a place is more seldom experi-
enced as abandoned since there arent too many emp-
ty benches, and of course the best about secondary
seating is their multifunctional use. (Gehl, J. 1996).
In other words the stone islands can be used both for
active play and for passive activities like sitting down
and observing other people. Some stones should be
put next to the big path to invite passing people to
take a pause which in the end also can contribute to
interaction between people on a social, active or pas-
sive level.
Different height levels can be a
physical challenge where we as a
social activity can help each other
to manage it, in other words it can
make people start to interact with
each other.
Textures
1) Transparant surfaces mixed with covered surfaces can give a more
mysterious expression. Different materials also transfer sound in dif-
ferent ways which gives the place a third dimension.
2) Natural stones have a very irregular and hard surface where each
stones are unique. Natural stones can get warmed up by the sun
which makes them very pleasant to sit on.
Stone islands
1 2
Some of the stone islands are mixed up
with vegetation that can work as screens
that divides the place into smaller rooms.
Some stone islands only consist of one
material other of different materials,
shapes and sizes.
FORM, MATERIALS & ACTIVITIES
The main thoughts for the levels are that they should function like lanes with
the same formexpression as the ordinary paths in the park, but with dif-
ferent heights, widths, materials and uses/activities. The edgy formof the
ordinary paths is not just taken in the horizontal plane but also in the verti-
cal plane. That is, the lanes height changes in an edgy way, like it is made of
ramps (see viewimages). The direction of the lanes is irregular and made
so that the end of themcannot be seen. The beneits fromthis are that the
attention is directed on the surrounding environment, the atmosphere gets
a stronger spatial feeling and the lanes can be experienced as longer than
they really are. Although the lanes only run in one direction it is possible to
go between themby smaller paths perpendicular to the lanes. These small
paths could either be done in less urban materials (for example in sand, bark
or wood chips) or be created by the use of the visitors themselves. In some
places these paths could start by a narrowlight of stairs over a larger height
dierence and in some on places where the height dierence is none or very
small.
To make people start spending time in and experiencing the level landscape
there are some usual activities integrated in the lanes. In one glade next to
the water there is a grill area and in another glade there is a pentangue/
boule area. Fromthe arrival crossing in the very south part to the skate park
there is also a lane for the skaters. Here youths can skate and practice some
of their tricks on edges made in the ground and on the corners of the lane
walls (corners have to be strengthened by metal). In this lane the lane walls
could also be made extra high and function as legal walls for grafiti.
Each lane has a special character that either is the same throughout the
whole lane or changes along the way. Some of themconsists of water, some
of concrete paths and some of vegetation. The lanes of concrete paths are
in a darker color than the main paths and with a rougher surface treat-
ment, which makes themstand out fromthe ordinary systemof paths. All
of the lane walls (the sides that take up the height dierences) are made of
the same light (white) concrete as in the main paths. The vegetation in the
lanes does in some of themonly consist of cut grass while in other of trees,
shrubs and/or perennials. As the formof the lanes has an urban character
the vegetation can be more natural without losing the urban feel. Although
more urban vegetation (as trees in hard surfaces etc.) can be very nice, much
research establishes a general preference of more natural vegetation (Kap-
lan & Kaplan, 1998; Ottosson & Ottosson, 2006). The amount of naturalness
of the vegetation does however dier between children and older people.
In some places the vegetation lanes therefore have a very natural look, with
many plant layers and dierent kinds of species. This kind of vegetation is
perfect for childrens play and it encourages themto build dens as they can
ind good places that correspond to their size and the environment contri-
butes with the material that they need in their construction (Kylin M., 2003;
Cele S., 2006). In other places the vegetation is more cultivated and simple,
since adults often prefer more tidy looking vegetation. The most important
thing for the plants is though, as mentioned earlier, that they have as many
variations in qualities throughout the year as possible. The vegetation clo-
sest to the pentangue/boule area and the main paths should be lower and
more open due to security (mostly experienced security). Next to the pen-
tangue/boule plants should also be used that have lowers during summer
as well as spring and autumn.
In all of the lanes, both along the paths and in the vegetation, there are many
sitting possibilities. This way people have the option to stay on their favo-
rite place and teenagers can get their own secluded meeting points. These
seatings can be made by ordinary benches, concrete parts coming out of the
lane walls, natural stones, wooden stems, etc. It is though important that
they do not all look like benches, as even a very well used place can look
deserted by empty benches.
Modules that can be put together to create
changing chairs as illustrated by Michael
Schmlz.
Red rubber spheres, undefned objects for
creative play and imagination as illustrated
by Merle Talvieste.
Versatile concrete boxes as illustrated by Magdalena
Galle Rambe.
Various objects to stimulate the senses illustrated by
Erica Jonasson.
