Adolescent Development: Creative art making strategies for well-being

Katie Wurch

A practicum submitted to the Faculty of Graduate Studies of

The University of Manitoba
In partial fulfillment of the requirements of the degree of

MASTER OF INTERIOR DESIGN

Department of Interior Design

University of Manitoba
Winnipeg

Copyright © 2020 by Katherine Nicole Wurch

Acknowledgements

To my committee members, Dr. Cynthia Karpan, Kelley Beaverford, and Liv Valmestad,

thank you for your guidance and expertise. I am so grateful for your availability and commitment

amidst a worldwide pandemic.

To the community we call the Master of Interior Design program, thank you for your

continued inspiration, and for teaching me the meaning of hard work and determination.

To my parents, thank you for your love and support throughout my entire education. I

would not be where I am today without the opportunities you have provided for me, not just

academically, but in all aspects of life. I love you both.

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Abstract

This Master of Interior Design practicum investigated how an art based makerspace in

Winnipeg Manitoba, can support adolescents through their development in achieving holistic

well-being. The practicum explored the benefits of art through its identity as a biological

behavior, educational experience, and therapeutic expression. Through these definitions of art,

the actual process of making becomes significant to the development of adolescents. Due to the

project location and surrounding community, the makerspace acknowledged and incorporated

Indigenous land-based art making. Unlike many current makerspaces focusing on advanced

technology, this practicum focuses on the humanely intrinsic need to handmake, as a way for

adolescents to connect and communicate with one another. In support of this concept, The

Constructivist Learning Theory was explored, promoting learning about art through direct

experiences, or hands-on learning. Inspired by the field of art therapy, strategies of creative art

making were explored. An approach known as the Expressive Therapies Continuum created a

design concept for the stages in which adolescents process the art created within the space. Such

strategies of creative art making informed the approach to art making activities and wellness

opportunities. The practicum considers the needs of developing adolescents by providing the

opportunity to build trusted connections and a sense of identity in a comfortably engaging

environment.

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Table of Contents

Acknowledgements i
Abstract iii
List of Tables vii
List of Figures viii
List of Copyright Material xi

1.0 Introduction
1.1 Project Overview 1
1.2 Key Terms 3
1.3 Research Questions 4
1.4 Project Limitations 5
1.5 Summary of Chapters 6

2.0 Adolescent Development & Well-Being

2.1 Adolescent Development 9
2.2 Adolescent Well-being 12
2.3 Conclusion 14

3.0 Literature Review

3.1 Introduction 17
3.2 Benefits of Art Making 17
3.2.1 Art as a Biological Behavior 17
3.2.2 Art as an Educational Experience 22
3.2.3 Art as Therapy 25
3.3 Strategies of Creative Art Making 29
3.3.1 Expressive Therapies Continuum 30
3.4 The Maker Movement 33
3.4.1 Makerspaces 33
3.5 Conclusion 37

4.0 Precedent Analysis

4.1 Introduction 41
4.2 Art as a Biological Behavior: Open Works Makerspace 41
4.3 Art as an Educational Experience: Plymouth School of Creative Arts 45

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 4.4 Art as Therapy: Creative Growth Art Centre 50
4.5 Summary: Design Guidelines 53

5.0 Site
5.1 Introduction 55
5.2 Site Selection and Analysis 55
5.2.1 Opportunities and Constraints of the Site 56
5.3 Building Selection 59
5.3.1 Opportunities and Constraints of the Building 63
5.4 Building Analysis 64

6.0 Design Program

6.1 Client Profile 67
6.2 User Profile 67
6.2.1 Primary User’s Activities and Needs 69
6.3 Spatial Requirements and Adjacencies 70
6.4 Program 73

7.0 Design Proposal

7.1 Introduction 79
7.2 Spatial Configuration 79
7.3 Design Development 82

8.0 Conclusion
8.1 Summary 109
8.2 Future Recommendations 111

9.0 References 115

Appendix A: Technical Drawings 120

Appendix B: Materials and Finishes 142
Appendix C: Building Code Review 148
00

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List of Tables

Table 1: Expressive Therapies Continuum: Stages of Processing

Table 2: Theories and Design Implications

Table 3: Precedent Spatial Implications

Table 4: Primary Users Behavioral Needs

Table 5: Primary Users Psychological Needs

Table 6: Primary Users Spatial Needs

Table 7: Function / Furniture, Fixtures, and Equipment / Atmospheric Qualities

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List of Figures

Figure 1: Open Works Interior

Figure 2: Open Works Axonometric

Figure 3: Open Works Porch

Figure 4: Plymouth School Class Studios

Figure 5: Plymouth School Community Space

Figure 6: Plymouth School Make Space

Figure 7: Plymouth School Ground Floor Plan

Figure 8: Creative Growth Art Center

Figure 9: Map of Amenities in the Exchange

Figure 10: Surrounding Paths

Figure 11: Galpern Building South East Façade

Figure 12: Galpern Building North Façade

Figure 13: McDermot Street Map Context

Figure 14: Interior Characteristics

Figure 15: Site and Building Analysis

Figure 16: Adjacency Matrix

Figure 17: Zoning Diagram

Figure 18: Concept Section Perspective

Figure 19: Site Plan

Figure 20: Exterior South Elevation

Figure 21: Exterior North Elevation

Figure 22: Exterior East Elevation

Figure 23: Display Exterior Perspective

Figure 24: Rendered Floor Plan – Level 1

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Figure 25: Communal Space Perspective – Level 1

Figure 26: Elevation A: Communal Space East Elevation

Figure 27: Elevation B: Communal Space North Elevation

Figure 28: Rendered Floor Plan – Level 2

Figure 29: Elevation C: Meeting West Elevation

Figure 30: The Canteen Perspective – Level 2

Figure 31: Rendered Floor Plan – Level 3

Figure 32: Making Space Perspective – Level 3

Figure 33: Elevation D: Making Space West Elevation

Figure 34: Textiles Perspective – Level 3

Figure 35: Ceramic Area Perspective – Level 3

Figure 36: Rendered Floor Plan – Level 4

Figure 37: Painting Perspective – Level 4

Figure 38: Elevation E: Drawing Area East Elevation

Figure 39: Workshop Perspective – Level 4

Figure 40: Rendered Floor Plan – Level 5

Figure 41: Multimedia Studios Perspective – Level 5

Figure 42: Section A: North-South Building Section

Figure 43: Section B: East-West Building Section

Figure 44: Axonometric Perspective

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List of Copyright Material

Figure 1: Open Works Interior. Retrieved from https://www.quinnevans.com/work/open-works. Copyright of Karl

Connolly permission obtained from Quinn Evans Architects on February 14, 2020.

Figure 2: Open Works Axonometric. Retrieved from 2017 ULI Baltimore Wavemaker Awards PDF. Copyright
permission obtained from Quinn Evans Architects on February 14, 2020.

Figure 3: Open Works Porch. Retrieved from https://www.rwdfoundation.org/our-work/2017/8/12/open-works.

Copyright permission obtained from The Robert W. Deutsch Foundation on February 15, 2020.

Figure 4: Plymouth School Class Studio. Retrieved from https://plymouthschoolofcreativearts.co.uk/building.

Copyright permission could not be obtained.

Figure 5: Plymouth School Community Space. Retrieved from https://plymouthschoolofcreativearts.co.uk/building.

Copyright of ©Hufton+Crow permission obtained from Feilden Clegg Bradley Studios on March 9, 2020.

Figure 6: Plymouth School Make Space. Retrieved from https://plymouthschoolofcreativearts.co.uk/building.

Copyright permission could not be obtained.

Figure 7: Plymouth School Ground Floor Plan. Retrieved from https://fcbstudios.com/work/view/plymouth-school-

of-creative-arts. Copyright permission obtained from Feilden Clegg Bradley Studios on March 9, 2020.

Figure 8: Creative Growth Art Center. Retrieved from https://creativegrowth.org/news/creative-growth-featured-

honestly-wtf-july-2018. Copyright permission could not be obtained.

Figure 14: Interior Characteristics. Retrieved from https://alstonproperties.com/listing/porter-block/. Copyright

permission obtained from Alston Properties on April 20, 2020.

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Chapter 1: Introduction

1.1 Project Overview

According to Annual Statistics (2017), over the span of five years 25.4% of Manitobans

aged 10 and older receive medical care for mental illnesses categorized as, mood and anxiety,

substance abuse, personality disorder, or schizophrenia (p. 33). Specific to adolescents, an

estimated 20% will experience an episode of major depression by the age of eighteen (Lewis &

Simons, 2009, p. 4). A growing body of evidence (Garber, 2019; Malchiodi, 2011; Moon, 2012)

suggests that the process of creating and exploring art can facilitate psychological development,

emotional conflict, and self-exploration, offering an opportunity for reduced mental illness in

adolescents. Due to the practicum project timeframe, scope, and interests, a focus was kept on

holistic approaches to adolescent well-being, as opposed to preventative perspectives on mental

illness.

Inspired by art therapy practices, the practicum project focused on promoting well-being

through protective factors contrary to clinical approaches, within the context of Winnipeg,

Manitoba. With limited research on the influence of art therapy practices in built environments, a

comprehensive literature review was conducted to acknowledge the benefits of art making and

their experiential contexts for adolescent populations. The American Art Therapy Association

(2017) defines art therapy as a therapeutic means of encouraging self-esteem and self-awareness,

emotional conflict resolution, social skills, behavior management, problem solving, and reduced

anxiety. This definition supports the exploration of physical art making as an opportunity to

provide aesthetic enjoyment and a sense of achievement for adolescent accomplishment,

purpose, and confidence. Opposing technological activities, handmaking activities, processes,

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and environments, will focus the practicum on non-temporal visual arts, emphasizing the

importance of hand making.

Specific to the practicum project site in Manitoba, there is a lack of making spaces

focused on art and influenced by art therapy, for adolescents to freely create art and build

community. Additionally, focus on Indigenous decolonization, or the continual process of

understanding settler privilege, treaty education, historical trauma, and current realities of this

people group, must be acknowledged within the local context of Winnipeg (Vivian, 2018, p. 43).

To contribute to reconciliation, a focus on building relationships between Indigenous and non-

Indigenous practitioners allows a collaborative point of view, leading to telling and receiving of

stories between the two groups (Vivian, 2018). Approached through a decolonized lens,

reconciliation may be encouraged by the Seven Sacred teachings of orally spread traditional

forms of knowledge, which include respect, courage, humility, wisdom, love, honesty, and truth

(Vivian, 2018, p. 45). Research indicates (“Imagine Creative”, 2017) that a higher degree of

engagement with arts and culture leads to a higher level of well-being and greater understanding

of one’s self (p. 7). The relationship between creativity and well-being is deeply valued by

Indigenous populations and holds enormous promise, pointing to art therapy as the bridge

(Vivian, 2018, p. 44). In addition, individuals seek out cultural experience for intrinsic reasons,

including joy, engagement, and increased self-awareness, which builds self-confidence and

resiliency (“Imagine Creative”, 2017, p. 7). Resiliency within the context of Indigenous

reconciliation focuses on diversifying and legitimizing different ways of knowing, and is

strengthened by community, ceremony, and language (Vivian, 2018, p. 46). The practicum

project promotes the beneficial importance of maintaining physical art making within a

community for adolescents, while proposing the influence of art therapy as an enhancement to

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merging Indigenous and non-Indigenous relations. The consideration of relationships between

various local communities is a journey, not a destination, yet art making becomes a visual and

metaphorical unifying aspect (Vivian, 2018, 43).

1.2 Key Terms

Adolescence

There is no standard definition of adolescence, however The American Psychological

Association (2002) describes it as the time in an individual’s life from the onset of puberty until

reaching economic independence (p. 1). Although chronological age is just one way of defining

adolescents, for the purposes of the practicum project adolescents are defined to be between the

ages of 10 and 18 (APA, 2002, p. 1). Early adolescence includes ages 10-13, middle adolescence

ages 14-17, and late adolescence to follow (Moon, 2012, 18).

Art

The term art is broad in definition, often used to describe a wide range of activities or

processes. Historically art was referred to as a craft or skill characterizing any object or activity

performed by an individual (Dissanayake, 1995a, p. 40). Art may widely refer to skill, beauty

and pleasure, an object’s sensual quality, fulfilled sense experience, ordering or harmonizing,

innovation, new perspective, the urge to beautify, self-expression, communication, significance,

make-believe, or heightened experience (Dissanayake, 1990, p. 36).

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Well-being

Overall well-being can be defined as a state of happiness, health, or prosperity (Merriam-

Webster, n.d.) It is a complex concept often used in the field of human development to describe

an internal state of pleasure or happiness (Gomez-Lopez et al., 2019, p. 2). Well-being consists

of more than just happiness, as it is not an outcome or final state but rather a process of fulfilling

human potentials (Gomez-Lopez et al., 2019, p. 2).

1.3 Research Questions

The subsequent chapters investigate topics directed by the following research questions.

These questions aim to focus numerous explorations, potential data, and concepts informing the

final design, relative to the subject of protective adolescent development and increased well-

being through handmade art processes.

1. What are the user needs of a makerspace, to support adolescent development and

well-being?

The exploration of strategies of creative art making was important to the

practicum project to determine which activities could support adolescent development

and well-being. Three projects analyzed in Chapter 4.0 Precedent Analysis outline

the strengths and weaknesses of current art making spaces that applied to creative

making as an individual and communal therapeutic process.

2. What strategies and narratives from creative making can inform the design of a space

that supports adolescent development and well-being?

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 Concepts relative to the actual process of art making influenced the

programming of the built environment. These explorations helped to understand how

adolescents perceive art making, creating guidelines for the final design.

3. How can the synthesis of research on adolescent development, creative art making

strategies, and current makerspaces conceptually translate into the three-dimensional

design of an art based adolescent makerspace?

Adolescent development focuses on the need for individuals to create a

personalized sense of identity. Creative art making strategies offer this exploration for

adolescents, and while contemporary makerspaces emphasize technological processes

and programs, the practicum project offers a space to focus on the intrinsic desire for

handmaking.

1.4 Project Limitations

Project limitations include the determined age range of primary users, the definition of

well-being, the activities provided, and developmental considerations. Due to the broad

definition of children and youth, the project utilized a narrower scope by focusing on adolescents

ranging from 10 to 18 years of age. The chosen demographic was also selected based on site

specific research supporting the need for this typology in Winnipeg.

Although well-being can be defined across various contexts such as political, economic,

social, and cultural means, for efficiency, the project focused on the broad achievement of

healthy development in adolescents through the built environment.

Activities relating to handmade art processes provided include drawing, painting, textiles,

ceramics, and woodworking. Within these areas, activities related to Indigenous land-based

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techniques are also encouraged, such as basket weaving, beading, and carving. This decision was

based on the need for tangible art making to be the focus for supporting adolescent well-being,

and a connection to the history of art and the selected site.

To keep the project within a manageable scope, developmental disorders that may be

present within the selected demographic were not specifically addressed. This topic of research

would have been further explored had the project timeline and physical size allowed for.

1.5 Summary of Chapters

This practicum document is organized into eight sections to illustrate the process leading

to the design of a makerspace, Make It. The introduction provides a contextual overview of the

project background and the need for an art based makerspace in Winnipeg, including its purpose,

key terms, inquiries, and limitations.

Chapter 2.0 Adolescent Development & Well-Being outlines the stages of adolescent

development with focus on overall well-being and healthy development. Emphasis on the rise of

mental health concerns focuses the practicum project on the need for protective development

factors through a well-being approach.

Chapter 3.0 Literature Review explores three theoretical views supporting the benefits of

art making as a means of strengthening adolescent well-being. Topics include art as a biological

behavior, an educational experience, and a therapeutic expression. Strategies for creative art

making and the evolution of makerspaces are explored. Investigation of these ideas in relation to

adolescent perception and development informed the outcome of the project.

Chapter 4.0 Precedent Analysis examines three existing interiors and programs with

characteristics related to art making, adolescent education, and wellness. The precedent analysis

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informed the project program relating back to the theories researched in the literature review.

The three interiors reviewed include Open Works Makerspace, Plymouth School of Creative

Arts, and the Creative Growth Art Center. The review of each precedent discusses specific

design principles, program elements, and conceptual notions influencing the final design.

Chapter 5.0 Site Analysis provides a detailed overview of the project site and building,

165 McDermot Avenue in Winnipeg, Manitoba. An extensive review of the history and

community of the Exchange District geographically contextualizes the final design. The selected

heritage building required careful consideration for preservation of character defining qualities

and details.

Chapter 6.0 Design Program contains an analysis of human factors, and functional and

aesthetic requirements needed within the space. The program provides parameters to ensure the

proposed project is successful both functionally and aesthetically for all user needs.

Chapter 7.0 Design Proposal illustrates the design outcome of the practicum project

including the concept behind the design. This section includes the building floor plans,

elevations, interior details, and perspectives, to visualize the final design considerations and

atmosphere.