Elevation changes providing interest and activation for
the users illustrated by Carina Daubner.
A variation in ground materials, like wood, turf, gravel,
sand and rubber illustrated by Lavanya Asogamoorthy.
36
Vegetation and nature
When it comes to childrens play, nature and vegetation has proved to be very
stimulating and provide many possibilites. Plants provide places to hide, to
observe other people, it can be manipulated into paths and dens and it activa-
tes many diferent senses. Vegetation can have restorative efects and activate
people, even if its not be as physically engaging as it may be for children. To
include plants in the design is therefore very useful in most places, but perhaps
even more so where you want people to activate.
Water
Water is a very useful element ofering many diferent experiences and activities
if added to a place. It can be a very calming material and at the same time be
a good element to transform and use in activities; touching it, making it move,
hearing it, making things foat or sink to the bottom. Combined with bridges or
stepping stones over the water, it can add a challenge to the ordinary activity of
walking.
Dens
Dens are an important part of childrens play, making them create a world of
their own, feel freedom and observe other people while hiding. A place where
there is possibility to create dens will be a good place for children, and the use of
vegetation is especially good for this purpose. Could there be something similar
to dens which adults may want to use?
'/ = ''
P A G E 4
Stepping stones in water brings
excitement and closeness to water as
Jessica MacDonald.
37
For the diferent design proposals the students used various kind of literature
that has also been discussed in the literature seminars.
To mention only some, Cele (2006), Mrtensson (2009), Kylin (2003), Boldemann
et al.(2006) provided a broad spectrum of what planners have to consider when
designing environments for children. It was very helpful to work with it. The
discussion of a natural environment being more suitable for peoples well-beings
and childrens play than an urban environment often occurred and was mainly
fed by the various authors statements.
The place in the Spetsamossen Park was supposed to be an active place for
everybody. Therefore, it was interesting to think about activity for adults and
elderly as well. Unfortunately, there was literature missing that gave us a deeper
insight in what kind of features and elements can activate them.
When having a look at the single proposals, there are other works that have been
helpful to refer to (not an entire list):
Jan Gehl
Robert Giford
Mats Lieberg
References
Kragh and Berglund Landskapsarkitekter A/S Kpenhamn. (2007) Program for
Spetsamossen Vxj.
Boldeman, C. et al. (2006). Impact of preschool environment upon childrens
physical activity and sun exposure. Prev Med 42(4), pp 301-308.
Cele, S., (2006). Communicating Place. Methods for Understanding Childrens
Experience of Place. Doct Diss, Stockholm University pp 9-80.
Gehl, J. (2006). Life between buildings: using public space. 6.
ed. Kbenhavn: The Danish Architectural Press.
Giford, R. (1987). Environmental Psychology, principles and practice. Allyn and
Bacon, Boston. Chapter 10: Community environmental psychology
Kylin, M. (2003). Childrens Dens. Children, Youth and Environment. 13(1), Spring
2003.
Lieberg, M (1995) Teenagers and Public Space, Communication Research, vol 22,
no 6, 1995, pp. 720-744
Mrtsensson, F., (2009). Lectures Place attachment from childhood to adult-
hood and Health promoting outdoor settings, 2009-02-16, Alnarp.
LITERATURE
38
People and Environment
Emma Ekdahl, Soa Fribyter, Erika Jonasson, Merle Talviste and Johanna Verbaan
ASSIGNMENT SOMMARSOL
39
2
How does the design process aect the nal result of a design?
What are the possible approaches of a design process and what are
the denitions and representative features of these? We have gone
through the projects of Sommarsol, trying to analyze and spot
possible categories and types of approaches for this task. Finally we
ended up with four categories which we interpreted as dierent
ways of dealing with the rather intricate and complex assignment
of Sommarsol.
This analyze is one way of reecting of what has been done in the
Sommarsol project and such an analyze could create an awareness
of possible ways of approaching this type of project in the future.
The four categories
Structural/general focus (12%)
Conceptual view (40%)
Detailed focus (28%)
Focusing on Details (20%)
Introduction
40
3
The approach of a structural/general focus in a design process
seems to aims towards an overall analyze, to nd arguments and
guidelines further on in the design process. This point of view
emphasises the importance of connecting desired environment to
the most preferable location through analyze and structuring. By
analyzing the basic conditions, considering the wants and needs of
the users, looking into desired features and elements in the envi-
ronment, the designer aims to dene zones to clarify what has to
be done in this dierent zones to create a design which applies to
the whole structure. The structural/general focus requires a visual
material which shows the site in a greater context with its sur-
roundings.
Representative features: .Maps with colour schemes connected to
denitions are the most common representative features.
Most frequently used literature within this category
Bell, P.A., Greene, T.C., Fischer, J.F. & Baum, A. (2001) Public space and territoriality.
pp251-292. Environmental Psychology. Thomson Wadsworth, Belmont CA.
Bengtsson, A & Carlsson,C. (2006). Outdoor Environments at Three Nursing
Homes: Focus Group Interviews with Sta. Journal of Housing for the Elderly,
19(3), 49-69
Ottosson, J. (2007). The Importance of Nature in Coping: Creating increased un-
derstanding of the importance of pure experiences of nature to human health.
SLU Reproenheten, Alnarp.
Ulrich, Roger S; (1999). Eects of Gardens on Health Outcomes: Theory and Re-
search. In: red, Cooper Marcus, Clare., Barnes, Marni. Healing Gardens, Therapeu-
tic Benets and Design Recommendations. pp235-322. New York.
Stigsdotter, U.and Grahn, P. (2002) What makes a garden a healing garden. Jour-
nal of Therapeutic Horticulture, AHTA, Volume XIII
Structural/General focus
Illustrations:
Emma Ekdahl and Carina Daubner
People with neurological diseases further require an environment that supports
activities for learning basic functions (Bengtsson, 2006). By connecting possible outdoor
rehab activities and place those close to the existing indoor rehab activities, the rehab
garden is probably more likely to be used by staff as a complement to the different
indoor programs.
Finally, in making sure that this new healing garden at
Sommarsol will be used as both a therapeutic garden
containing physical training as well as a restorative garden
for passive enjoyment, I believe it should be created where
the major existing lawns are today. This is a much larger
area with greater possibilities to attend to all those
different characters needed in a healing garden.
Preferably it could be divided into two smaller gardens; one
inner and one outer related to the pool area in between.
The inner garden could hold a more therapeutic approach,
focusing on activities, security and social meetings. The
outer garden could then have a more restorative approach
with possibilities of finding a private secluded place,
including paths for walking that could be connected to the
way to the beautiful surroundings; the sea and the forest.
Placing the garden here, it would also be visible for all
visitors and could strengthen the identity for Sommarsol. If
there were more time for this assignment, now the process
of planning the gardens in detail could begin together with
the staff working at the facility...
.
The outer restorative
and private garden
The inner therapeutic
and social garden
The pool area
41
This method has a strong concept as a basic, from what the design
is proceeded. It is in a way hierachical approach, where every next
sept is tted to a previous setting It is not focused on the detail,
rather on an impression and space cognition that the design needs
to express. It handles a question between person and environ-
ment both in a mental and physical level.
Process features:
1. based on one feature (like sense, path)
2. based on restorative method (mental level, being aware of the nature)
3. based on physical restorative method
4. based on dierent space and territoriality question (personal space and
interaction with the others and cognition about the environment )
5. why-how method (analyzing)
6. starting a dialogue between opposites fragments (like users, spaces,
articial features vs nature)
7. looking beyond the clinic area (try to connect to overall concept)
8. connections and accessibility
Most frequently used literature: within this category
Cooper Marcus, C. & Barnes, M. (Eds). 1999. Healing Garden: Theraputic benets
and design recommendations. New York: John Wiley & Sons.
Bell, P.A., Greene, T.C., Fischer, J.F. & Baum, A. 2001. Environmental Psychology.
Public space and territoriality. Thomson Wadsworth, Belmont CA.
Bengtsson, A. and Carlsson, C. (2006). Outdoor Environments at Th ree Nursing
Homes: Focus Group Interviews with Sta . Journal of Housing for the Elderly,
19(3), 49-69.
Tenngart Ivarsson, Carina (in press). Utvrdering av utemiljerna vid psykiatrin i
Gteborg.
Conceptual view
Illustration:
Jessica McDonald
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The detailed focus approach of the design process aims towards a
design solution with dened forms and elements which shows the
design of the site. This type of approach mainly considers the area
in focus and only briey discusses the context which surrounds it.
The detail level of representation is high and the designer often
aims to express the atmosphere of the design through sketches,
illustrations, images of inspirations which visualize desired ele-
ments, functions and activities of the site. You could say that this
approach is guided by functions and elements required in the
specic environment, and not by an overall idea, a concept.
Representative features: An overall view connecting the assigned
place, illustrations and sketches connected to a detailed plan.
Most frequently used literature: within this category
Bell, P.A., Greene, T.C., Fischer, J.F. & Baum, A. Environmental Psychology. Public
space and territoriality. Thomson Wadsworth, Belmont CA, 2001.
Bengtsson A. & Carlsson, C. (2006) Outdoor environment at three nursing homes:
Focus group interviews with sta.
Sachs, N. (1999) Environments for psychiatric care, In: red, Cooper Marcus, Clare.,
Barnes, Marni. Healing Garden: Theraputic benets and design recommenda-
tions. New York: John Wiley & Sons.