Chapter 8.0 Conclusion reflects on the strengths and weaknesses of the project. Learned

experiences, limitations to the project, and future recommendations are reviewed. The conclusion

provides an overall summary and revisits the principal research questions.

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Chapter 2: Adolescent Development & Well-Being

2.1 Adolescent Development

There are an estimated 83,405 adolescents aged 10 to 18 in Winnipeg, Manitoba,

becoming increasingly diverse each year (“Census Profile,” 2019). Winnipeg’s fasted growing

population, as well as Canada as a whole, are urban Indigenous people, which includes those

who identify as First Nations, Metis or Inuit, or Treaty Indians, and New Canadians (Axworthy

et al., 2016). Notably, a large portion of Winnipeg’s children and youth live in the inner city,

with almost a quarter of residents in the area aged 0 to 19 years of age (McCracken et al., 2013).

Of this inner city population, approximately 30% of those between the ages of 10 and 18 are

Indigenous people or new immigrants (“Census Profile,” 2019). The Child and Youth Report

(2017) categorizes adolescents into two stages of development which include middle childhood

ages 6 to 14 years old, and youth ages 15 to 19 years old (p. 28). Middle childhood is

characterized by the onset of puberty and those learning to build relationships and manage

conflict (Child and Youth Report, 2017, p. 105). The onset of puberty in contemporary

adolescents is becoming earlier, as they face an increasingly modernizing world with continually

changing expectations and opportunities (National Academics, 2019). Youth are characterized by

those building intimate relationships, often experiencing tremendous psychosocial change such

as new expectations, developing identity, and learning to manage more complex conflicts (Child

and Youth Report, 2017, p. 154).

Reaching healthy development at both stages can be associated with either risk factors or

protective factors, found in individuals, surrounding families, or communities (Child and Youth

Report, 2017, p. 27). Risk factors are defined as characteristics, experiences, or events associated

with an increased likelihood of negative outcomes, whereas protective factors are associated with
02

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an increased likelihood of positive outcomes (Child and Youth Report, 2017, p. 27). Adolescents

become vulnerable in their development when protective factors are reduced or when there are

insufficient resources available to cope with stressful circumstances (Child and Youth Report,

2017, p. 27). The American Psychological Association (2002) provides an overview of

characteristics for healthy adolescent development such as physical, cognitive, emotional, social,

behavioral, and the contexts in which they are encouraged (p. 2) Healthy development is

considered flourishing when adolescents experience high levels of these characteristics, such as

good health, education, positive socialization, and supportive relationships (National Academics,

2019). The practicum project focuses on the overall development of adolescents as it relates to

Chapter 3.0 Literature Review, handmaking art as an opportunity to contribute to adolescent

well-being.

All contexts in which adolescents develop affect the experimentation of new behaviors as

they transition to adulthood, with cognitive developments often becoming more dramatic than

any outward physical changes (APA, 2002, p. 11). Exploratory behaviors in adolescents allows

them to shape their identities, manage decision making skills, and develop realistic views of

themselves and those around them (APA, 2002, p. 29). Through exploration adolescents require

guidance from trusted adults to contribute to rational decision making about areas of life such as

college, occupation, or finances (APA, 2002, p. 11). Positive, stable, and nurturing relationships

are essential to healthy development as adolescents do not always successfully manage or

regulate their abilities and emotions (Child and Youth Report, 2017, p. 154). Adult guidance can

help adolescents understand both positive and negative emotions and their effect on thinking and

behavior (APA, 2002, p. 12). Cognitive development provides the background for moral

development and reasoning, referring to one’s sense of value and ethical behavior (APA, 2002,

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p. 13). Moral development can be promoted through community volunteering, while providing

adolescents with a sense of meaning and associated positive long-term outcomes (APA, 2002, p.

13). Therefore, the built environment should foster relationship building and an opportunity to

develop and maintain trusted friendships and mentors.

Through cognitive advancements in learning to cope with stress and relating to others, an

important component of development is the emotional ability to establish a realistic and coherent

sense of identity (APA, 2002, p. 15). Although the formation of identity does not necessarily

start or end during adolescence, it is the first time adolescents consciously illustrate this ability

(APA, 2002, p. 15). Attaining a sense of identity includes two concepts, self-concept which is

one’s set beliefs about themselves, and self-esteem which is how one feels about their self-

concept (APA, 2002, p. 15). Low self-esteem can be an indicator of abnormal development,

occurring when there is a gap between an individual’s perceived self-concept and what they

believe it should be (APA, 2002, p. 16). Low self-esteem can be identified if an adolescent feels

depressed, lacks energy, dislike’s their appearance, feels insecure or inadequate often, maintains

unrealistic expectations of themselves, actively doubts the future, is excessively shy, or is

submissive to others wants and desires (APA, 2002, p. 15). A positive indicator of an adolescent

feeling safe and secure in expressing their identity is the ability to experiment and explore (APA,

2002, p. 15). Many areas of development affect the ability to attain a sense of identity and vary

among the stages of adolescence, however as previously noted, the ability to experiment is an

important aiding process. Emotional developments like attaining a sense of identity, support

adolescent’s emotional intelligence involving skills for managing stress and exhibiting sensitivity

and relating to others, such as maintaining friendships (APA, 2002, p. 17). Through these

emotional development’s adolescents learn to recognize and manage emotion, develop empathy,

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constructively resolve conflict, and cooperate (APA, 2002, p. 17). Overall, adolescent’s

interpretation of self significantly depends on their experiences, emotional influences, and

fostered opportunity to build a positive sense of identity.

Social development is also significant in adolescents, relating to their surrounding

contexts such as peers, family, school, work, and the community (APA, 2002, p. 21). Positive

social contexts provide protective development factors, even when an adolescent has previously

experienced adversity (National Academics, 2019, p. 43). During adolescence greater

independence is gained requiring strong relationships outside of the family. Relative to the

practicum project, neighborhood stability is important, including a community rich in resources

to support and provide opportunity for an adolescent (APA, 2002, p. 26). Resources should

provide safety and stability, both major concerns for inner city youth, including opportunities for

employment and the presence of adult professionals with strong positive emotional attachments

to the adolescents (APA, 2002, p. 26). This was important to the practicum project to ensure

strong safe relationships between adolescents and adults are fostered, offering support,

strengthening the community, and increasing user’s overall quality of life.

2.2 Adolescent Well-Being

In both middle childhood and youth stages of development, the health and well-being of

adolescents is defined through four outcome goals provided by the Healthy Child Manitoba Act,

which include physical and emotional health, safety and security, successful learning, and social

engagement and responsibility (Child and Youth Report, 2017, p. 28). As defined by The World

Health Organization, health is a state of complete physical, mental, and social well-being (Child

and Youth Report, 2017, p.28). Concerns in mental health and behavioral issues such as anxiety

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and depression are more frequently recognized during middle childhood and become more

significant during the youth developmental stage (Child and Youth Report, 2017, p. 116). An

estimated 80% of all anxiety and mood disorders first emerge in adolescence, defined by the

Manitoba Centre for Health Policy as a broad body of disorders such as depressive, bipolar, and

anxiety (Child and Youth Report, 2017, p. 118). Specific to Manitoba, it is important to note that

the adverse childhood experiences and levels of perceived discrimination experienced by First

Nations people contributes to their likelihood of experiencing depression, twice that of the

national average (McCracken et al., 2013). As noted by the Child and Youth Report (2017),

mental health is a state of well-being not merely the absence of mental illness, where adolescents

begin to realize their potential, become satisfied, cope with stress, work productively, discover a

sense of belonging and purpose, and contribute to their communities (p. 170). The rise of mental

health concerns in adolescents becomes important to consider, as reaching a complete state of

health for adolescents to thrive includes their mental well-being.

The concept of adolescent health and well-being goes beyond mental illness, involving

highly complex interactions between an adolescent’s genetics, family interactions, and wider

social environment (Child and Youth Report, 2017, p.27). Previously defined as a process of

fulfillment, well-being becomes the aim of reaching high levels of positive affect and degrees of

satisfaction with life (Gomez-Lopez et al., 2019, p. 1). Well-being also consists of more than just

happiness, known as the eudaimonic view of well-being (Gomez-Lopez et al., 2019, p. 2).

According to this view the following categories of achievement make up well-being; autonomy,

environmental mastery, personal growth, positive relationships with others, purpose in life, and

self-acceptance (Gomez-Lopez et al., 2019, p. 2). In an effort to achieve positive functioning in

these areas individuals become aware of their limitations and aim to make interpersonal

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relationships, become self-determined, make the most of their talents in achieving goals, manage

their environment to meet personal needs, and find meaning in the efforts they make, all among

challenges they will encounter (Gomez-Lopez et al., 2019, p. 2). The positive outcomes

suggested from a eudaimonic view of well-being indicate a long term actualization of well-being,

through the cumulative and enduring nature (Gomez-Lopez et al., 2019, p. 2). A significant

factor for adolescents is creating positive relationships, such as with parents and peers, forming

positive assets in their lives (Gomez-Lopez et al., 2019, p. 3). Strong positive relationships are

known to increase an individual’s quality of life and can aid in the absence of loneliness which

often prevents well-being (Gomez-Lopez et al., 2019, p. 3). Through feelings of mastery,

competence, and pleasing relationships, adolescents are more likely to feel satisfied and

meaningful (Gomez-Lopez et al., 2019, p. 3). Further eudaimonic outcomes of well-being can

provide lasting resources for adolescents and lead to more fulfilled and stable levels of overall

well-being (Gomez-Lopez et al., 2019, p. 3).

2.3 Conclusion

Defining adolescent development and wellbeing is significant to the practicum project in

order to provide a built environment supporting this demographic through protective

development factors. Youth can often be portrayed as troubled or misguided, suggesting that

they are the problem, as opposed to the systems and circumstances in which they find themselves

(McCracken et al., 2013). It is important to interrupt negative patterns that may become

normalized, and support youth by increasing their options to opportunities (McCracken et al.,

2013). Experiences and behaviors adapted in adolescents including patterns of well-being can

have long-term effects lasting into adulthood (Child and Youth Report, 2017, p. 9). Although

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adolescents become more capable and independent throughout their development, they still

require supportive and nurturing groups to thrive (Child and Youth Report, 2017, p. 154). They

begin to evolve through transitions of development, and communities can help prepare them for

these transitions (Child and Youth Report, 2017, p. 154). Overall social structures, relationships,

and interactions, together with built environmental influences, can provide an opportunity to

positively shape the sensitive developmental trajectory of adolescents (National Academics,

2019, p. 93)

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Chapter 3: Literature Review

3.1 Introduction

The literature review provides an exploration of the benefits of art making, which was

significant in observing arts ability to contribute to adolescent development. Through its identity

as a biological behavior, an educational experience, and a therapeutic expression, art making

supportively contributes to adolescent well-being. Intrinsic to our human nature is the desire to

handmake and even more complexly, to make artfully (Dissanayake, 1990). Art making provides

a social continuity to life through continued experiential learning and interaction with physical

objects where emotion can be interrupted and resolved through reflection. Therapeutic qualities

of art are also significant in demonstrating the support artful making can provide for adolescent

development and well-being. These benefits guided the practicum project to focus on stages in

which adolescents make or are willing to make, and how they process their creations. The

growing Maker Movement emphasizes a return to the intrinsic human desire to handmake,

providing an opportunity for concepts explored in the literature review to guide the design of an

engaging environment encouraging positive adolescent development and well-being.

3.2 Benefits of Art Making

3.2.1 Art as a Biological Behavior

Art is understood to be a cultural phenomenon, yet at the core it is biological

(Dissanayake, 1990, p. 4). The bio-evolutionary view of art suggested by Ellen

Dissanayake (1990), proposes art as a general behavior and characteristic of humankind,

going beyond artifacts and products or qualities of these to include toolmaking,

symbolization, language, and the development of culture (p. 6). This behavior of art

provides an inclusive definition for both making and experiencing art, an active
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achievement and feeling (Dissanayake, 1990, p. 8). Three defining characteristics of art

suggest its selective value, supporting its evolutionary behavioral development: (1) Art is

ubiquitous and found universally in every society, suggesting its contribution to the

evolutionary strength of our species, (2) Art is essential for numerous human activities,

suggesting its survival value through continued effort to participate in these activities,

and (3) Art is a source of pleasure, not an advantageous evolutionary behavior left to

chance (Dissanayake, 1990, p. 6).

This behavior of art is a result of the humanly inherent pleasure found in making

(Dissanayake, 1995b, p. 40). It sets social norms and modifies individual life experiences

by connecting oneself to others through shared goals and meaning (Griffin, 2011).

Handmaking is embedded into our human nature as the earliest humans were crafts

people, handling and using becoming ways of connecting and communicating with one

another (Dissanayake, 1995b, p. 41). Both humans and objects embody meaning, yet the

ability of handmaking mediates the necessary connection between the two (Dissanayake,

1995b, p. 41). Like the adaptive development of an infant’s need to communicate with

their hands, they search for increased control and coordination to master the use of their

hands as they mature (Dissanayake, 1995b, p. 41). Individuals learn that exploring

through tactility has an effect on the world, first accidentally as an infant, then

deliberately through planning and prediction as they cognitively develop (Dissanayake,

1995b, p. 41). It is this engagement with the real world and emphasis on the process of

making that connects us to our human heritage. Through the rise of civilization,

biological needs related to a behavior of art have not been fulfilled as completely or

comprehensively as social groups who have remained connected to the environments in

18
which they evolved (Dissanayake, 1990, p. 197). Humans crave the perishing historic

origin of art, the embodiment and reinforcement of socially shared significances as the

act of making becomes special (Dissanayake, 1990, p. 200)

Although the historic development of a behavior of art has been evolutionarily,

socially, and culturally important, it is the notion of making art special that denotes its

beneficial significance (Dissanayake, 1995a, p. 56). The selective value of art can be

summarized into the fundamental behavioral tendency referred to as making special.

Through past expressions of making special, communities create a deep connected sense

of origin, purpose, and value (Griffin, 2011, p. 28). For instance, in Indigenous

communities, making special further connects individuals to their ancestors, becoming a

restorative and reclamation of traditional forms of making (Barajas-Lopez & Bang,

2018). Art as a behavior rests on the idea that there is a universally inherited human

nature to make some objects and activities special, becoming an individual’s definition of

art (Dissanayake, 1990, p. 92). Reclaiming traditional forms of making, like those

practiced by Indigenous communities, nurtures the way in which their relationship with

natural surroundings are manifested, extending their learning and relations to become

personal and meaningful (Barajas-Lopez & Bang, 2018, p. 10). Indigenous values of

making grounded in culture, identity, and power, and emphasized through materiality and

personal truth in activity, aesthetics, and imaginative processes of creation, support the

concept of making special (Barajas-Lopez & Bang, 2018, p.8). It is the intent or

deliberateness, apart from utility, of making special that provides a specialness to art that

without one’s action or regard would not exist (Dissanayake, 1990, p. 92). This

emphasizes the adolescent’s part in the design of a makerspace, centered around their

19
needs and intentions. The term special denotes a positive sense of care and concern

implemented into the process of making, as opposed to art which often assumes a sense

of rarity, prestige, uselessness, or hierarchy (Dissanayake, 1995a, p. 53). The beneficial

significance of making special can be summarized through its implications (Dissanayake,

1990):

1. It explains how a concept of art encompasses variety and even contradictions. It

frequently changes with no limit or ending (p. 58).

2. It resists the need to define specific examples as art. An individual establishes

whether to appreciate or attempt to appreciate specialness (p. 58).

3. It provides aesthetic intention to art. Everything is not art, but everything has the

potential to be (p. 58).

4. It emphasizes art as physically, sensuously, and emotionally satisfying and

pleasurable to humans (p. 59).

5. It is an intrinsic need. The behavior of art is more essential that the work of art

(p. 59).

6. It engages human feelings and like-minded societies through valued and validated

experiences (p. 61).

7. It is related to religion, the extra-ordinary and outside ordinary life (p. 63).

These implications support the notion that the human intrinsic need to make is not

enough, but that making must be done art-fully (Dissanayake, 1995b, p. 42). They

20
support the beneficial nature of art, or making special, and opportunity for adolescent

well-being through an active behavior directly related to human feeling and emotion.

Making special is recorded as one of the most common experiences to produce feelings

of ecstasy, the feeling connected to a loss of time, place, worldliness, desire, sorrow, sin,

self, and sense (Dissanayake, 1990, p. 157). Non-temporal arts selected for the design of

the makerspace, such as painting and ceramics, give a form to shape and contain these

feelings, providing a compelling opportunity for adolescents to bring forth feelings and

display them (Dissanayake, 1995a, p. 46). Visual art making unifies participating

individuals and preserves knowledge to be passed to successive generations (Griffin,

2011, p 24). Focusing on the importance of making special specifically through processes

of handmaking, and illuminating technological forms of creation from the program, was

integral to the final design. In a technologically saturated society, making through tactile

engagement with the real world allows adolescents to gain independence and confidence,

realizing their personal choices have the power to make their lives meaningful (Garber et

al., 2019, p. 1).