Zeisel, J & Tyson, (1999) Alzheimers treatment gardens, In: red, Cooper Marcus,
Clare., Barnes, Marni. Healing Garden: Theraputic benets and design recom-
mendations. New York: John Wiley & Sons.
Detailed focus
llustrations:
Lena Agrell and Eva-Marie Samuelsson
To make sure that all guests at Sommarsol can get a view over the garden,
a glass veranda is placed in the north western corner of the garden. This also
enables a use of the garden sight every day of the year. The comfortable
environment that the veranda offers might be extra important for guests
that are sensitive to weather exposure (Bengtsson & Carlsson (2006). The
veranda will be connected to the house with a glass passage. The possibility
to see through the walls of the passage will enable the ones that pass, either
from Sommarsol towards the new elderly home or coming from the other
direction, to get a view into the oasis.
There are several rooms facing the sight of the garden. To keep their privacy
high, its important for everyones well-being that while one is in the garden,
he or she is not able to look straight into the guest rooms (Bell, Greene, Fisher
& Baum, 2001). Therefore a wooden pergola, to be covered with climbers,
is placed along the faade of the house. The border between private and
more public space is made ever more clear by a stone wall, which at the
same time creates a path for the guests with rooms facing the garden so
that the can have a direct access to the garden from their rooms.
Landscape architect Anna Bengtsson held a lecture where she meant that
cn envircnmenI in :cme wcy :hc|| refecI iI: u:er: {/|ncrp, 200-03-03). l cc
agree. I think its important that a designed area is created for its users, so
that it can be meaningful to them. When Ive chosen materials, shapes and
colours for this design, Ive done it with a typical guest at Sommarsol in mind.
Besides the fact that a guest often suffer from some kind of disease, we know
that the average age of the guest list is quite high. Therefore I did not want
to make the design too modern. On the other hand, I did not want to put an
obvious focus on the physical disabilities of the patients. Earlier mentioned
Bengtsson did at the same lecture discuss the theory of gerotranscendence,
where you look at aging as gaining things andabilities insteadof loosing them
(Alnarp, 2009-03-03). All the paths shall be wide enough for two wheelchairs
to meet (min. 1.80 meters), but I didnt want them to look that adjusted.
Instead of designing equally wide paths, I let the shapes of the plant beds
form surfaces to walk and sit on. These shall be paved with Y1 asphalt, with
a surface of 4-8 mm gray gravel, so that it will be smooth and suitable for
wheelchairs, walkers and heavy feet.
glass veranda & passage
elevated plant beds
pergola
seating area (s)
wooden fence
water system
(s)
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This group seem to focus more on the possible contents of this
healing garden without placing all the proposed features in a
precise plan, or at most connect them to a very loose one. How to
connect the assigned garden to its surroundings is also brought
up in most of the assignments, trying to understand and give this
particular place a meaning in doing so.
Representative features: loose plan or no plan at all, inspirational
pictures, , sketches of details, many loose examples of what to do,
follows no clear concept.
Most frequently used literature: within this category
Bengtsson, A. and Carlsson, C. (2006). Outdoor Environments at Th ree Nursing
Homes: Focus Group Interviews with Sta . Journal of Housing for the Elderly,
19(3), 49-69.
Ulrich, Roger S; (1999). Eects of Gardens on Health Outcomes: Theory and Re-
search. In: red, Cooper Marcus, Clare., Barnes, Marni. Healing Gardens, Therapeu-
tic Benets and Design Recommendations. pp235-322. New York.
Zeisel, J & Tyson, (1999) Alzheimers treatment gardens, In: red, Cooper Marcus,
Clare., Barnes, Marni. Healing Garden: Theraputic benets and design recom-
mendations. New York: John Wiley & Sons.
U.and Grahn, P. (2002) What makes a garden a healing garden. Journal of Thera-
peutic Horticulture, AHTA, Volume XIII
Sachs, N. (1999) Environments for psychiatric care, In: red, Cooper Marcus, Clare.,
Barnes, Marni. Healing Garden: Theraputic benets and design recommenda-
tions. New York: John Wiley & Sons.
Focusing on Details
Sketches and layout from left;
Eva-Britt Karlsson, Cordula GIelen,
Shabnam Gholoobi, Anna Stefkova
44
7
The hard part was to gure out, how to deal with this task, where
there were very dierent proposal.
The variation accrued probably, because many of us did not under-
stand how to solve the problem; garden in a clinical facility. Thus
it was interesting to see how dierently students start to deal with
the situation.
Even if the students used dierent approaching analysis of the
place it was still possible to nd in common features for all proj-
ects. This could be explained as a fact that the same literature has
been used as references to make evidence based design proposals
which have limited the students individual design thoughts that
occurred in the beginning of the project.
Because of the dierent approaches it was hard to make any exact
manual about design guidelines for the features. That would not
have been correct, because of the time we had for this task and
gaining additional knowledge about the patients needs.
From that reason it felt wise to use process features that could
describe , give an overall impression and understanding about the
various thinking processes that students decided to use.
The interesting part was to see, how one issue (f.ex space) is used
in a dier scales through various projects. Is it taken as a basis or as
a tool to form the detail design?
The design and form of features (f.ex raised beds, paths, water
features) could have been very dierent from each other, even if
they are an evidence based design. It means that there werent so
to say crazy design. Perhaps this could depend on the limited time
schedule that made it impossible to develop the design further
but it could also be a matter of lacking knowledge of how much its
possible to change a feature without aecting its positive eect on
the users that is stated in the literature?
When looking at these proposed gardens and also the read litera-
ture, then came the question what is the solution for the healing
garden? Are there universal features that we should use in these
projects?
An interesting question that could be connected to the used litera-
ture is; how many common features could have occurred if every-
one had to search references on their own? Would there been more
variation between dierent proposals? Were the students being
more encouraged to go their own way?
It showed that almost all of use used additional material. That
reects that there lack of information about this specic topic as a
neurological disease and patients needs. Even though there was a
lot of material that could be used in this approach.
We are on to somethingbut it needs some more time !!!!!!!
Common features and discussion
PATH
ARC/PERGOLA
LABYRINTH
SEASONAL FLOWERBEDS
SENSES
WATER
VEGETABLES
RAISED BEDS
GLASS HOUSE
TRANSPARENT SCREENINGS
RAILINGS
STONES
CLOSED AND ENCLOSED SPACES CREATED WITH PLANTS/ARTIFICIAL FEATURES
SITTING PLACES
INSIDE PLANTS
FRUIT TREES
FRUIT BUSHES
MULTIFUNCTIONAL FURNITURES
ANIMALS
VEGETATION WITH SENSATIONAL SMELL, FEELING AND COLOUR.
FAMILIAR MATERIALS
HERBAL/KITCHEN GARDEN
MEMORY OBJECTS
ORIENTATION
WOOD DECKING
VIEWING NATURE
PRIVACY
ACTIVITY
SOCIAL MEETING
45
8
Structural/general focus
Antonovsky, A. (1991) Hlsans mysterium, Natur och Kultur, Kping.
Bengtsson, A. (2003) Utemiljns betydelse fr ldre och funktionshindrade
Kunskapssammanstllning. Statens Folkhlsoinstitut.
Eckerling, M. (1996) Guidelines for designing Healing Gar-dens, Journal of Therapeutic
Horticulture, American Horti-cultural Therapy Association, Gaithersburg.
Grahn, P. (1991) Om parkers betydelse (Doktorsavhandling) Stad & Land nr 93. Alnarp.
Grna Fakta (2004) Vxter skapar rum fr samvaro och vila. Tankvrda trdgrdar. 2004:4.
pp IV-V. Movium & Utemilj.
Kaplan, R. Kaplan, S. (1989) The experience of nature, University Press, New York, Cam-
bridge.
Ke-Tsung, H. (2001) A review: Theories of restorative en-vironments, Journal of Therapeu-
tic Horticulture 2001;XII.
McGrath Salamy, V. (1996) Stress Management through Garden Design, Journal of Thera-
peutic Horticulture, American Hor-ticultural Therapy Association, Gaithersburg.
Olsson, T. (1998) De urbana grnomrdens betydelse fr mnniskors hlsa och
vlbennande.
Ottosson, J. (2007) The Importance of Nature in Coping - Creating increased understand-
ing of the importance of pure experiences of nature to human health. Diss. Alnarp: Swed-
ish University of Agricultural Sciences.
Ottoson, J & Grahn, P. (2007). The role of natural settings in crisis rehabilitation.
Landscape Research, accepted.
Ottosson, J. 1997. Naturens betydelse i en livskris. Stad & Land 148. Movium,Alnarp.
Schibbye B. Plstam Y, (2001) Landskap i fokus. Utvrdering av metod fr landskaps-
analys, Riksantikvariembetets frlag, Stockholm.
Searles, H.F. (1960). The nonhuman Environment in Normal Development and in Shizo-
phrenia. International Universities Press, New York.