An emerging concept known as New Materialism emphasizes experience beyond

works, through interaction between people and objects as tactile and kinesthetic (Garber,

2019, p. 9). Sensory experiences of making special contribute to adolescent development

through complex and subtle aspects of the mind, supporting personal qualities like

patience, discipline, and conceptual growth, fostering meaning and intimate experiences

(Garber, 2019, p. 13). These authentic and primitive sensitivities to making suggest that

material matter is significant to human life. As art becomes meaningful to the adolescent

it becomes pleasurable, supporting the need to focus communities on the genuine

21
meaning of art, nature, purpose, and value. Handmaking becomes an opportunity to

encourage adolescent’s sense of self through personal articulation, achievement, and

expression of value (Dissanayake, 1995b, p. 45).

3.2.2 Art as an Educational Experience

The practicum project provides a learning environment focused on handmaking

processes, merging the experience of making special with education. Art as a behavior is

further explored in relation to educational environments supported by John Dewey’s

philosophy of education and ideas of progressive education encouraging individual

development and social enlargement. Like art, educational learning is a humanly intrinsic

need which provides a social continuity to life through continued experience (Dewey,

1916, p. 7). Dewey’s progressive educational views such as true education being the

result of experience, supported the development of the Constructivist Learning Theory,

often referred to as the theory of cognitive development (Ültanır, 2012).

The Constructivist Learning Therapy suggests that knowledge is constructed

through the learner themselves, allowing them to individually and socially establish

meaning (Hein, 1991). Principles of this theory include a focus on sensory learning,

personally constructed meanings, engaging the mind with hands-on processes, interaction

with others, contextualisation, continuity, and personal motivation (Hein, 1991). The idea

of building an individual’s knowledge is emphasized as opposed to passively receiving

information (Ültanır, 2012, p. 207). Constructivist learning environments are democratic

in nature, defined by instructor emphasis on collaborative learning, authentic learner

centered individual and group work, and individuals as active constructors of knowledge

22
through self-monitoring (Ültanır, 2012, p. 205). Democratic educational communities

provide intellectual freedom and exploration of diverse gifts and interests (Dewey, 1916,

p. 191). They provide the structure for teaching creativity, allowing individuals to

construct their own sense of purpose, scope, and program (Besgen et al., 2015, p. 430).

Deliberativeness and purpose are individually composed, necessary to creatively inspire,

as passively learning a skill does not promote meaning and continuity (Dewey, 1916). It

is much more than training the mind, involving a wider social and individual

construction, to enlarge and better one’s life and appreciation of environment

(“Educational Writings,” 1916). Creative education shifts from verbally sharing

information, to an experience of community building and collaboration (Dewey, 1916).

The constructivist educational model supports the program of the practicum by

encouraging self-directed learning for adolescents. According to Dewey’s philosophy,

student active participation and self-direction is critical in emphasizing the contents of the

experience as more important than the subject-matter (Ültanır, 2012, p. 201). Through

enhanced experience, self-direction fosters self-realization and personal identity (Ültanır,

2012, p. 201). Education is connected to action, where knowledge and ideas are built on

meaningful and important experiences of the learner (Ültanır, 2012, p. 207). Adolescents

build on skills and techniques as a means to achieve personal goals in a collaborative

setting, instead of isolated expertise (Ültanır, 2012, p. 207). Knowledge is also gained

through social contexts and diminished boundaries between educational environments

and the real world (Ültanır, 2012, p. 206). Influenced by the Constructivist Learning

Theory, the design aims to provide authentic experiences for adolescents to actively

23
construct their own sense of identity, as it is neither fixed nor transitional (Ültanır, 2012,

p. 206).

Constructivist learning goals can benefit adolescent development as they promote

experience with knowledge construction, appreciation of new perspectives, realistic

contexts, ownership and personal voice, collaborative social experience, various modes

of representation, and reflection (Hein, 1991). In relation to the built environment, Dewey

suggests that the setting of experimental processes like making special, be formalistic and

distracting in an attempt to remove the user from present life concerns and replace them

with fulfilled attitudes towards current problems or concerns that may be faced in

adulthood (“Educational Writings,” 1916, p. 15). Adolescents interaction with this type

of environment encourages their understanding of self, including personal perspectives

and characteristics (Ültanır, 2012, p. 205). Focus on experiential making promotes art as

an experience with physical objects where emotion can be interrupted and resolved

through reflection (Dewey, 1934). Experiential or kinesthetic learning and the power of

physical touch evidentially arouses sensory curiosity (Thorp, 2018). Traditional

approaches to education have focused on logical or verbal learning, however integral to

adolescent development is the engagement of multiple intelligences such as creativity and

practical abilities, as opposed to focusing only on analytical shortcomings (APA, 2002, p.

12). As the pathway to learning is developed by adolescents at varying rates, art making

promotes the freedom to discover and problem solve while placing value on the process

over the final product (Shanshan, 2016). Learning through constructivist environments is

a process built externally, independent of abilities or talent (Ültanır, 2012, p. 199). The

Constructivist Learning Theory supports the notion that education or knowledge has no

24
definitive end and the idea that creative art making is a positive educational experience

for adolescents to thrive.

3.2.3 Art as Therapy

The activity of art making or the product of that activity such as an object, was

recognized as having healing potential in the 19th century (Packard, 1980, p.11). During

this time theorists including John Dewey began to write about the ability of art to aid in

reaching a fully harmonized self (Packard, 1980, p.11). The therapeutic quality of art is

prominently observed within the field of art therapy, a hybrid of art and psychology. Art

therapy rests on the notion that creative art making processes are healing and life

enhancing and offer a form of non-verbal communication of thoughts and feelings

(Nguyen, 2015, p. 29). It encompasses the analysis of art as a means of providing

information to the individual and creativity as a healing and rejuvenating cause for the

distressed mind (Packard, 1980, p. 11). The concept of art as therapy, opposed to

psychotherapy, was offered by Edith Kramer, one of the pioneers of art therapy. Her

ideas promoted the concept that the art of making itself allows individuals the

opportunity to recreate primary experiences for resolve, becoming more important than

interpreting the final product (Nguyen, 2015, p. 31). The therapeutic quality of art

therefore lies in the act of creating. Emphasis on the art process allows art to become a

therapeutic expression, the core of therapeutic opportunity, as opposed to a by-product of

psychotherapy. Viewing art as therapy narrows the scope of the practicum project to an

environment focused on wellness over therapy, by emphasizing the beneficial therapeutic

aspects of the process of art making.

25
 Art making is therapeutic in its ability to bring an individual’s attention to a

present sensual experience, removing them from the current stresses and challenges of

reality (Moon, 2012). Art expression can aid in bridging sensory and definitive memories

of a stressful event, as an alternative narrative is created for the individual to explore

emotions which are connected to those memories (Malchiodi, 2002). Repetitive reward

driven activities like art making are connected to the cortical area of the brain and have

been known to reduce depression and anxiety (Malchiodi, 2002). For example, the

regularly experienced positive enjoyment found in drawing, painting, textiles, ceramics,

and woodworking, can improve an individual’s mood (Malchiodi, 2002). These

approaches have the capacity to reach elements of experience, thought, and emotion, that

cannot always be verbally reached (Malchiodi, 2002). As noted by Dewey (1934), the

arts would not exist if all life’s meanings could be adequately expressed through words

(p. 74). Specific to adolescents, art making is a therapeutic expression as it provides a

means of connection, support, and meaning (Malchiodi, 2002, p. 242). Adolescents are

given the opportunity to symbolically communicate inner and outer experiences that

words may not depict, or that they are not willing or comfortable to verbally share

(Malchiodi, 2002, p. 243). Acceptance and recognition of an adolescent’s artful creation

is an essential component of its therapeutic capacity (Malchiodi, 2002, p. 244). As

adolescents are coping with developmental milestones and stresses, art making offers a

nonthreatening outlet to release and understand their current needs (Malchiodi, 2002, p.

246). Malchiodi (2002) notes that experimentation with art making is significant to

growth, maturation, and self-expression during adolescent developmental stages (p. 246).

It also supports critical areas of therapeutic relief involving perceptual, emotional,

26
imaginal, social, physical and spiritual factors, imperative to overall well-being

(Malchiodi, 2002, p. 246).

Successful examples of Indigenous-focused making support the idea of art as

therapy, becoming a framework for decolonization and best practice. This

acknowledgment works to prevent Indigenous erasure by focusing on resurgence of their

perspectives of making (Barajas-Lopez & Bang, 2018). Implications of reclaimed

traditional Indigenous making and sharing through therapeutic programs have been

recorded as nurturing to human-nature relations and community relationships, and create

new possibilities toward equity in making for self-determination (Barajas-Lopez & Bang,

2018, p. 18). As an example, clay making in Indigenous communities connects

individuals to inner trauma, narrated through the chemical process of making and

interactions with water, soil, and clay (Barajas-Lopez & Bang, 2018) Healing and

meditative self reflection is demonstrated in the intention behind each piece of work,

often inspired by the practice of Indigenous storytelling, and the purpose it will serve to

the individual and their community (Barajas-Lopez & Bang, 2018, p. 12). Indigenous

value in art as a holistic approach to healing, highlights cultural expression as vital for a

sense of identity, communication, support, and revitalization, and is considered integral

to everyday life (Weinberg, 2018, p. 17). A culturally responsive approach to art as

therapy must also consider critical analysis of Indigenous educational injustice and

philosophy, historical approaches to making as a diverse activity, and inquiry of socio-

political values and purposes of making, to support these youth in a therapeutic learning

environment (Barajas-Lopez & Bang, 2018, p. 8).

27
 Building on the idea of art making as an educational experience, it is significant to

note that the relationships built within this experience differentiate therapy from

education (Nguyen, 2015, p. 30). The environment must foster relationships that allow

the individual to voluntarily expose themselves to others (Nguyen, 2015, p. 30).

Additionally, the relationship between Indigenous and non-Indigenous people must be

carefully considered, to combat the historical mistrust between these two communities

(Weinberg, 2018, p. 14). Non-indigenous individuals must be educated on Indigenous

traditions, cultural practices, historical intergenerational trauma, and the barriers to a

traditional circle of caring within families and communities (Weinberg, 2018, p. 14). The

freedom to gain knowledge, or the education of art making, is an essential goal in therapy

(Packard, 1980, p. 11). Art making provides a therapeutic opportunity for adolescents to

freely choose options for their educational experience rather than a real life experience

(Packard, 1980, p.11). Through this freedom of choice adolescents gain knowledge of

themselves, supporting more rational decision making and applications (Packard, 1980, p.

11). As noted by Malchiodi (2002), the role of adults in providing therapeutic support is

only to encourage communication and interaction, note processes, or intervene when an

individual or group requires assistance (p. 356). It is essential for non-Indigenous leaders

to partner with Indigenous mentors, in an effort to gain sensitivity in therapeutic support

for a community of Indigenous adolescents (Weinberg, 2018, p. 14). The practicum

emphasizes that art as therapy is an empathetic approach to empower and motivate

adolescents in the therapeutic process of art making.

28
3.3 Strategies of Creative Art Making

An integral component to the practicum project was identifying strategies of creative art

making to inform the final design. Through these strategies, artistic expression as a humanly

intrinsic desire is emphasized while combating an increasingly industrialized society. Artistic

processes can be institutional, logical, or conceptual, encouraging an individual to explore

shapes, structures, and quantitative or qualitative features of their environment (Besgen et al.,

2015). Within these explorations, individuals begin to construct a set of rules in which they can

comprehend elements and principles of creating and develop a personal form of expression by

discovering their own abilities (Besgen et al., 2015). Creative art making then provides a

cognitive settlement for individual perception, knowledge, and opinion, in combination with

aesthetic realisation (Besgen et al., 2015).

Drawing on the field of art therapy, expressive art making techniques offer an

opportunity for individuals to better understand their inner selves while, relieving pressure,

stress, and tension, and becoming a basis for discovery or change (Snyder, 1997). They embody

characteristics of art previously explored, including art as a biological behavior, educational

experience, and therapeutic expression, and emphasize the tactile importance of art making.

Various approaches to expressive art making include finger painting, squiggle drawings, drawing

members of a group, blob and wet paper techniques, and mask-making (Snyder, 1997, p. 76).

They offer the therapeutic outlet for creative making, emphasizing focus on the entire process as

opposed to the final product (“Expressive Arts,” 2020). Expressive art making differs from

traditional art therapy practices as it draws on various forms of art and heavily relies on utilizing

multiple senses (“Expressive Arts,” 2020). According to Moon (2012), art making becomes

therapeutically successful when an individual is connected to the creative process through sight,

29
sound, and movement, in addition to physical touch (p. 90). Exploration of the senses is

encouraged through expressive art making, becoming a protective development factor, or

increased likelihood of positive outcome for adolescents. As noted in Chapter 2.0 Adolescent

Development and Well-being, exploratory opportunities encourage adolescents to shape their

identity, increasing feelings of satisfaction and meaning through experiences of mastery and

capability.

3.3.1 Expressive Therapies Continuum

The Expressive Therapies Continuum (ETC) offers an approach to creative

functioning of expressive art making techniques. ETC was first proposed by Kagin and

Lusebrink in 1978, providing one the of the only extensive frameworks for evaluating the

use of various art materials and processes in art therapy, with focus on the product,

process, and person (Malchiodi, 2002, p. 29). The art making process is emphasized and

promotes a sequence for adolescents to further their development while becoming active

participants in expressive art making. The ETC identifies three stages in which

adolescents can indirectly process art making, diminishing the need for a direct therapist.

It is the responsibility of the adolescent to learn the deep unconscious meaning of their

creation, only aided through technical knowledge and emotional support of a trusted adult

(Nguyen, 2015). The stages include; (1) Kinesthetic or sensory, (2) Perceptual or

affective, and (3) Cognitive or symbolic, with a fourth creative level occurring

throughout all stages (Malchiodi, 2002, p.29). The creative level synthesizes all stages

providing opportunity for self-actualization and resourceful interactions with one’s

environment (Hinz, 2015, p. 46). The kinesthetic or sensory level corresponds to the

30
sensorimotor stage of development, focusing on bodily action or movement as a means of

releasing energy (Nguyen, 2015, p. 35). Through interaction with art media, adolescents

experience external tactile sensations producing feelings of relaxation and stability

(Nguyen, 2015, p. 35). The perceptual or affective level corresponds to developments in

identifying emotions, managing emotional states, and assisting appropriate expression of

emotions (Nguyen, 2015, p. 35). This stage focuses on the opportunity to create structural

qualities of expression, such as defining boundaries and differentiating forms, which

encourage an appropriate representation of both inner and external experiences (Nguyen,

2015, p. 35). The cognitive or symbolic level corresponds to formal operational thought

development, or complex information processing, focusing on symbolic representation of

feelings, thoughts, and events (Nguyen, 2015, p. 36). Adolescents begin to think outside

their own experience through analytical, sequential, and logical thought (Nguyen, 2015,

p. 36).

Experiencing a sense of flow through these stages, adolescents may feel an altered

sense of time, peak moments of joy, and long-lasting periods of well-being, becoming a

therapeutic endeavour (Hinz, 2015, p. 46). Table 1: Expressive Therapies Continuum:

Stages of Processing outlines the first three stages in relation to wellness opportunities

and practical art making activities, which influenced the practicum program. Well

functioning individuals are able to gather information and process it through all stages

(Hinz, 2015, p. 44). ETC aids adolescent well-being as they are taught about various art

media properties and functions as a means of releasing emotions and energy, the ability

to discuss their needs, and increasing their personal awareness (Hinz, 2015, p. 49). This is

significant as emotions are used in decision making, memory functioning, and motivating

31
 behavior (Nguyen, 2015, p. 35). There are additional phases drawn from art therapy

offered by Moon (2012) which influence creative processes adolescents may take: (1)

Resistance, where an individual may have feelings of being overwhelmed or fearful, (2)

Imagining, where ideas emerge, (3) Immersion, where excitement and energy is

experienced, and (4) Letting go, where individuals feel a sense of ownership and can

begin to self reflect (p. 99). The digression of stages and strategies in which adolescents

creatively make, including ETC, were conceptually implemented into the final design.