Conceptual view
Lynch, K. (1960). The Image of the City. Cambridge, MA: MIT Press.
rehabilitation. (n.d.). The American Heritage Dictionary of the English Language, Fourth
Edition. Retrieved March 05, 2009, from Dictionary.com website: http://dictionary.refer-
ence.com/browse/rehabilitation
Grahn, P. (1991) Om parkers betydelse. Stad & land 93. Movium / institutionen fr
landskapsplanering,Sveriges Lantbruksuniversitet,Alnarp
Kaplan Rachel, Kaplan Stephen, & Ryan Robert L. (1998) With people in mind. Design and
management of everyday nature, Washington D.C.
Lawton, M.P. The Elderly in Context: Perspectives from Environmental Psychology and
Gerontology. Environment and Behavior, 17, pp. 501-519. 1985.
Kielhofner, G. Conceptual foundations of occupational therapy (2nd ed.). Philadelphia: F.
A. Davis. 1997.
Ottosson, J. & Grahn, P. 2007. The role of natural settings in crisis rehabilitation. Landscape
Research, accepted.
Ottoson, j.; Grahn P. Utemiljns betydelse fr ldre med stort vrdbehov, Med gon kns-
liga fr grnt, Stad & Land, 155:1998, Alnarp
Ottoson, j.,The importance of nature in coping with a crisis, Creating increased under-
standing of the importance of pure experiences of nature to human health, SLU Reproen-
heten, Alnarp. 2007.
Searles, H.F. The Nonhuman Environment in Normal Development and in Schizophrenia.
International Universities Press, New York. 1960.
Simson, S. & Straus, M.C. Horticulture as therapy: Principles and practice. New York: Food
Products Press. 1998.
Kaplan, R. & Kaplan, S. 1989. The experience of nature. Cambridge,MA: Cambridge Univer-
sity Press.
Stigsdotter, U. & Grahn, P. (2003). Experiencing a garden: A healing garden for people
suering from burnout diseases. Journal of Therapeutic Horticulture, 14, 38-49.
Grahn, P. (2005). Att bota sjuka i en trdgrd om trdgrdsterapi och terapeutiska
trdgrdar. In M. Johansson & M. Kller (Eds.), Svensk Miljpsykologi [Swedish
Environmental Psychology. In Swedish], Lund: Studentlitteratur, in press.
Additional literature in Structural/General Focus and Conceptual View
46
9
Additional literature in Detailed Focus and Focusing on Details
Detailed Focus
Hultman, S.G. (2005) Naturvrden i vrden, Grn terapi och rehabilitering-en naturlig del
av framtidens hlso- och sjukvrden? Frstudie fr Landstinget I Uppsala ln.
Linden, S. & Grut, J. (2002) The healing elds. London: Frances Lincoln Limited.
Maynard, A. (2004) A sense of a place
Ottoson, J. & Grahn, P. (1998) Utemiljns betydelse fr ldre med stort vrdbehov. Med
knsliga gon fr grnt. Stad & Land. 155:1998. Alnarp
Ottoson, J. (1997) Naturens betydelse I en livskris. Stad & Land, nr. 148:1997. Movium, SLU.
Schmidtbauer, P. Grahn, P. & Lieberg, M. (2005) Tnkvrda trdgrdar nr utemiljn blir en
del av vrden. Stockholm: Formas
Focusing on Details (20%)
Kller Rickard & Kller, Marianne: Stadens grnska, ldres utevistelse och hlsa, Byggfor-
skningsrdet R24:1994, Stockholm, 1994.
Jonasson, Inger. Marklund, Ber3l & Hildingh, Cathrine, (2007). Working in a training
garden: Experiences of pa3ents with neurological damage. In Australian Occupa3onal
Therapy Journal.
Schmidtbauer, Grahn&Lieberg, (2005), Tnkvrda trdgrdar nr utemiljn blir en del av
vrden, Stockholm:Formas
47
Sommarsol
48
Introduction - the work we have done
Our assignment is to look at the work we have done designing a garden for
the rehabilitation and recreation centre, Sommarsol. The aim was to come up
with a checklist that could be used to guide the design of gardens for people
with special needs.
Background research is an important part of being able to understand what
is required to create spaces that accommodate and stimulate people with
psychological, physical and neurological limitations
We summarized our student work which was based on the introductory lit-
erature in order to create these guidelines. Then we made some conclusions
based upon that work.
When you are designing a garden for people with special needs, there are
some certain things that you need to think about. First, of course it is important
to identify what these special needs are. By identifying the users of the space
you can begin designing by a user oriented approach with the goal of creat-
ing an environment that in the end will meet the users needs. There are some
categories that are most important, when designing for people with special
needs, and always have to be considered like accessibility, how to divide the
space and that all the senses have to be content. These main ideas were
refected in the literature, student reviews and design projects.
Sensual Experience/ Inspiring Design Divison of space
Restorative and Therapeutic Gardens
Accessibility
Security
Private and Public
Emily Hansen, Johanna Bilfeldt, Marie Malmstrm, Lubomir Krupa
49
Accessibility
Security
The outdoor environment can be demanding, especially for people with com-
promised mental and physical capacities. The physical characters of a space
and the atmosphere of place must take into account these limitations but also
provide stimulation to encourage positive efects. There are certain standards
and physical requirements that make it possible for people to use and enjoy
outdoor environments in ways they have not been able to before. In these types
of institutional environments, like Sommarsol, there are often many diferent
people with many diferent needs therefore variety and fexibility in the outdoor
space is important.
Raised beds can make it possible for people with compromised physical abili-
ties to interact with natural elements.
Positive efects increase when contact with natural elements is linked with an
activity such as gardening (Tennagart Ivarsson, in press)
Ground surface are important to ensure people can move easily through the
space, hard surfaces provide constant predictable ways to navigate through
space also allowing for use by wheelchairs and people with other mobility aids
Active space should incorporate opportunities for challenges and stimulation
to avoid some more advanced user groups becoming bored. Walking loops of
varying lengths is one way people can choose activity based on ability.
Sitting and passively experiencing a place is an important activity for elderly
people especially. Access to seating is important for people with psychological
impairments who have trouble processing complexities of the outdoor environ-
ment
Bell (2001) stresses the importance of personal space; designers must then
understand how much space people require based of physical or psychological
conditions.
As psychological and physical capabilities become compromised people avoid
certain outdoor environments in which they feel unsafe or unable to access a
sense of control over themselves or their surroundings. In these cases we must
consider design measures that enable people feel comfortable in the outdoor
environment. This concept is explored by Bengtsson and Carlsson (2006)
when they looked at the outdoor environments of nursing homes but is an idea
that should be considered when designing environments for all people.
Precautionary design (Bengtsson and Carlsson, 2006) is described as creating
environments where people can feel safe, secure and in control of their sur-
roundings.
These characters of a place allow people to explore their surroundings more in-
dependently which may be more or less important based on a patients specifc
condition.
Familiarity is important but may be more of a consideration for elderly people
with psychological diseases (Bengtsson and Carlsson, 2006).
For others incorporating elements that users can recognize will increase their
confdence in the environment encouraging them to explore and experience
new things.
The practise of allowing patients to personalize outdoor space, as they person-
alize indoor space, especially in places where they will spend longer periods of
time.
Illustration from: Anna Ekdahl, 2009
Illustration from: Johanna Verbaan, 2009

Emily Hansen, Johanna Bilfeldt, Marie Malmstrm, Lubomir Krupa
50
The sensual experience
Inspiring design
Inspiring design has to promote stimulation of senses and provide positive
impressions for the user. Like Carina Daubner writes in her Literature Review
w.9-10, people with mental illness or other health problems are vulnerable
and sensitive to things that in some way could be perceived as threatening or
depressing. This is very important to think about when you design a garden for
people that are mentally instable, and also when designing gardens for elderly
people since you dont want to be reminded about things like death and illness
when you already live on the edge of life. In a garden like this there should only
be things that can be perceived as positive. One way to guarantee that is with
user participation, to ask the staf and the users what they want. An environ-
ment that ofers these types of positive impressions makes, due to Kaplan and
Kaplans theory about direct attention v. soft fascination, the user to feel more
relaxed and at the same time alert (Grahn, 2009).
To stimulate all your senses, to give the user a sensual experience, there are a
lot of things to think about and tools to work with.
Vegetation can ofer a lot of diferent opportunities when it comes to designing
a garden. There are plants for all types of needs, colors in almost all nuances
and structures that ofer experiences as diferent from each other like leaves as
soft as the ear of a bunny or as sharp as a needle.
The four Elements fre (as in the sun and warmth), wind, water (as in ponds,
streams and rain) and earth. These are all important to include and work with in
your design.
The Seasonal changes are an important element to consider because it shows
how the time goes on and it is also something to trust when everything else is
upside-down that after winter comes spring again. There the plants and more
stabile things like stones, sculptures and equipment (benches etc.) are equally
important.
Senses sight, smell, taste, sound, touch. They should all be satisfed in the
garden. Diferent structures to feel and walk on, eatable plants to taste, the
sound from running water or the wind rustling through the leaves. Fragrant fow-
ers and colors and structures that gives you something to look on.
Garden work gives people the opportunity to experience natural elements in
combination with a rehabilitation activity, they can become closer to nature.
Feeling, smelling, tasting, seeing and hearing. In addition to its sensual qualities
garden work can be fulflling provide a means of social interaction.