Table 1: Expressive Therapies Continuum: Stages of Processing

Focus ETC Stage Wellness Opportunities Making Activities

_ Action Kinesthetic _ Discover, value, express inner sensations _ Scribbling on large paper
_ Sensation _ Increased sense of relaxation _ Hard clay
_ Movement
_ Tactility
_ Process Sensory _ Increased tolerance for internal and external sensations _ Finger painting, blending pastels
_ Expressive _ Regain control of behavior _ Textiles
_ Wet Clay

_ Boundary Perceptual _ Increased internal organization of emotions _ Line, shape, pattern drawing
_ Form _ Learning to take another’s perspective _ Contour drawing
_ Accuracy _ Reduced stress by focus on formal elements
_ Representation
_ Perception Affective
_ Clarity of thought _ Paint a feeling
_ Increased self-awareness
_ Understanding purpose or function of emotions

_ Sophistication Cognitive _ Increased decision making skills _ Image Collage

_ Intuitive _ Increased planning or problem solving abilities
_ Thought _ Promotes cause and effect thinking
_ Abstraction
_ Analytical
Symbolic _ Deepened personal/universal meaning is found _ Abstract painting
_ Increased ambiguity _ Sponge or blot painting
_ Ability to find meaning in suffering _ Mask-making
_ Self-portraiture

32
3.4 The Maker Movement

Creative strategies of art making have grown into the wider global phenomenon known

as The Maker Movement. Similar to progressive educational views of Dewey, this 21st century

progression offers an alternative for emerging trends in education such as innovative learning

through collaboration, exploration, and working with one’s hands. Founded in 2005, The Maker

Movement embodies concepts of experiential education and combats an accelerating digital

world through a community of like-minded individuals focused on experimentation, creativity,

physical making, and discovery for all ages (Feeney, 2016). The grassroots initiative derives

from a cross between movements such as DIY, STEM, and hacker culture, evolving into an open

community of experimentation where dependence on electronic devices is diminished (Feeney,

2016). Constructivist learning supports The Maker Movement through its emphasis on learning

by conceptualized processes of being, doing, knowing, and becoming (Shanshan, 2016). True

learning succeeds through making that can be shown, discussed, admired, and responded to by

physical touch (Shanshan, 2016). Drawing on concepts of progressive education like the

Constructivist Learning Theory, affirming that learners construct physical experience as a way of

providing alternative interpretation for human thought and growth, The Maker Movement has

contributed to the formation of Makerspace typologies, supporting Dewey’s belief in the

continual process of a lifetime of learning (Thorp, 2018).

3.4.1 Makerspaces

A Makerspace is an intrinsic concept, where innovative learning promotes

creative outlets and engaging ways for learning both academically and socially

(Shanshan, 2016). This typology diminishes the need for traditional clinical art therapy

processes by encouraging self-led handmaking. Makerspaces become an outlet for

33
strategies of creative making, influencing the practicum process through emphasize on

spaces for adolescents to observe, play, explore, test, and respond to making. Experiential

and interactive learning through physical making has the potential to keep adolescents

engaged in their practice and demonstrate their learnings (Feeney, 2016). Integral to the

practicum design was the idea that knowledge in the practices of art are individually built

through consciously making special and not simply passed on verbally by an adult, with a

focus on continual learning over cognitive abilities or final products. Makerspaces define

learning as a dynamic relationship to one’s self, setting, and activity, encouraging

adolescents to build their sense of identity (Shanshan, 2016).

Four indicators of Makerspace learning were integral to the final design for

encouraging positive factors in adolescents. They include engagement, intentionality,

innovation, and solidarity, with the common goal of encouraging adolescent to discover

themselves, creatively explore, and confront or overcome challenges within the context

of making (Shanshan, 2016). These activities require flexible space for thinking,

opportunities for group collaboration, brainstorming surfaces for process development

and iterations of making, independent and group workspace, with adaptability as a focus

for all areas (Feeney, 2016). Positive development factors for adolescents can be

increased by providing them with various options in their decision making so that

multiple choices can be considered (APA, 2002, p. 12). Authenticity is promoted through

personal experience with new concepts and materials, building deep learning and

meaning (Thorp, 2018). A Makerspace becomes an alternative space between the home

or school for adolescents to informally meet and build relationships while building a deep

34
sense of worth (Shanshan, 2016). Approaches to making emphasized by The Maker

Movement are manifested into the conceptual approach of the final design.

Indigenous influence on the design structure and context of a makerspace can be

achieved through four principles which include, refusing Indigenous erasure, promoting

knowledge diverse in content and character, focusing on key forms of Indigenous

teachings, and cultivating observational practices (Barajas-Lopez & Bang, 2018, p. 10).

Making is considered an Indigenous technology, continually growing within their

communities, supporting sustainability and dynamic relationality (Barajas-Lopez &

Bang, 2018, p. 10). Storytelling and walking or movement are examples of Indigenous

technologies, to be conceptually implemented into the design of a makerspace (Barajas-

Lopez & Bang, 2018, p. 10). Storytelling allows the expression of feelings, ways of

being, and elder connection, while walking promotes heightened observation and

appreciation for the present moment (Barajas-Lopez & Bang, 2018, p. 9). These

Indigenous makerspace design principles support sensemaking and engagement of

making as a humanizing way to contribute to one’s own community (Barajas-Lopez &

Bang, 2018, p. 10). Indigenous narratives implemented into a makerspace, centralize

Indigenous adolescent’s knowledge systems as continual, thriving, and self-generating,

while supporting the repeal of Indigenous decolonization (Barajas-Lopez & Bang, 2018,

p. 18).

Relative to the built environment, Makerspaces allow adolescents the freedom for

various types of making, emphasizing collaborative learning in diminishing hierarchy

between learning spaces and administrative or teaching spaces. Moon (2012) suggests

three principles for the design structure of a therapeutic art making environment to

35
benefit adolescents. Firstly, the space must be safe, promoted through a sense of place

and adaptability, providing an open environment for exploration and self-expression

(Moon, 2012, p. 149). Free materials and surrounding inspirational artwork encourage

expression and adolescent engagement in individualized ways (Moon, 2012, p. 149). For

example, filling walls with artwork to become a living gallery encourages changing,

deconstructing, and reforming the inspirational space (Moon, 2012, p. 149). Visibility

into creative learning areas can aid in creating a less intimidating environment for

adolescents as they are not confined to a single space and can gain a sense of the purpose

and layout before committing to enter or participate (Thorp, 2018). Like the various

ecosystems in which Indigenous communities and their previous generations have

engaged with, adolescents require various modes of making to select from (Barajas-

Lopez & Bang, 2018, p. 10). The second characteristic of a therapeutic art making

environment is predictability (Moon, 2012, p. 163). This builds on a sense of safety and

can be influenced though organization of space, easily accessible materials kept in the

same place, and consistency with ritual daily activities (Moon, 2012, p. 163). Areas of

learning through making should be clearly defined and intentionally organized yet non-

linear, conceptually promoting freedom of activity choice (Thorp, 2018). Thirdly, the

environment should focus on making art while establishing relationships, emphasized

through visual, tactile, kinetic and aural engagement (Moon, 2012, p. 167). Openness

promotes socialization including both personal and intimate observation, reflection, and

contemplation, while movement is important for kinesthetic learners to explore through

investigation and discovering by touch (Thorp, 2018). Furniture options that promote

fidgeting or movement can help to stimulate the brain, for example those on wheels or

36
 easily engaging (Thorp, 2018). Kramer’s concept of art as therapy supports the value of

art making and the relationships that grow from the shared experience as equal parts

(Moon, 2012, p. 167). The concept of constructivist learning through trial and error, and

The Maker Movement community of collaboration, emphasised the final makerspace

typology.

3.5 Conclusion

In the design of a makerspace the experience of creative art making previously defined as

making special becomes significant as a protective development factor for adolescents. The

survival value of art is evident in populations around the world as individuals continue to make

and respond to art, reinforcing the idea that its behavior is a choice of adaptation necessary for

survival (Dissanayake, 1995a, p 35). An overview of theories outlined in the literature review are

displayed in Table 2: Theories and Design Implications. Supporting adolescent development,

handmade art offers a positive educational experience and therapeutic expression for building

self identity in reaching a complete state of physical, mental, and social well-being. The

Expressive Therapies Continuum offers strategies for creative art making and methods of

processing to encourage wellness opportunities. The emerging typology of Makerspaces offers a

sustainable community for adolescents to experiment in their search for self identity and create

positive guiding relationships with trusted adults, imperative to adolescent development and

well-being.

37
Table 2: Theories and Design Implications

Theory Theorist Concept Application

Making Special Ellen Dissanayake Humans have an inherent desire to make and _ Art making is experiential, culture
find pleasure in doing so. developing, haptic, made personal +
special

Constructivist John Dewey Humans have an inherent desire to learn and _ Self-directed making
Learning Theory do so through actively constructing _ Emphasis on the experience/process
knowledge and engaging the mind with over the final product
hands-on processes. _ Collaborative environment

Art as Therapy Edith Kramer Humans experience therapeutic life _ Repetitive reward driven activities
enhancing qualities through the direct act of _ Freedom of activities + materials for
creating and making art. voluntary exploration

Expressive Kagin & Lusebrink Individuals process art making through _ Provide a flow through expressive art
Therapies Continuum various stages which offer therapeutic and techniques for a growing sequence of
wellness opportunities in development. internal processing
_ Stimulate multiple senses

Maker Movement Dale Dougherty Innovative creative learning is enhanced _ Community spaces and sense of
through community engagement and the openness for interaction + relationship
opportunity for humans to collectively building
experiment, explore, play, test, and respond _ Clearly defined intentional areas for
to making. making to ensure security + safety

38
39
40
Chapter 4: Precedent Analysis

4.1 Introduction

Three precedents were analyzed to inform the makerspace design, in addition to the

literature review. The selection of precedents identified interiors based on their relevance to the

concept of handmaking as an opportunity for sustaining well-being in adolescents. Each case

study provides insight on the current art-making practices available for adolescents and their

benefits within larger communities. Open Works is a makerspace encouraging community

revitalization and connection for all ages, returning to the humanly intrinsic desire to handmake.

Plymouth School of Creative Arts relates to the educational experience of art making providing a

comfortable, safe, supportive environment for artistic expression, encouraging students to build

their self-identity. The Creative Growth Center aims to provide therapeutic support, affirming the

concept of art as therapy and encouraging artful expression as a basic human right.

4.2 Art as a Biological Behavior: Open Works Makerspace

Location: Baltimore, Maryland

Year: 2016

Architect: Quinn Evans

Size: 34,000 sq. ft.

Open Works is the sixth largest makerspace in the United States, a non-for-profit organization

driven by the belief that everyone is a maker (“Open Works,” 2019). Defining a makerspace as

the opportunity for hands-on learning, this precedent was selected due to its conceptual approach

to restore the site’s historic manufacturing legacy and return to old ways of making, relating to

the idea of art as a biological behavior (“Open Works,” 2019). Baltimore is known as America’s
04

41
original maker city, housing the first railroad and largest steel mill, yet over numerous years

traditional ways of making have diminished (“Open Works: Make Space,” 2019). In the heart of

an emerging artistic community, Open Works is an anchor in re-connecting traditional

innovation with creativity for business start-ups, individual artists, and craftspeople of all ages

and socio-economic backgrounds (“Open Works,” 2019). By providing unique equipment and

opportunities that would otherwise be unavailable or unaffordable to their users, Open Works

encourages the ability to collaborate and experiment (Figure 1). This resonated with the

practicum project, as many adolescents in Winnipeg’s inner city face enormous economic

disadvantages and educational barriers, preventing them access to these types of programs. As

outlined in Chapter 2.0 Adolescent Development and Well-being, adolescents can be supported

through encouraged exploratory behavior, as well as nurturing groups and guidance from trusted

adults (Child and Youth Report, 2017, p. 154). The makerspace typology is a precedent for

adolescents’ opportunity to experiment in the creation of their sense of identity, building

confidence and peer relationships, and becoming a protective development factor.

Figure 1: Open Works Interior

42
 Chapter 6.0 Design Program was influenced by relationships between programmed

spaces at Open Works seen in Figure 2, locating more clean high-tech areas near the public

space and industrial programs on the lower level (“Open Works,” 2019). Ample micro-studios

are also provided for rentable individual workspace enabling various types of spaces for

practicing and maintaining craft (“Open Works,” 2019). Community oriented spaces such as a

café and lounge are accommodated and open to the public, offering artist gatherings and

collaborations (“Open Works,” 2019). In addition, a large outdoor porch seen in Figure 3 allows

for viewing of outdoor maker fairs and performances held on the surrounding grounds,

welcoming the community and fostering connections with the makers (“Open Works,” 2019).

This influenced Make It’s street level connections to the community through views into the

public spaces and feature displays, as social well-being contributes to a state of overall health

(Child and Youth Report, 2017). The openness of Open Works in showcasing user creations and

inviting the community to participate, offers a platform for adolescents to create a sense of

identity in sharing their achievements.

Figure 2: Open Works Axonometric Figure 3: Open Works Porch

43
 The practicum design was also inspired by the interior aesthetic of Open Works, where

windows were added to provide additional natural light, including a skylight at the central

staircase (“Open Works,” 2019). The concept of making is carried throughout the space, with

custom designed and fabricated cabinetry and wood furnishings provided by makers at Open

Works (“Open Works,” 2019). The flooring throughout is kept raw and all the architectural wood

used for accent walls and flooring were salvaged from local row houses (“Open Works,” 2019).

This regional connection unites the user with the site’s history, and conceptually connects them

with the surrounding community providing a sense of familiarity, important to ensuring a

therapeutic environment. The buildings furniture is kept flexible, including the micro-studios

which include an overhead framework for mounting lighting fixtures, cable management

systems, and potential acoustic ceiling tiles (“Open Works,” 2019). These customizable

workspaces encourage freedom, experimentation, and personalization, and provided a precedent

for the individual studios in Make It. As noted by Moon (2012), a therapeutic art making

environment can be promoted through safety and predictability. The opportunity to personalise

one’s work environment ensures their comfort and personal spatial needs may be met,

encouraging a built sense of identity and place. The overall inclusion of tactile finishes and

moveable furnishings encourages a sensory environment, which can encourage relationships

built through visual, tactile, kinetic, and aural engagement (Moon, 2012).

44
4.3 Art as an Educational Experience: Plymouth School of Creative Arts

Location: Plymouth, United Kingdom

Year: 2015

Architect: Feilden Clegg Bradely Studios

Size: 74, 486 sq. ft.

The Plymouth School of Creative Arts was designed as a school for making things, ideas, and

art, a product of the response to declining arts and creative programs currently represented in

schools (“Plymouth School,” 2019a). The school maintains a similar goal to the practicum

project by promoting creative learning as an opportunity for users to build an individual sense of

identity, thus promoting future goals, meaning, and self-worth. Located in an urban setting, The

Plymouth School of Creative Arts is democratic in nature aiming to merge experience with

education and therefore representative of a constructivist learning environment. Creative arts

offered at the school were selected for their increased depth of learning and diversity, and are not

technologically focused, including theatre, dance, and music, which all require hands-on

physically interactive experiences (“Plymouth School,” 2019b). The school is a physical

manifestation of Dewey’s philosophy of education discussed in Chapter 3.0 Literature Review,

depicting innovative approaches to creative learning. Referred to as a team teaching philosophy,

the school encourages knowledge and creativity to flow between teachers and peers (“Plymouth

School,” 2019b). By focusing on authentic experiences and diminishing the gap between

individuals and teachers, students are supported through active and collaborative learning. This is

furthered by the school’s main approach to encourage ‘making together’ and evident in the

various types of spaces to create seen in Figure 4, Figure 5, and Figure 6 (“Plymouth School,”

2019a). For example, science and design labs enable students to become the scientist or designer

45
themselves as opposed to following instructions from a superior (“Plymouth School,” 2019a).

The freedom of activities and non-hierarchical role of teachers promotes self determination and

motivation, allowing students to find meaning in their own personal efforts. As outlined in

Chapter 2.0 Adolescent Development and Well-being, a sense of mastery, competence, and

positive relationship building, which is promoted in self-directed hands-on learning, strengthens

feelings of satisfaction and meaning for individuals. Guidance from trusted adults, significant for

adolescent development, is offered by the school while maintaining growth for independence and

decision making. Dewey (1916) suggests experiential education, offered through art processes,

as a social continuity and potential for constructed meaning to life. With a goal to secure

student’s ambitions through purposeful learning, the school relates to the practicum as a positive

Figure 5: Plymouth School Community Space

Figure 4: Plymouth School Class Studios Figure 6: Plymouth School Make Space

46
development factor for creativity to foster individual value, identity, culture, community, and

prosperity (“Plymouth School,” 2019a).

This structure of learning offered by the school influenced the practicum project, as it

related to the Expressive Therapies Continuum discussed in Chapter 3.0 Literature Review.

Similar to the sequence in which adolescents process art making, the school is organized into

phases of learning. Students begin by learning in supported environments with large studio space

and high ratios of adult support, naturally building curiosity (“Plymouth School,” 2019a). Next,

they gain access to a wider range of teachers and in some curriculum areas more specialized

techniques are offered, focusing on increasing students’ confidence to lead their own learning

(“Plymouth School,” 2019a). Abstract themes are increasingly introduced, encouraging staff and

students to collectively investigate these ideas, further building on the individuals self guided

learning and exploration (“Plymouth School,” 2019a). In later phases, students have the option to

gain qualifications where they may be further recognized, driven by their future personal career

paths, education, and life ambitions (“Plymouth School,” 2019a). This influenced the inclusion

of interns from the University of Manitoba and the University of Winnipeg in the practicum

project. The interns can offer peer mentoring and beneficial connections for youth looking to

expand their knowledge on future opportunities in various aspects of life. The phases represented

at The Plymouth School of Creative Arts reflect the practicum project, as users moves through

the building, they experience similar studio environments and connections with staff and

volunteers. Additionally, the schools connection to serving the community through open

weekend hours and wide ranging supportive activities, influenced the programming of the

practicum project.

47
 Also referred to as The Red House, the schools design features a strong color scheme to

physically represent a creative and aspirational approach to learning (“Plymouth School,”

2019a). Red accents as wayfinding are characteristic of Moon’s (2012) emphasis on

predictability by visually organizing and clearly defining spaces, contributing to a sense of safety

within a therapeutic art making environment. Aesthetically industrial in character, The Red

House design offers varying heights, light, and scales throughout to stimulate students and

enhance the teaching environment (“Plymouth School,” 2019b). This approach to interior design

reflects research by Moon (2012), suggesting that an individual becomes connected to creative

processes through sight, sound, and movement. Similar features were implemented into the

practicum project design as an opportunity to engage numerous senses, supported by expressive

art making techniques which rely on the utilization of multiple senses (“Expressive Arts,” 2020).

Materials and finishes at The Plymouth School of Creative Arts are simplistic and robust to

maintain openness, encouraging sharing, freedom, and experimentation, which are integral

components of adolescent development (“Plymouth School,” 2019a). Surrounding inspirational

artwork displayed throughout the public spaces to encourage expression and engagement, reflect

similar ideas supported by Moon (2012), and the authenticity of materials reflect his emphasis on

tactile engagement. Spaces are divided based on opportunities for making and performance such

as a theatre, dance studio, recording studio, and making workshops (“Plymouth School,” 2019a).

Without the inclusion of a specific art room, art is to be made and encouraged in each space and

subject of learning, whether it be physical making, performing, or discovering (“Plymouth

School,” 2019b). This philosophy manifested into open class studios, spacious classrooms, and

interlocking spaces seen in Figure 7, maintaining site lines through major spaces and influenced

by the value of clarity and legibility for users, creating a unique teaching atmosphere (“Plymouth

48
Figure 7: Plymouth School Ground Floor Plan

School,” 2019b). As noted by Moon (2012) visibility into creative learning areas of a therapeutic

environment allow a less intimidating atmosphere. The final practicum design was inspired by

this concept in correlation with the Expressive Therapies Continuum, to clearly define areas of

making for safety and security, while maintaining a flow between areas of processing and the

non-linear growth of developing adolescents. The school’s rooftop garden and outdoor play area

influenced the practicum project’s connection to the outdoors and surrounding context. The Red

House is shared with community groups after hours, reflecting on the diversity and strength of

the partnerships supporting the school (“Plymouth School,” 2019b). Through its design, The

49
Plymouth School of Creative Arts is a sustainable precedent for the environment, economy, and

surrounding community.

4.4 Art as Therapy: Creative Growth Art Center

Location: Oakland, California

Year: Early 2000’s

Size: 12, 000 sq. ft.

The concept of art as therapy is represented in the Creative Growth Art Center, a non-for-

profit organization dedicated to providing support for artists with developmental, intellectual,

and physical disabilities. The former auto repair shop was converted into a studio space in the

early 2000’s, now hosting over 150 artists working in a variety of media types such as painting,

drawing, ceramics, woodworking, and fiber arts, seen in Figure 8 (“Creative Growth,” n.d.).

Most programs are available for ages 22 years old and up, with Saturday youth programs for

ages 16 to 22. Art itself is offered as a therapeutic opportunity for users, supportive of Kramer’s

view of art as therapy discussed in Chapter 3.0 Literature Review. Unlike the previous

precedents analysed, Open Works and The Plymouth School of Creative Arts, there are no

technological activities or additional educational offerings at Creative Growth. The organization

and resulting programming of the space focuses on wellness opportunities as opposed to

disabilities or psychotherapy, often the case with traditional art therapy precedents. Through the

Creative Growth Center, an artist’s attention is turned to the present sensual experience,

removing them from the current stresses and challenges of reality, a therapeutic quality of art

(Moon, 2012).

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Figure 8: Creative Growth Art Center

Promoting an opportunity for the artists to create their own sense of identity and self

worth, the studio environment exhibits professionalism and offers gallery exhibition for creations

to be sold, many of which have been exhibited in collections and institutions in the surrounding

area (“Creative Growth,” n.d.). As previously asserted, acceptance and recognition of an

individual’s artful creation is an essential component in its therapeutic capacity (Malchiodi,

2002). Through developmental milestones and stresses, art making offers a nonthreatening outlet

to release and understand current needs (Malchiodi, 2002). Art is the leading factor of the

facility, to provide a path for artists to express themselves and contribute to the surrounding

community (“Creative Growth,” n.d.). Modeling a creative community, the organization

challenges assumptions of inclusivity in arts and culture, and encourages art making as a

fundamental human expression entitling all people to its tools of communication. Through

making artists are given the opportunity to symbolically communicate inner and outer

experiences that may not be verbally accessible. The artists are self-taught, supporting the

constructivist approach to hands-on sensory learning and the opportunity for users to develop

personal motivations, independence, and meaning. Studio staff are working professional artists

51
who are there to help and support individual artist’s visions when required. As noted in Chapter

2.0 Adolescent Development and Well-Being, social developments are significant in aiding

individuals, which can be provided through strong relationships outside of family,

neighbourhood stability, and protective safe resources.

The practicum design presented in Chapter 7.0 Design Proposal was inspired by the

concept of communal art making at Creative Growth. This precedent illustrates the importance of

communal making as there are no individual artist studios. Supporting the practicum project,

Creative Growth is a representation of the ability of individuals to create a sense of identity

without a permanent workspace, through focusing on the art making. This reflects research that

flexibility and adaptability can support creative exploration, as individuals can sit at different

workspaces each day (Shanshan, 2016). The studios at Creative Growth are positioned on the

main floor near the entry, and visible from street level. This spatial relationship was not sought

after in the practicum design. To ensure a sense of safety, adolescent making areas at Make It are

located on floors requiring secured access and less visual distraction than street level.

Additionally, moving through communal spaces without programming increases adolescents

level of comfort in the environment, and helps to diminish the resistance they may face before

imagining and immersing in creative making processes (Moon, 2012). The overall openness and

group nature of the center requires attention be drawn to predictability and organization of

materials, as noted by Moon (2012), a principle design structure of a therapeutic art making

environment. Spatial adjacencies such as these were analysed at Creative Growth, influencing

the focus on organization and adjacency to materials in the design of Make It. Creative Growth

strongly represents the conceptual idea of art as therapy, and was an integral precedent to the

52
practicum project illustrating how the interior can embody wellness and holistic approaches to

art education and making as opposed to therapy.

4.5 Summary: Design Guidelines

The precedents analyzed were chosen for their encouragement of art, thriving examples

of the opportunity to promote user development. Comparisons among the precedents and the

literature review were utilized to inform design guidelines in creating a meaningful Makerspace

that supports adolescents. Specific applications are outlined in Table 3: Precedent Spatial

Implications.

Table 3: Precedent Spatial Implications

Precedent Typology Concept Application

Open Works Makerspace _Return to handmaking processes _ Program offering various handmaking processes
_ Encourage experimentation _ Flexibility / personalization in furniture choices and
_ Build community and confidence activity types to increase self-identity
_ Space for sharing creative expression

Plymouth School of Primary School _ Promote experiential art _ Provide opportunity for various artful experiences
Creative Art _ Bold and youthful design style _ Scale of activities inform furniture / vertical space
_ Merge education with experience _ Provide youthful atmosphere
_ Artful experience in each space _ Familiar details for points of reference during
experimentation
_ Colorful wayfinding and space designation
_ Varying ceiling heights

Creative Growth Center Studio / Gallery _ Create sense of identity _ Maximize user control / support individual needs
_ Connect to the larger community _ Space for gallery / exhibition to the public
_ Provide meaningful recognition _ Collaborative studio sizes for supporting staff

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54
Chapter 5: Site

5.1 Introduction

This section of the practicum project provides a detailed description of the selected site

and its surrounding areas. In order to meet the needs of the client and selected demographic, the

site required proximity to Winnipeg’s urban adolescents. Based on conditions set through

theories explored in the literature review, Make It is located at 165 McDermot Street in the

Exchange District of Winnipeg, Manitoba.

5.2 Site Selection and Analysis

As more than half of Manitoba’s adolescents live in urban communities and the

prevalence of mood and anxiety disorders are higher in these areas, The Exchange District was

chosen for the site as it is located in downtown Winnipeg (Child and Youth Report, 2017). It is

also a region of Winnipeg’s inner city, and worth noting, an area with higher populations of

Indigenous and new comer populations (McCracken et al., 2013). Designated in 1997 as a

National Historic Site, the Exchange District is a mixed-use area renowned for its artistic

community, covering approximately 20 city blocks and home to North America’s largest and

best preserved turn-of-the-century heritage buildings (“About The Exchange,” 2020). Common

surrounding amenities exclusive to the Exchange District include boutiques, local restaurants, art

galleries, art studios, and workspaces, including cultural Manitoban venues such as the

Centennial Concert Hall, The Royal Manitoba Theatre Center, The Manitoba Museum, and the

Pantages Playhouse Theatre (“About The Exchange,” 2020). The area also hosts many events

and festivals such as Culture Days Manitoba, Nuit Blanche, Jazz Festival, First Fridays, and

Fringe Festival (“About The Exchange,” 2020). Art galleries within the area include Urban
05

55
Shaman, which is an Indigenous artist-run centre promoting Indigenous art, and Ace Art Inc.,

exhibiting contemporary art with a focus on emerging artists. Proximity to such galleries offers

an opportunity for youth outreach and inspiration for post secondary endeavours. The selected

site allows for immersion into a creative and diverse community related to arts and culture, also

located near the University of Winnipeg downtown campus allowing connection to individuals

relative in age.

5.2.1 Opportunities and Constraints of the Site

The criteria for the site selection were based on providing a connection to culture

and art through existing amenities located within the facilities proximity, as shown in

Figure 9. Also significant to the practicum project was access to the site, specifically for

adolescents, as represented in Figure 10.

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Figure 9: Map of Amenities in the Exchange

57
 ___

Figure 10: Surrounding Paths

58
 Opportunities to the Site

- Daytime public area for safety

- Regional uniqueness

- Near major bus routes for adolescents unable to drive

- Walkable + bikeable area

- Culturally rich area

- Connection to other art-related spaces + educational facilities for adolescents

- Parking for visitors + staff on North side of the building

Constraints to the Site

- Central location may be noisy for certain art processes

- Neighboring buildings obstruct views towards Red River

5.3 Building Selection

The building selected for the project, previously known as the Galpern Building, is

located at the intersection of McDermot Avenue and Rorie Street. The six-story building reflects

a Chicago School architectural style seen in Figure 11 (“Galpern Building,” n.d.). This style was

the result of shifting away from Romanesque-influenced style, becoming more restrained and

known as commercial architecture (“Galpern Building,” n.d.). Features reflective of the Chicago

School style include its classical detailing, rich materials, deep rectangular form, symmetrical

flat front façade, flat roof, and rectangular openings (“Galpern Building,” n.d.). Its tall profile

stands out next to its neighbors, creating a visual anchor contrasting its surroundings.

Constructed in 1906 by architect John H.G. Russell, the building intention was to be a

simple functional warehouse for James Porter and Company, a wholesale firm selling china and

59
Figure 11: Galpern Building South East Façade Figure 12: Galpern Building North Façade

ceramics to retailers across the prairies (“165 McDermot,” 1985). Historically connecting to the

idea of making, the solid brick warehouse accommodated areas for showroom, offices, storage,

and services. During this time the company was the first of its size to cater exclusively to this

market in Winnipeg (“165 McDermot,” 1985). Later the building housed Galpern Candy

Company, who’s logo is still recognizable on the North building façade seen in Figure 12,

selling fine candies and chocolates (“165 McDermot,” 1985). Both businesses were local,

representing an era when small local companies held a strong position in the economy of the

prairies (“165 McDermot,” 1985). The building is historically related to the practicum project in

its programming as a building who housed numerous hand crafted products, connecting to values

of craftmanship and the art of making.

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 Located on the East side of Main Street, a close connection to the Red River and green

space along the river is maintained. The building is not visible from Main Street, providing a

sense of privacy for those participating in art sessions and a quieter atmosphere than buildings

closer to Winnipeg’s main intersection. Located on the street corner, there are large windows

detailed with limestone at street level on three sides of the building, allowing natural light into

the main floor and creating a close visual connection to those inside. Winnipeg’s only

therapeutic arts training center in central Canada, the Wheat Institute, is located down the street

at 70 Arthur Street (“Wheat,” n.d.). This connects Make It with a near by organization consisting

of art studio space and individuals training to teach therapeutic art practices and gaining

diplomas in expressive arts or art therapy.

Designated as a Winnipeg Landmark Heritage Structure, the building is classified as a

Grade III building regarded for special architectural or historical interest (“List of Historical

Resources,” 2017). Heritage value is defined as the aesthetic, historic, scientific, cultural, social,

or spiritual importance or significance for past, present, and future generations (“Standards and

Guidelines,” 2010, p. 5). The Grade III objectives for building conservation which were

considered in the design proposal include (“List of Historical Resources,” 2017):

1. Prevent demolition, removal, alteration or repair of the building, erection or structure

unless and until shown to be necessary to the satisfaction of the Designated Committee in

cases of removal, alteration, or repair and Council in the case of demolition.

2. Regulate any necessary demolition, removal, alteration or repair of the building, erection

or structure so as to preserve the special architectural or historical interest as far as

possible.

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 3. Record, or preserve where possible, components deemed to have special architectural or

historical interest prior to, or in the course of, any necessary demolition, removal,

alteration or repair.

Exterior components with special architectural and historical interest to be preserved

include the character defining elements of the Chicago School architectural style such as

materials, forms, and spatial configurations, maintaining the visual relationship to surrounding

designated heritage commercial sites (“Galpern Buildling,” n.d.). Natural local materials on the

exterior of the building such as limestone and course red brick provide inspiration to be carried

through to the interior. Further defining conservation, the action of rehabilitation will be

implemented as a process of continuing contemporary use of the historic building while

protecting its heritage value (“Standards and Guidelines”, 2010, p.17). Rehabilitation is

considered when (“Standards and Guidelines”, 2010, p.16):

1. Repair or replacement of deteriorated features is necessary

2. Alterations or additions to the historic place are planned for a new or continued use

3. Depiction during a particular period in its history is not appropriate

62
5.3.1 Opportunities and Constraints of the Building

The building location indicated in Figure 13 was based on preferred and required

criteria, to ensure a unique experience and space for accommodating the needs of

adolescents throughout the processes of handmaking.

Figure 13: McDermot Streep Map Context

Building Opportunities

- Located on street corner providing many windows

- Connection to ground level for outdoor showcasing and display

- South facing windows

- Walkable distance to Red River and green space

- Regional materiality

- Vertical space development

- Historical connection to making

- Not too vulnerable

- Back lane for delivery of supplies

- Parking on North side near staff entrance

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 Building Constraints

- Grade III heritage building objectives

- No window openings on the West side

5.4 Building Analysis

Based on the site and building conditions, and those presented through theories explored

in the literature review, the practicum project was located at 165 McDermot Avenue. As a

designated historic site, exterior architectural elements such as window openings and original

building details were upheld in the final design. This contributed to maintaining the buildings

sense of character and its connection to the history of making, promoting opportunity for art

Figure 14: Interior Characteristics

64
creation. Prominent interior character defining details include South facing windows which

direct light longitudinally through the building, wood beams, aprons, and sills, and exposed light

coloured brick shown in Figure 14. These features were maintained and accentuated in the final

design, as they inspired and guided the material and finish selections while embodying tactile

qualities. The symmetrical proportions of the building and their manifestation inside informed

the design by providing a grid for spatial planning and directed the overall architectural

language. Together the site and building analysis conceptually represented in Figure 15 inspired

the direction of the interior aesthetic, connecting users to the culturally rich heritage of the

stimulating surrounding area. An ease of transition into the space is maintained to provide a

sense of consistency for developing adolescents and furthering feelings of safety. Users will be

connected to the positive experiences of historic handmaking and unique architectural elements

representative of the art and culture prevalent in the Exchange District of Winnipeg.