Illustration from: Erika Jonasson, 2009
Illustration from: Karolina Alvaker, 2009
Illustration from: Merle Talviste, 2009
Emily Hansen, Johanna Bilfeldt, Marie Malmstrm, Lubomir Krupa
51
Division of space
Separation of space is especially important when designing spaces where user
groups with specifc needs will interact. The design problem at Sommarsol was
challenging as we had to deal with incorporating adjacent private rooms into
the public space while maintaining access.
There was also the challenge of designing for guest of Sommarsol, both reha-
bilitation and recreation, and residents of the proposed elderly homes in the
adjacent property.
Social space is especially important in places where patients or residence are
confned and have little or no contact with outside life (Bengtsson and Carls-
son,2006). This opportunity for social interaction needs to exist in such a way
that people have the opportunity to choose the way in which they will interact
with others and the environment. In some cases it may be more comfortable for
this social contact to happen in conjunction with an activity to ease the transi-
tion towards more social behaviour.
Providing all of these types of spaces is important to facilitate diferent types of
social interactions. Opportunities for diferent types of social interactions then
become part of a healing process when it is inherently linked with the structure
of the outdoor environment.
Private space is important for those who have low mental power.
As confdence and mental power increased people have the opportunity to
explore semi-public and public places within the same space.
Transition zone between indoor and outdoor space can encourage people to
use the outdoor environment providing the opportunity to move more slowly
form one extreme to another. Incorporating natural elements into indoor spaces
can make a stronger connection between inside and outside making the entire
space more of a cohesive whole.
Entry and exit points must be clearly defned and could exist as a focal point of
the space to help with way fnding (Bengtsson and Carlsson, 2006). It is also
important however not to encourage people to gather at these points which
could be intimidating for people who are not prepared for high social contact
(Tenngart Ivarsson, in press)
Views into and out of the space are important and achieving a balance between
openness and security is key to peoples comfort in a space. At Sommarsol
the private rooms immediately adjacent to the gardens provide a challenge and
creating a bufer of semi private space could be a solution to understand the
shift. Views out of the garden and within the garden should also be considered
however they are more important when designing gardens for elderly people
with dementia or patients with other psychological diseases.
Public and private
Illustration from: Ann Henrikson, 2009
Illustration from: Merle Talviste, 2009
This diagram from Merle Talviste, 2009
shows the importance of a connection
between indoor space and outdoor space.
A strong connection can help to create a
cohesive environment and encourage people
to use the space on more of a regular basis.
This illustration by Johanna Verbaan,
2009 shows the use of transition space
as an intermediate step between use
of the indoor environment and use of the
outdoors. In this space people can expe-
rience some of the sendual experiences
of the outdoors without over stimulation.
Illustration from: Emily Hansen, 2009
Emily Hansen, Johanna Bilfeldt, Marie Malmstrm, Lubomir Krupa
52
Conclusion
Illustration from: Anna Ekdahl, 2009
Illustration from: Marielle Karlsson, 2009
Although the task to design the environment for people with mental disease
seems to be clear, we should be aware of complexity of the problem. This
complexity dwells in satisfying the diferent users needs, which difer with the
various diseases. Although we had the opportunity to deal with the issues of
designing for those people, there are still some difculties we face. It is really
tough task to fnd the balance between the accessible and inspired environ-
ment; both two extremes are harmful. On one hand, too accessible settings may
ft to one group of the most impaired people but such an environment becomes
too boring for those with better health condition. On the other hand, a complex
environment may seem too challenging for people with compromised abilities
and be recognized as unfriendly, which is not acceptable.
There is still the challenge of how to make the environment the most therapeutic
and restorative as possible and every landscape architect is responsible to fulfll
it the best as he/she can. Each rehabilitation garden should include the aspects
we were referring to (accessibility, security, division of space, sensual experi-
ence) and the interpretation of these aspects depends on the nature of the
garden which users it is to address.
However, there are no exact rules which can ensure the success in this feld
and it is the responsibility of the landscape architect to fully understand the
nature of each design problem. For sure, it is worthwhile to follow the fndings
of former and current research in this feld. The Evidence Based Design and
user-oriented approach has proved to be successful when designing gardens
for people with special needs.
Emily Hansen, Johanna Bilfeldt, Marie Malmstrm, Lubomir Krupa
53
References
Bell, P.A., Greene, T.C., Fischer, J.F. & Baum, A. (2001). Environmental Psychology. Public space and territoriality. Th omson Wadsworth, Belmont CA. (pp 251-292).
Bengtsson, A. and Carlsson, C. (2006). Outdoor Environments at Th ree Nursing Homes: Focus Group Interviews with Staf . Journal of Housing for the Elderly, 19(3),
49-69.
Tenngart Ivarsson, Carina (in press). Utvrdering av utemiljerna vid psykiatrin i Gteborg.
Lecture. Patrik Grahn; Attention Restoration theory and Aesthetic Afective Theory. 02/23/09