Figure 15: Site and Building Analysis

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66
Chapter 6: Design Program

6.1 Client Profile

The hypothetically proposed client is the St. Norbert Art Centre, a non-for-profit

organization focused on building community through cultural, environmental, and spiritual

preservation of its historic site, a Trappist Monastery (“About Us”, 2014). The client houses art

therapy and expressive arts diplomas and certificate programs by Wheat Institute, the only

therapeutic arts training program in the central Canadian prairies (“Wheat,” n.d.). The

makerspace will be funded through donations from the St. Norbert community and those

surrounding. Revenue will be generated through group class tuition or workshop-based tuition,

and retail sales. A portion of costs will be reliant on independent and corporate donations. For

further funding, communal spaces will be available for rent by the surrounding community for

special events.

6.2 User Profile

The user profiles provide a list of the primary, secondary and tertiary users at Make It.

Each profile details the hypothetical needs of the users that were considered and addressed in the

design. Adolescents aged 10-18 are the primary users, and each design consideration pertains to

these developing individuals. Noting the multicultural abundance of this primary user,

specifically Winnipeg’s rapidly growing urban Indigenous population, the design aims to

integrate all cultural, spiritual, religious views, genders, and races, ensuring all users are accepted

within the space. Cultural preservation of the site through cultural-based learning and education

will be encouraged through programs led by Indigenous staff members and volunteers. These

role models can help to build authentic relationships, culturally relevant programming, and
06

67
holistic approaches to maintain the richness of the surrounding community’s ancestry (Axworthy

et al., 2016). Users were also based on the art making activities offered and staff required to

supervise or maintain these which include drawing, painting, textiles, ceramics, and

woodworking. As outlined in Chapter 2.0 Adolescent Development & Well-Being, guidance from

trusted adults is important for adolescent development, with resources providing safety and

stability to ensure strong positive emotional relationships are built.

Primary Users:

- Adolescents (Age 10-18)

- Class Instructors

- Volunteers

- Interns from Manitoban Universities

- Administration Staff

- Facility Director

Secondary Users:

- Visitors

- Retail Staff

- Cafe Staff

- Cleaning Staff

Tertiary Users:

- Delivery Workers

- Custodial Staff

- Maintenance Staff

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6.2.1 Primary User’s Activities and Needs

Table 4: Primary Users Behavioral Needs

Users Quantity Activities Frequency

Adolescents (Age 10-18) ῀ 180 _ Attend classes, social activities _ Daily
_ Participate in making activities, utilize open studios _ Mon.–Fri. 3:30 – 21:00
_ Land-based art education Sat. 11:00 – 21:00

Instructors 5 (on staff as scheduled) _ Teach group classes, plan programs, offer private _ Daily scheduled classes
sessions, supervise adolescent making activities during drop-in hours
_ Offer making support and build relationships _ Daily scheduled classes
_ Expertise (have a bachelor’s degree or diploma during administrative
from an accredited institution in related fields) hours
_ Participate in mentorship between Indigenous +
non-Indigenous colleagues

Volunteers 6 _ Assist classes, build connections, supervise _ Daily, full time

_ Offer making support and build relationships _ Mon.–Fri. 3:30 – 21:00
Interns 3 _ Supervise adolescent making activities Sat. 11:00 – 21:00

Administration Staff 2 _ Computer based workplace tasks _ Daily, full time

_ Check-in adolescents _ Mon.–Fri. 8:30 – 17:00
_ Organize registration, group bookings / events Sat. 11:00 – 17:00

Facility Director 1 _ Computer based workplace tasks _ Daily, full time

_ Oversee management of all programs _ Mon.–Fri. 3:30 – 21:00
Sat. 11:00 – 17:00

Table 5: Primary Users Psychological Needs

Users Values Aesthetic Preferences Privacy Needs

Adolescents (Age 10-18) _ Receiving respect _ Views to exterior _ Personal belonging storage
_ Feeling valued _ Personalization / control _ Semi-private options for creativity
_ Honesty _ Non-institutional _ Public space for group interactions
_ Free expression _ Gender-neutral

Instructors _ Sensitivity _ Focused environment _ Personal belonging storage

_ Accommodating _ Organized and clean _ Private areas for private sessions
_ Respect _ Gender-neutral _ Semi-private space for group classes

Volunteers _ Mentorship _ Sight lines into making spaces _ Personal belonging storage
_ Approachability _ Collaborative _ Semi-private space for building
_ Community focus _ Gender-neutral safe/stable relationships

Administration Staff _ Inspiring _ Focused environment _ Personal belonging storage

_ Adolescent focus _ Organized and clean _ Private space for focused work

Facility Director _ Dedication _ Sight lines to making spaces _ Personal + confidential storage
_ Approachability _ Centrally located _ Access to all spaces
_ Communication _ Private space for focused work

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Table 6: Primary Users Spatial Needs

Users Visual Cognitive Mobility

Adolescents (Age 10-18) _ Views to exterior _ Stimulating and inspirational _ Freedom to move between activities
_ Natural light _ Sense of belonging / identity _ Non-obstructed
_ Views to making areas _ Balance of quiet / loud areas _ Clear wayfinding
_ Non-isolated _ Creative learning space _ Safe and secure

Instructors _ Well-lit workspace _ Inspirational space _ Mobility around teaching surfaces

_ Views within class _ Efficient work environment _ Flexible movement of adolescents
spaces _ Controlled acoustics _ Reconfigurable space

Volunteers _ Views to making areas _ Motivating space _ Adaptability, flexibility

Administration Staff _ Well-lit workspace _ Efficiency, organization _ Area to move at work surface
_ Access to surveillance _ Controlled acoustics

Facility Director _ Well-lit workspace _ Efficiency, organization _ Adaptability, flexibility

_ Controlled acoustics

6.3 Spatial Requirements and Adjacencies

The following list provides an overview of the spaces provided at Make It, with

desired direct and indirect adjacencies organized in Figure 16:

Public Spaces:
- Entry

- Lobby

- Communal / Flexible Use

- Retail

- Public Washroom

- Exhibition Space

- Cafe Lounge

- Phone Area

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Adolescent Centered Spaces:
- Ceramic Area

- Clay / Glaze Room

- Kiln Room

- Painting Area

- Drawing Area

- Woodworking Area

- Textiles Area

- Multimedia Studio

- Micro-Studios

- Collage

- Works in progress

Staff Spaces:
- Staff Office

- Staff Area

- Meeting Room

- Staff Washroom

- Staff Shower

Storage and Maintenance:

- Storage

- Janitor Closet

- Mechanical Room

- Electrical Room

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 Direct Adjacency

Indirect Adjacency

Figure 16: Adjacency Matrix

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6.4 Program

Table 7: Function / Furniture, Fixtures, and Equipment / Atmospheric Qualities

Public Spaces:

Space Function FF&E Atmospheric Qualities Square Footage

Entry _ Transition from Open space for circulation Natural transition 150 sq. ft.
interior to exterior Durable, easy cleanability

Lobby _ Main greeting area Check-in technology Welcoming, accessible 200 sq. ft.
to receive and Storage for daily visitors Durable, easy cleanability
direct users Organized

Communal / _ Event space Open reconfigurable Communal 560 sq. ft.

Flexible Use _ Group meeting or individual/group furniture Openness
lecture space Tables Durable, easy cleanability
Seating surfaces Bright and bold
Presentation opportunities Social

Outdoor Space _ Outdoor exhibition Outdoor secured displays Community inclusion 500 sq. ft.
Well maintained
Bright and inspiring

Retail _ Display art for sale Interact machine Customizable lighting options 200 sq. ft.
Transaction work surface Sit lines maintained throughout
Wrapping/bagging material Eclectic backdrop for art
Wall hanging systems Neutral coloured display units
Open shelving Organized
Display units both built-in Durable, easy cleanability
and reconfigurable Easy to navigate

Public W/C _ Universal gender Low flushing toilet Accessible 60 sq. ft. per
inclusive and Mirror Anti-bacterial
accessible w/c Touch free soap dispenser Non-porous (240 x 4 floors +
Hand dryer Durable, easy cleanability 120 x 1 floor =
Sink system with faucet Mildew resistant 1,080 total)
Grab bars Slip resistant

Exhibition Space _ Indoor Exhibition Wall hanging systems Customizable lighting options 600 sq. ft.
Display units reconfigurable Eclectic backdrop for art
Plinths Neutral coloured plinths
Mobile display cabinets Organized

Café Lounge _ Guest/community Open reconfigurable Customizable lighting options 1,700 sq. ft.
area for relaxation individual/group furniture Welcoming, accessible
and connection Eating surfaces Warm materials
_ Baked goods and Soft seating options Durable, easy cleanability
non-alcoholic Sink, refrigerator, stovetop Social and casual
drinks for Microwave (2) Youthful
purchase Baked goods display Focal point
_ Area for home- Interact machine Local materials/maker creations
made food to be Transaction surface
prepared Dry + refrigerated storage
Garbage disposal

Phone Area _ Area for private Sit-stand work surface Quiet, sound-proof 60 sq. ft.
calls Seating surface Semi-private

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Adolescent Centered Spaces:

Space Function FF&E Atmospheric Qualities Square Footage

Ceramic Area _ Hands-on teaching Open reconfigurable Well ventilated and lit 1000 sq. ft.
and making using individual/group work surfaces Openness, organized
ceramics Electric pottery wheel (6) Durable non-porous surfaces
Clay prep table Inspirational, youthful
Seating surfaces Freeing, expressive
Open shelving Non-hierarchical
Garbage disposal

Glaze / Clay Room _ Clay mixing Mixing equipment Well ventilated and lit 150 sq. ft.
_ Dry clay storage Scale, work surface Acoustic control
_ Glaze storage Closed shelving Durable non-porous surfaces
_ Chemical storage Lockable cabinets Slip resistant
Garbage disposal

Kiln Room _ Greenware firing Electric kiln 24” X 30” (3) Well ventilated and lit 160 sq. ft.
_ Storage for drying Open shelving Acoustic control
Durable non-porous surfaces
Heat resistant

Painting Area _ Hands-on teaching Open reconfigurable Well ventilated 700 sq. ft.
and making using individual/group work surfaces Natural light
paint materials Easels of varying size (6) Openness, organized
Painting ledge Non-porous surfaces
Sink, cleaning area Inspirational, youthful
Seating surfaces Non-hierarchical
Closed material storage
Pin-up opportunities
Garbage disposal

Drawing Area _ Hands-on teaching Reconfigurable individual / Well ventilated 700 sq. ft.
and making using group work surfaces (18) Natural light
drawing materials Light table Openness, organized
Drawing ledge Non-porous surfaces
Seating surfaces Inspirational, youthful
Closed material storage Non-hierarchical
Pin-up opportunities
Garbage disposal

Woodworking Area _ Hands-on teaching Open reconfigurable Well ventilated and lit 1000 sq. ft.
and making using individual/group work surfaces Organized
woodworking (4) Acoustic control
Hand-held etching tools Durable surfaces
Seating surfaces Inspirational, youthful
Closed material storage Non-hierarchical
Garbage disposal

Textiles Area _ Hands-on teaching Large expanses of open Well ventilated 700 sq. ft.
and making using reconfigurable individual/group Natural light
textiles work surfaces Openness, organized
Sewing machine (4) Inspirational, youthful
Mannequins Freeing, expressive
Table loom (3) Non-hierarchical
Seating surfaces
Closed material storage
Pin-up opportunities
Garbage disposal

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 Multimedia Studio _ Group making Large expanses of open Focused 1000 sq. ft.
using various reconfigurable individual/group Inspirational
media types work surfaces Structured
Seating surfaces Reflective
Closed material storage
Large weaving table (2)
Pin-up opportunities
Garbage disposal

Micro-Studios _ Individual making Individual stationary work Intimate 1000 sq. ft.
using various surfaces Customizable
media types Seating surfaces Semi-private
Pin-up opportunities Natural light

Collage _ Collage/mask Stationary work surfaces Intimate 200 sq. ft.

making Seating surfaces Semi-private
Closed material storage Reflective

Works in progress _ Communal display Reconfigurable display Public, transparent 160 sq. ft.
or drying space Pin-up opportunities Encouraging and supportive
Inspirational

Staff Spaces:

Space Function FF&E Atmospheric Qualities Square Footage

Staff Office _ Shared working Work surfaces (3) Quietness 450 sq. ft.
space for admin. Ergonomic chair (3) Indirect light
staff and facility Closed storage for records Acoustic control
director Lockable personal storage Non-hierarchical

Staff Area _ Space for staff and Tables Relaxing, comfortable 200 sq. ft.
volunteers to Soft seating Warm lighting
recuperate Secure
Acoustic control

Staff Shower _ Universal gender Accessible shower Secure, private 80 sq. ft.
inclusive and Shower seat Acoustic control
accessible shower Mirror Focused
room for Grab bars
staff/volunteers

Staff W/C _ Universal gender Low flushing toilet Accessible 60 sq. ft.
inclusive and Mirror Anti-bacterial
accessible w/c for Touch free soap dispenser Non-porous
staff/volunteers Hand dryer Durable, easy cleanability
Sink system with faucet Mildew resistant
Grab bars Slip resistant

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Storage and Maintenance:

Space Function FF&E Atmospheric Qualities Square Footage

Storage Room _ Store materials Open shelving Private, clean, organized, secure 1255 sq. ft.

Janitor Closet _ Maintenance area Mop sink, floor drain Durable, easy cleanability 75 sq. ft.

Mechanical Room _ Service area/storage Industrial equipment N.I.C. Well lit, out of public site 500 sq. ft.

Electrical Room _ Service area/storage Industrial equipment N.I.C. Well lit, out of public site 500 sq. ft.

Total square footage: [(6 floors)(2,400) = 14, 440] + circulation = 21,600 sq. ft.

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Figure 17: Zoning Diagram

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78
Chapter 7: Design Proposal

7.1 Introduction

The design chapter details the adolescent centered makerspace design, Make It. The

purpose of Make It was to support adolescent development and well-being though hands-on

artful making. The advancement of adolescent well-being was achieved through the

programming of activities related to handmade art processes, supporting holistic development.

The scope of the practicum included the interior design of six of the seven floors in the building

selected.

The following design was based on analysis of the previous chapters, and information

gathered on the overall topic of adolescent development and well-being, specific to Winnipeg’s

demographic. Design elements which informed the design are discussed, including concepts

which were incorporated into the design, and the development of the conceptual design

language. Inspiration for the design language derived from the linear aesthetic of the existing

building. Structural architectural elements lay points of reference and predictability for which

each making activity can freely take place, representing security and stability, while allowing

self-exploration and experimentation within these set areas. Interior expressions are drawn from

the existing building and extracted into various locations, influencing space planning and room

definition.

7.2 Spatial Configuration

The planning approach derived from the Expressive Therapies Continuum theory

discussed in Chapter 3.0 Literature Review. Additionally, each floor conceptually represents the

phases of creative making offered by Moon (2012), which include Resistance, Imagining,
07

79
Immersion, and Letting Go. These phases evolved into the following words, to conceptually

direct the atmosphere and nature of each floor, shown in Figure 18:

Level 0: Prepare

Level 1: Contemplate

Level 2: Imagine

Level 3: Collaborate

Level 4: Immerse

Level 5: Inspire

Figure 18: Concept Section Perspective

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 This approach influenced the hand making activities that would be accommodated on

Level 3, Level 4, and Level 5. Level 3 being the imaginative, or kinesthetic and sensory floor,

focuses on semi-private activities which are often directed by an instructor. Atmospheric

qualities of this phase conceptually include sensation, movement, tactility, action, freedom and

expression. Activities include free scribbling, drawing, sculpting, weaving, or sewing. Level 4 is

the immersive, or perceptual and affective floor, focusing on more private individual activities

where an instructor may move freely around the room for guidance as needed. Boundary, form,

accuracy, representation, and focus are the conceptual atmospheric qualities of this level.

Activities include painting, line drawing, tracing, woodblock printmaking, and wood etching.

The last floor for hand making activities is the most private. Level 5 provides an opportunity for

adolescent to inspire their peers, representing the cognitive or symbolic floor. Activities such as

collaging, mask making, and abstract painting are facilitated. Level 5 embodies stillness,

reflection, abstraction, thought, and initiative.

Another important driving factor in the spatial planning was the inclusion of a ceiling

feature replicated on each floor. This concept derived from the precedent study, which noted that

familiar details of reference are beneficial for experimentation. The ceiling feature becomes a

detail of reference on each floor, and upon arrival users are offered an additional point of

reference at eye level, introducing them to the nature of activities on that specific floor. The

custom details at eye level, which coincide with the conceptual name of each floor, include:

Level 1: Displays

Level 2: Soft Seating

Level 3: Works in Progress

Level 4: Pin-Ups

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 Level 5: Storage / Open Materials

7.3 Design Development

The final design of Make It is illustrated in a series of floor plans, reflected ceiling plans,

building sections, exterior elevations, interior elevations, rendered perspectives, and interior

details. As previously discussed, the major concepts and design process was an outcome of

numerous interior design and theoretical ideas explored.

Figure 19: Site Plan

Scale: Not to Scale

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 Approach

Figure 19 illustrates Make Its access and relation to the surrounding community in

Winnipeg’s exchange. It was important for the project to utilise the buildings opportunities

previously noted, such as the south facing windows and connection to ground level for

showcasing and display. The connection to the community, inspired by the precedent study,

translated into maintaining and accentuating the window displays and raised stone ledge along

the East elevation. Showcasing their creations, adolescents are offered a platform to create a

strengthened sense of identity and worth in sharing their achievements. Figure 23 illustrates the

view into Make Its first floor from the stone walkway during evening hours.

Figure 20: Exterior South Elevation | Scale: Not to Scale

Elevations adapted from 5468796 Architecture, 2014.

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Figure 21: Exterior North Elevation | Scale: Not to Scale

Figure 22: Exterior East Elevation | Scale: Not to Scale

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Figure 23: Display Exterior Perspective

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Figure 24: Rendered Floor Plan – Level 1

Scale: Not to Scale

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Figure 25: Communal Space Perspective – Level 1

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Figure 26: Elevation A: Communal Space East Elevation

Scale: Not to Scale

Figure 27: Elevation B: Communal Space North Elevation

Scale: Not to Scale

As previously noted, an ease of transition into Make It was important as the first stage of

creative making is often resistance. Level 1 offers an opportunity for adolescents to contemplate

as they are introduced to the building and nature of activities, through the artwork on display.

The lobby allows seating for adolescents to wait for classes or public transit. Exposed material

selections and space planning offer a sense of consistency from the exterior for developing

adolescents, while feelings of safety through authenticity are strengthened. The exhibition of

moveable plinths along the East elevation provides a direct connection to the public. The ceiling

feature allows artwork to be hung above eye level, providing a less intimidating opportunity to

display. The repetitive aesthetic works to illuminate hierarchy between pieces and contribute to

the safe nature of displaying creations. Artwork hung in one interconnected line also visually and

metaphorically bridges a community of Indigenous and non-Indigenous makers.

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Figure 28: Rendered Floor Plan – Level 2

Scale: Not to Scale

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Figure 29: Elevation C: Meeting West Elevation

Scale: Not to Scale

Level 2 features vibrant colours, derived from the site analysis, to stimulate and inspire.

There is a subtle connection to the first floor through glass floor features, building on the concept

of trust encouraged through various viewpoints. The spaces provided allow for building personal

connections and encourages adolescents to imagine their contribution and purpose within a larger

community. The openness allows for trusted relationships to flourish and encourages staff

members to connect to the users through a communal eating space named The Canteen. Here all

users are welcome to purchase small snack items and beverages or prepare their own packed

food. This area provides a point of reference for individuals new to the space, allowing them to

be greeted by staff or volunteers and have a place to sit upon entry, before gaining comfort and

confidence to move throughout the space. As a shared space for both adolescents and staff or

volunteers, The Canteen encourages a non-hierarchical nature. The soft seating area is located at

the most desirable corner of the building with views to both exterior streets. Various types of

seating arrangements allow for informal meetings and user choice in seating selections.

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Figure 30: The Canteen Perspective – Level 2

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Figure 31: Rendered Floor Plan – Level 3

Scale: Not to Scale

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Figure 32: Making Space Perspective – Level 3

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Figure 33: Elevation D: Making Space West Elevation

Scale: Not to Scale

The third floor space planning was centered around the concept of collaboration in

making with semi-private activities often directed by an instructor. Upon entry users are greeted

by an interchangeable storage system with works of progress displayed to encourage identity

exploration, bringing together making activities on this floor. Flexibility accommodates various

groups, personal desired visual adjacencies, and teaching styles. The East elevation features an

expressive art wall where adolescents can freely draw or paint directly on the surface. The

ceiling allows interchangeable canvas display above the storage system or hung and slid

throughout the room, shown in Figure 32. Community style tables encourage peer collaboration

and allow an instructor to teach groups if required. The textiles area features moveable millwork

units above a custom carpet printed with Indigenous art for increased acoustic control. The

moveable material storage increases user interaction, tactility, and control in selecting their

making supplies, shown in Figure 34. The ceramic area features sliding doors for acoustic

control and a custom ceiling feature showcasing hanging ceramic creations, shown in Figure 35.

Exploration is supported through moveable tables, stackable chairs, and open shelving.

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Figure 34: Textiles Perspective – Level 3

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Figure 35: Ceramic Area Perspective – Level 3

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Figure 36: Rendered Floor Plan – Level 4

Scale: Not to Scale

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Figure 37: Painting Perspective – Level 4

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Figure 38: Elevation E: Drawing Area East Elevation

Scale: Not to Scale

Level 4 encourages individual development through increased spatial boundaries and

individual seating. Guidance is provided upon request as adolescents make in an immersive

environment with increased personal control of activity choice. The painting area is located near

the most natural light and encourages freedom through moveable furniture and various locations

for painting to occur. The drawing area features sit-stand desks with personal storage below for

self-directed learning, faced inward to heighten the immersive atmosphere. Peer interaction is

prevalent through the studio style nature of the space and illuminates feelings of isolation. Semi-

private partitions allow pin-ups and divide the space while maintaining natural light through the

length of the building, shown in Figure 37. As shown in Figure 38, the walls feature a similar

metal mesh for artwork and drawings to be easily attached and interchanged. The workshop

embodies the immersive concept of this floor through a feature wood block ceiling. The

heaviness grounds the room and inspires through a reflection of material, while providing

acoustic control. Sensory tactile qualities are maintained through the use of live edges and

natural materials. Again, exploration is supported through moveable tables, stackable chairs, and

open shelving, as individuals visually connect with their options of materials and tools.

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Figure 39: Workshop Perspective – Level 4

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Figure 40: Rendered Floor Plan – Level 5

Scale: Not to Scale

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Figure 41: Multimedia Studios Perspective – Level 5

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 Level 5 encourages symbolic information processing though non-verbal sharing of

thoughts and feelings. This floor is the most private in nature and reflects the cognitive Letting

Go phase of creative making (Moon, 2012). Located on the top floor it allows a quietness and

decreased level of distraction. Features include rentable micro-studios for late adolescents, more

exclusive making tools such as large looms, moveable soft seating, and creations hung

throughout the ceiling. Customization was important for users to create their desired making

space as they build a sense of identity. This was provided through moveable wall partitions for

pin-ups and privacy, moveable millwork desks, and personally controlled pendant lights, shown

in Figure 41. The walls and ceilings feature a metal mesh similar to Level 4, for artwork,

drawings, collages, or masks to be easily attached and interchanged. The open display of making

provides inspiration to younger youth. As adolescents sit in the lounge areas they are immersed

by the surrounding display, representing the appreciation of peers and new perspectives.

Vertical Study

As you move through the building the programming on each floor becomes

quieter and more private, illustrated by the building sections. Figure 42 illustrates the features

upon entry of each floor as it cuts through each public pathway. Level 1 houses communal space

for all primary, secondary, and tertiary users. Level 2 also hosts communal space, and areas for

longer durations of habitation, with activities based on community building. This floor allows

large group meetings for community organizations or after hour events. Level 3 includes the

collaborative making processes, while more individual focused studios on Level 4 are quieter in

nature. Level 5 provides space for adolescents to disconnect from the adversity and difficulty

that may be associated with ground level.

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Figure 42: Section A: North-South Building Section

Scale: Not to Scale

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Figure 43: Section B: East-West Building Section

Scale: Not to Scale

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Figure 44: Axonometric Perspective

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Chapter 8: Conclusion

8.1 Summary

This practicum project utilized multiple approaches to understand adolescent

development and creative art making strategies for well-being. The resulting design highlights

creative art processing, influencing a Makerspace for adolescents. The design proposal

demonstrates how the development and well-being of adolescents can be supported within the

design of the built environment.

Research questions presented at the beginning of the practicum guided the research and

influenced design principles. Returning to these questions after the course of investigation, the

following conclusions were drawn:

1. What are the user needs of a makerspace, to support adolescent development and

well-being?

The user demographic was defined through an in-depth exploration of

adolescent development, relating their needs to those of a makerspace. Strategies for

creative art and an exploration of the philosophy and physical design of existing

makerspaces determined the making activities chosen for the practicum project. The

research indicated that the environmental design structure should be safe, open for

exploration and self-expression, have predictable points of reference, and focus on

making art while establishing relationships. The research also revealed that many user

needs were psychological in nature, such as building relationships, building

confidence, or increasing one’s sense of identity. This required a focus on the

practicum programming including hypothetical staff qualifications, cultural-based

08

109
 Indigenous making techniques, and connections to surrounding community programs.

Acknowledging the prominent Indigenous demographic, it was significant to

emphasize the importance of Indigenous and non-Indigenous leaders working

together to honour the importance of Indigenous wisdom and worldviews within the

makerspace. The experience of Indigenous mentors, as well as Indigenous centered

supervision and services, was highlighted as a user need.

2. What strategies and narratives from creative making can inform the design of a space

that supports adolescent development and well-being?

Deriving from the field of art therapy, the narrative of Expressive Therapies

Continuum most heavily informed the design. This theory suggests various stages of

art processing, which aided in understanding how adolescents perceive art making,

creating guidelines for the final design. As identity is a key component to the

development of adolescents, user control and choice in the environment was

important to consider. In addition, conversations with professional art therapists and

adolescent case studies provided various supplementary narratives to inform the

design.

3. How can the synthesis of research on adolescent development, creative art making

strategies, and current makerspaces conceptually translate into the three-dimensional

design of an art based adolescent makerspace?

As previously noted, adolescent development strongly relies on the

opportunity and ability of an individual to create a personalized sense of identity and

creative art making strategies offer this exploration. While contemporary

makerspaces emphasize technological processes and programs, the practicum project

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 focuses on the intrinsic desire for handmaking. Conceptually, the synthesis of art

processing and a search for identity informed the three-dimensional space. Although

this synthesis was the guiding factor, the environment was heavily impacted by the

existing structure of the building, including the site, materials, and limitations.

8.2 Future Recommendations

The information presented in this practicum continues to evolve and over time will

become outdated. Design recommendations may be updated and expanded on as new research is

conducted in numerous areas, including adolescent development, site statistics, and art as

therapy.

A prominent challenge throughout the practicum project was the focus on well-being as

opposed to preventative clinical or medically therapeutic environments. Many existing art

making environments are preventative in nature, offering support for individuals identified as

mentally unstable or requiring assistance. The research emphasized art making within hospitals,

schools, and libraries, while the practicum imposed a shifting focus to large scale self-directed

art making environments. The practicum focused on conceptually implementing the idea of an

art therapy room into an entire makerspace, with holistic well-being at the core.

Another challenge was the difficulty finding makerspaces that were not technological in

nature. To overcome this challenge the scope of research was broadened to include various types

of learning spaces and studio environments. These findings were then applied to the maker

movement’s philosophies and character as a support for adolescent development. Makerspaces as

an emerging typology will require future research on adolescents who have used these

environments, to learn what strengths and weaknesses are facilitated.

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 Additionally, constant increase in technology will continually challenge the practicum’s

focus on handmaking and a return to human tactile artful desires. Although technological

advancement may provide improvements on features like security systems or lighting and

temperature controls, it conceptually contradicts focus on a handmade makerspace and would not

influence changing face-to-face adolescent check-in or the natural tactile materials and tools

located throughout the space. Overall, these challenges strengthened the modern theoretical

framework and inventiveness of the practicum project.

Limitations were present due to the scope and information available. Existing ceiling

plans for the building selected were unable to be obtained. This resulted in a ceiling design based

on approximate information and would have required consultation for the development of HVAC

systems to accommodate ventilation for pottery, woodworking, and painting. Due to the project

scope and timeline, the seventh floor of the selected building was left vacant. Upon further

design, this floor could house artist residents, large meeting space, or additional educational

studios.

Although the practicum did not focus on Indigenous decolonization, given the context of

the site, it was significant to acknowledge historic European colonization which has impacted

generations of Indigenous peoples. As an individual without Indigenous descent, the goal of the

practicum was to sensitively highlight historic inadequacies of the Canadian justice system on

Indigenous peoples and generations of trauma caused by extensive destructive events. The

practicum recognizes ongoing systems of abuse and separation of Indigenous people from their

family, culture, language, and practices. It aims to combat these realities through a makerspace

integrated with sensitivity and appreciation for the continued strength and resiliency of

Indigenous communities. Indigenous worldviews of relational, collectivist, and communal ideas

112
inspired the practicum project. Upon further research, new methodologies of art therapy based on

Indigenous philosophies of healing and land-based learning would be explored.

Returning to the project rationale, research began as an exploration into the significance

of art. Having chosen to pursue a career connected to artful creation, it was personally valuable

to research the beneficial importance and history of art. Encouraged by human desires to be

connected to art, further research led to art therapy and practical or research based ways in which

it benefits individuals and communities. A focus on an adolescent demographic was motivated

by personal experiences, having volunteered with outreach programs through various local inner-

city organizations. Growing to value this age group, the endeavours of this practicum project

have solidified the importance of art based activities for adolescent development and well-being,

while providing personal motivation for a tangible artfully driven profession.

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Garber, E., Hochtritt, L., & Sharma, M. (2019). Makers, crafters, educators: Working for cultural change. New

York, NY: Routledge.

Gomez-Lopez, M., Viejo, C., & Ortega-Ruiz, R. (2019). Psychological Well-Being During Adolescence: Stability

and Association With Romantic Relationships. Frontiers in Psychology, 10, 1-13.

https://doi.org/10.3389/fpsyg.2019.01772

Griffin, E. (2011). Making special: A review of the literature of the evolution of art. [Graduate Project, University of

Concordia]. Spectrum Research Repository.

Hein, G. E. (1991, October 15-22). Constructivist Learning Theory [Paper presentation]. Committee for Education

and Cultural Action Conference: The Museum and the Needs of People, Jerusalem, IL.

https://www.exploratorium.edu/education/ifi/constructivist-learning

Hinz, L. D. (2015). Expressive therapies continuum: Use and value demonstrated with case study. Canadian Art

Therapy Association Journal, 28, 43-50. http://dx.doi.org/10.1080/08322473.2015.1100581

Imagine Creative Manitoba! (2017). Government of Manitoba. Retrieved February 6, 2020,

from https://www.gov.mb.ca/imaginecreative/discussion-paper.html

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Lewis, C. C., & Simons, A. D. (2009). Adolescent depression. In R.E. Ingram (Ed.), The International Encyclopedia

of Depression. (pp. 4-8). New York, NY: Springer Publishing Company.

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Malchiodi, C. (2002). Handbook of art therapy. New York, NY: Guilford Press.

McCracken, M., Brandon, J., & Fedoruk, L. (2013) State of the Inner City: A Youth Lens on Poverty in Winnipeg

[PDF file]. Retrieved April 18, 2020, from

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e_of_inner_city_report_2013.pdf

Moon, B. (2012). The dynamics of art as therapy with adolescents. Springfield, IL: Charles C Thomas Publisher.

National Academics of Sciences, Engineering, and Medicine. (2019). The promise of adolescence: Realizing

opportunity for all youth. Washington, DC: The National Academics Press. https://doi.org/10.17226/25388

Nguyen, M. (2015). Art therapy: A review of methodology. Dubna Psychological Journal, (4), 29-43.

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Packard, S. (1980). The history of art therapy education. Art Education, 33(4), 10-13. Retrieved from

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Shanshan, Y. (2016). Makerspaces as learning spaces: An historical overview and literature review. [Graduate

Project, University of Alberta]. ERA: Education and Research Archive.

Snyder, B. (1997). Expressive art therapy techniques: Healing the soul through creativity. Journal of Humanistic

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Standards-and-Guidelines-2nd-Edition.pdf

Thorp, K. (2018). Making space for makerspace: How adding a makerspace can benefit art museum education

programming. [Master’s thesis, University of San Francisco]. USF Scholarship Repository.

Ültanır, E. (2012). An epistemological glance at the constructivist approach: Constructivist learning in Dewey,

Piaget, and Montessori. International Journal of Instruction, 5(2), 195-212.

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Vivian, J. (2018). Reconciliation: A contemplation of the role of art therapy. Canadian Art Therapy Association

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Weinberg, T. (2018). Gaining cultural competence through alliances in art therapy with indigenous clients.

Canadian Art Therapy Association Journal, 31(1), 14-22. https://doi.org/10.1080/08322473.2018.1453214

Well-being [Def. 1]. (n.d.) Merriam-Webster Online. Retrieved January 13, 2020, from https://www.merriam-

webster.com/dictionary/

Wheat: Art & expressive arts therapy training. (n.d.). Wheat Institute. Retrieved January 13, 2020, from

https://www.wheatinstitute.com/

165 McDermot Avenue Galpern Building [PDF file]. (1985). Retrieved February 6, 2020, from

https://www.winnipeg.ca/ppd/Documents/Heritage/ListHistoricalResources/McDermot-165-long.pdf

5468796 Architecture. (2014, October 20). East Elevation. (A2.2). [Architectural Drawing].

5468796 Architecture. (2014, October 20). South Elevation, North Elevation. (A2.1). [Architectural Drawing].

118
119
Appendix A: Technical Drawings

A.1 Floor Plans

Floor Plan – Level 1

Scale: Not to Scale

120
Floor Plan – Level 2

Scale: Not to Scale

121
Floor Plan – Level 3

Scale: Not to Scale

122
Floor Plan – Level 4

Scale: Not to Scale

123
Floor Plan – Level 5

Scale: Not to Scale

124
Floor Plan – Level 0

Scale: Not to Scale

125
A.2 Reflected Ceiling Plans

Reflected Ceiling Plan Legends

126
Reflected Ceiling Plan – Level 1

Scale: Not to Scale

127
Reflected Ceiling Plan – Level 2

Scale: Not to Scale

128
Reflected Ceiling Plan – Level 3

Scale: Not to Scale

129
Reflected Ceiling Plan – Level 4

Scale: Not to Scale

130
Reflected Ceiling Plan – Level 5

Scale: Not to Scale

131
A.3 Details

The following detail represents the moveable worktables located throughout Make It.

Detail 1.0 – 1: Plan | Scale: NTS

Detail 1.0 – 2: Elevation | Scale: NTS

132
Detail 1.0 – 3: Elevation

Scale: 1” = 1’ – 0”

133
Detail 1.0 – 4: Elevation

Scale: 1” = 1’ – 0”

134
Detail 1.0 – 5: Section

Scale: 1” = 1’ – 0”

135
Detail 1.0 – 6: Section

Scale: 1” = 1’ – 0”

136
Detail 1.0 – 7: Detail

Scale: 3” = 1’ – 0”

Detail 1.0 – 8: Detail

Scale: 3” = 1’ – 0”

137
The following detail represents the storage display system located on the third floor.

Detail 2.0 – 1: Elevation

Scale: NTS

Detail 2.0 – 2: Section

Scale: 1” = 1’ – 0”

138
The following detail represents the metal ceiling feature on the fifth floor.

Detail 3.0 – 1: Plan

Scale: NTS

Detail 3.0 – 2: Elevation

Scale: 1” = 1’ – 0”

139
3.0 – 3: Section

Scale: 1” = 1’ – 0”

Detail 3.0 – 4: Detail

Scale: 3” = 1’ – 0”

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141
Appendix B: Materials and Finishes

B.1 Material Schedule

Material Schedule

Abbreviation Material Distributor Product Name Code Colour

Flooring:

PCT-1 Porcelain Tile Julian Tile Studio 60 B36 White

PCT-2 Porcelain Tile Julian Tile Studio 60 B36 Graphite

PCT-3 Porcelain Tile Shaw Floors Resurgence Mix TG19D 00591 Opal

CONC-1 Concreate Sealant Sika Sika Film - Aggregate

LVT-1 Luxury Vinyl Tile Shaw Floors Reside 12 Mil 4094V 94740 Retreat

WP-1 Reclaimed WD Plank Local wood flooring. - - White Ash

CPT-1 Carpet Tile Shaw Contract Living Systems Source 5T315 05405 Oceans

CPT-2 Rug Haworth Bandas Space - Varies

CPT-3 Carpet Tile Shaw Contract Color Frame Tile 5T081 81211 Glowing

CPT-4 Carpet Tile Shaw Contract Color Frame Tile 5T081 81675 Mojo

CPT-5 Carpet Tile Shaw Contract Custom

Walls:

RB-1 Rubber Wall Base Johnsonite Traditional Vinyl 6” 440034063 Thunder

PT-1 Paint Pantone - 11-0602 Snow White

PT-2 Paint Pantone - 14-0952 Spicy Mustard

PT-3 Paint Pantone - 10 C Cool Gray

PT-4 Paint Pantone - 11-0601 Bright White

WT-1 Wall Tile – Mosaic Appiani Metallica MTLC412 Acciaio

WT-2 Wall Tile – Ceramic Ceratec Tile Habitat 25399 Cala Glacier

VWC-1 Vinyl Wall Covering Metro Wallcovering Custom Digital Print - -

VWC-2 Vinyl Wall Covering Metro Wallcovering Custom Digital Print - -

BR-1 Brick - Exist. interior brick. - -

BR-2 Brick I-XL Building Products To match exist. exterior. - -

BR-3 Brick I-XL Building Products Tundra Brick BRF-0001 Chalk Dust

Ceilings:

ACT-1 Acoustic Ceiling Tile Armstrong Ceiling Metalworks Tin 56005 Artisan Silver

ACT-2 Acoustic Ceiling Tile Armstrong Ceiling Calla Square Lay-In 2820 White

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Material Schedule Cont.

Abbreviation Material Distributor Product Name Code Colour

Millwork:

QZ-1 Quartz Cambria Quartz - - Charlestown

QZ-2 Quartz Cambria Quartz - - Smithfield

QZ-3 Quartz Caesarstone Metropolitan Collection 4033 Concrete

PLAM-1 Plastic Laminate Wilsonart High Pressure Laminate Y0431-60 Glacier Aspen

PLAM-2 Plastic Laminate Wilsonart High Pressure Laminate Y0274-22 Cornflower

Milk Paint

PLAM-3 Plastic Laminate Wilsonart High Pressure Laminate 4882-38 Oiled Soapstone

WD-1 Wood Stain - To match sample stain. - Walnut

WD-2 Wood Stain - To match sample stain. - Cherry

WD-3 Wood Stain - To match sample stain. - Light Oak

Furnishing:

FB-1 Fabric Blu Dot Thurmond - Charcoal

FB-2 Fabric Blu Dot Thurmond - Citron

FB-3 Fabric Blu Dot Thurmond - Wheat

FB-4 Fabric – Leather Maharam Tinge 700010-006 Lavish

FB-5 Fabric – Leather Maharam Tinge 700010-002 Clementine

FB-6 Fabric – Vinyl Maharam Lariat 440401-002 Russet

FB-7 Fabric Haworth Bandas Space ZN-A01 Dark Grey

FB-8 Fabric Haworth Bandas Space ZN-C03 Medium Orange

FB-9 Fabric Haworth Bandas Space ZN-C01 Green

FB-10 Fabric Maharam Buoyant 511280-006 Aquarium

FB-11 Fabric Maharam Etch 466502-002 Ochre

FB-12 Fabric Maharam Custom Digital Print - Multicolour

FB-13 Fabric Loom Décor Global Charming - Cinder

Other:

M-1 Metal Mesh GKD Metal Fabrics Metal Decorative Mesh Delta 16 Stainless Steel

M-2 Metal Frame - Custom - Iron

M-3 Metal Ceiling Feature - Custom - Bronze

143
B.2 FF&E Selections

144
B.3 Room Finish Schedule

Room Finish Schedule

No. Room Name Floor Finish Base Wall Finish Ceiling Finish

North East South West

001 EXIST. STORAGE CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

002 STAFF SHOWER PCT-2 PCT-2 PT-1 PT-1 WT-1 PT-1 GWB-PT-4

003 STAFF W/C PCT-2 PCT-2 PT-1 PT-1 PT-1 PT-1 GWB-PT-4

004 EXIST. LAUNDRY CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 GWB-PT-4

005 ARCHIVES CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

006 INVENTORY CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

007 ELEVATOR PCT-1 PCT-1 See manufacturer for finish options.

008 STAIR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

009 CORRIDOR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

010 EXIST. STORAGE CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

011 EXIST. ELECTRICAL CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

012 MECHANICAL CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

013 STORAGE CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

101 ENTRY PCT-1 PCT-1 PT-1 PT-1 BR-2 BR-2 GWB-PT-4

102 EXIT STAIR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

103 LOBBY CONC-1 RB-1 - - BR-2 PT-1 EXPOSED

104 RETAIL CONC-1 RB-1 PT-1 PCT-1 BR-2 PT-1 EXPOSED

105 JANITOR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 GWB-PT-4

106 W/C PCT-2 PCT-2 PT-1 PT-1 WT-2 PT-1 ACT-1

107 ELEVATOR PCT-1 PCT-1 See manufacturer for finish options.

108 STAIR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

109 EXHIBITION PCT-1 PCT-1 PT-1 - PT-1 PT-1 EXPOSED

110 COMMUNAL CONC-1 PCT-1 BR-1 PCT-1 - PT-1 M-3

111 OFFICE CPT-1 CPT-1 PT-1 PT-1 PT-1 PT-1 ACT-2

201 STORAGE CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 ACT-2

202 EXIT STAIR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

203 SOFT SEATING LVT-1 RB-1 - VWC-1 BR-2 - EXPOSED

204 THE CANTEEN CONC-1 RB-1 PT-1 VWC-1 - - M-3

205 JANITOR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 ACT-2

145
Room Finish Schedule Cont.

No. Room Name Floor Finish Base Wall Finish Ceiling Finish

North East South West

206 W/C CONC-1 PCT-2 PT-1 PT-1 PT-1 WT-2 ACT-1

207 ELEVATOR PCT-1 PCT-1 See manufacturer for finish options.

208 STAIR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

209 CORRIDOR PCT-1 PCT-1 PT-1 - PT-1 PT-1 GWB-PT-4

210 UTR PCT-2 PCT-2 PT-1 PT-1 PT-1 PT-1 ACT-1

211 STAFF W/C PCT-2 PCT-2 PT-1 PT-1 PT-1 PT-1 ACT-1

212 STAFF ROOM CPT-1 CPT-1 BR-1 PT-3 PT-1 WT-2 EXPOSED

213 MEETING CONC-1 RB-1 BR-2 VWC-1 PT-1 PT-2 EXPOSED

301 STORAGE CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 ACT-2

302 EXIT STAIR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

303 TEXTILES CPT-5 RB-1 PT-1 BR-2 / M-1 BR-2 PT-1 EXPOSED

304 MAKING CONC-1 RB-1 PT-3 BR-2 / M-1 - - EXPOSED

305 JANITOR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 ACT-2

306 W/C CONC-1 PCT-2 PT-1 PT-1 PT-1 WT-2 ACT-1

307 ELEVATOR PCT-1 PCT-1 See manufacturer for finish options.

308 STAIR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

309 CORRIDOR PCT-1 PCT-1 PT-1 - PT-1 PT-1 GWB-PT-4

310 UTR PCT-2 PCT-2 PT-1 PT-1 PT-1 PT-1 ACT-1

311 KILN ROOM CONC-1 RB-1 PT-1 PT-1 PT-1 BR-2 ACT-2

312 CLAY / GLAZE CONC-1 RB-1 PT-1 PT-1 PT-1 BR-2 ACT-2

313 CERAMIC AREA CONC-1 RB-1 BR-3 BR-2 PT-1 PT-1 EXPOSED

401 STORAGE CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 ACT-2

402 EXIT STAIR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

403 PAINTING AREA PCT-3 RB-1 PT-1 BR-2 / M-1 BR-2 PT-1 EXPOSED

404 DRAWING AREA CONC-1 RB-1 PT-3 BR-2 / M-1 - - EXPOSED

405 JANITOR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 ACT-2

406 W/C CONC-1 PCT-2 PT-1 PT-1 PT-1 WT-2 ACT-1

407 ELEVATOR PCT-1 PCT-1 See manufacturer for finish options.

408 STAIR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

409 CORRIDOR PCT-1 PCT-1 PT-1 - PT-1 PT-1 GWB-PT-4

410 UTR PCT-2 PCT-2 PT-1 PT-1 PT-1 PT-1 ACT-1

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Room Finish Schedule Cont.

No. Room Name Floor Finish Base Wall Finish Ceiling Finish

North East South West

411 STORAGE CONC-1 RB-1 PT-1 PT-1 PT-1 BR-2 ACT-2

412 WORKSHOP CONC-1 RB-1 BR-3 BR-2 PT-1 VWC-2 WD-1

501 STORAGE CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 ACT-2

502 EXIT STAIR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

503 W/C PCT-2 PCT-2 PT-1 PT-1 PT-1 WT-2 ACT-1

504 W/C PCT-2 PCT-2 PT-1 PT-1 PT-1 WT-2 ACT-1

505 JANITOR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 ACT-2

506 STUDIOS CONC-1 RB-1 BR-2 BR-2 / M-1 BR-2 PT-1 EXPOSED

507 ELEVATOR CONC-1 PCT-1 See manufacturer for finish options.

508 STAIR CONC-1 RB-1 PT-1 PT-1 PT-1 PT-1 EXPOSED

509 CORRIDOR PCT-1 PCT-1 PT-1 - PT-1 PT-1 GWB-PT-4

510 UTR PCT-2 PCT-2 PT-1 PT-1 PT-1 PT-1 ACT-1

511 STORAGE CONC-1 RB-1 PT-1 PT-1 PT-1 BR-2 ACT-2

512 COLLAGE CPT-1 CPT-1 PT-1 PT-1 PT-1 BR-2 ACT-1

147
Appendix C: Building Code Review

The following code review is excerpted from the 2015 National Building Code of Canada as it

pertains to the practicum project:

3.1 General

Major Occupancy: GROUP A DIVISION 2, UP TO 6 STOREY’S, ANY AREA, SPRINKLERED

Building Area: 21, 600

Building Height: 6 STOREY

Building Protection: SPRINKLERED

Building Facing: 3 STREETS

Building Construction: NON-COMBUSTIBLE CONSTRUCTION

Floor Assemblies: FIRE RESISTANCE RATING NOT LESS THAN 1 HR

Walls and Columns: FIRE RESISTANCE RATING NOT LESS THAN 1 HR

3.1.17.1 Occupant Load Determination:

Level 1 Total Occupant Load = 125 Persons (m2/person)

Level 2 Total Occupant Load = 181 Persons (m2/person)

Level 3 Total Occupant Load = 172 Persons (m2/person)

Level 4 Total Occupant Load = 140 Persons (m2/person)

Level 5 Total Occupant Load = 46 Persons (m2/person)

Level 0 Total Occupant Load = 6 Persons (m2/person)

3.2 Building Fire Safety

3.2.2.10 Streets:

Every building shall face a street located in conformance with the requirements of Articles 3.2.5.4 and

3.2.5.5. for access routes.

3.2.5.4 Access Routes:

A building which is more than 3 storeys in building height or more than 600 m2 in building area shall be

provided with access routes for fire department vehicles

148
 a) to the building face having a principal entrance, and

b) to each building face having access openings for firefighting as required by Articles 3.2.5.1 and 3.2.5.2.

3.2.5.5 Location of Access Routes:

Access routes required by Articles 3.2.5.4 shall be located so that the principal entrance and every access

opening required by Articles 3.2.5.1 and 3.2.5.2 are located not less than 3 m and not more than 15 m from

the closest portion of the access route required for fire department use, measured horizontally from the face

of the building.

3.4 Exits

3.4.2.1 Minimum Number of Exists:

Every floor area intended for occupancy shall be served by at least 2 exists as per 3.4.2.1(1).

3.4.2.3 Distance between Exists:

The least distance between two exists from a floor area shall be one half the maximum diagonal dimension

of the floor area, but need not be more than 9m for a floor area having a public corridor.

Max. diagonal distance = 31.7m

Min. distance between exists = 31.7m / 2 = 15.85m

3.4.2.5 Location of Exists:

If more than one exit is required from a floor area, the exists shall be located so that the travel distance to at

least one exist shall be not more than 30m in an assembly occupancy as per 3.4.2.5(f).

3.7 Health Requirements

3.7.2.2 Water Closets

The number of water closets required for assembly occupancies shall conform to Table 3.7.2.2. - A.

Level 1: 62 Males 2

62 Females 3 = 5 total

Level 2: 90 Males 2

90 Females 4 = 6 total

Level 3: 86 Males 2

86 Females 4 = 6 total

Level 4: 70 Males 2

149
 70 Females 3 = 5 total

Level 5: 23 Males 1

23 Females 1 = 2 total

Level 0: (4) Both sexes are permitted to be served by a single water closet if the occupant load in an

occupancy referred to in Sentence (6), (10), (12), (13), (14) or (16) is not more than 10.

3.7.2.3 Lavatories

At least one lavatory shall be provided in a room containing one or 2 water closets or urinals, and at least

one additional lavatory shall be provided for each additional 2 water closets or urinals.

3.8 Barrier Free Design

3.8.1.3 Barrier Free Path of Travel:

The unobstructed width of a barrier free path of travel shall be not less than 1100mm as per 3.8.1.3(1).

3.8.1.3 Barrier Free Path of Travel:

A washroom in a storey to which a barrier free path of travel is required shall be barrier free as per

3.8.2.3(1).

150