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Aspect | Summary |
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Website load speed: | 3.9621s poor |
Number of (outgoing) links: | 240 |
HTML size: | 87.9 kilobytes Too heavy |
meta-tag bt:description | A Magazine |
meta-tag twitter:description | Visit the post for more. |
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meta-tag og:title | A Magazine |
meta-tag og:site_name | A Magazine |
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meta-tag bt:body | <p>By Rachel Ang</p> <p> Maggie Jencks Keswick</p> <p>Maggie’s Centres is an inspirational story of hope borne from the scourge of cancer. In 1995, founder and inspiration behind Maggie’s Centres, Maggie Keswick Jencks, described her seven-year experience of cancer diagnosis, treatment, remission and recurrence, in harrowing terms:</p> <p>“A diagnosis of cancer hits you like a punch in the stomach… No road. No compass. No map. No training… At one time, I could not sit, or lie, or stand, listen or speak coherently because my shattered mind vibrated so violently through my body I felt I might disintegrate.”</p> <p>During this time, she and her husband, architect and writer Charles Jencks, worked closely with her medical team, pioneering a new approach to cancer treatment. In order to not be defeated by cancer, they believed that patients must be empowered to be an informed participants in their medical treatment, stress-reducing strategies, psychological support, and the opportunity to meet others in similar circumstances in a relaxed domestic atmosphere.</p> <p> Maggies – Aberdeen</p> <p>Maggie was determined that people should not “lose the joy of living in the fear of dying”; and a core element of her approach was that environment was crucial – patients need welcoming, reassuring, permanent spaces which offer security comfort and fellowship, with thoughtful lighting and views out to sky, nature and birds.<br /> Creating these spaces was and remains at the heart of Maggie’s Centres.</p> <p>Maggie passed away in June 1995, but survived through her vision, which blossomed into a network of Centres across the UK, each supporting and empowering hundreds of thousands of cancer patients.</p> <p>From the outset, they have worked with innovative architects, who often offer their time for little or nothing. Each Centre is unique, and each embodies a combination of consistent elements: a talented architect, landscaped spaces, intimate domestic scale, open plan spaces which combine program, and the removal of boundaries between staff and visitors.</p> <p>For Maggie’s Centres, creating quality spaces is at the heart of their approach. These spaces shape their programs and interactions, they provide beauty, comfort and a permanent reassuring refuge for those at the most difficult period of their lives, at a time when so much is uncertain. Architecture provides so much more than aesthetics. It transforms the ordinary, it provides and symbolises hope, and here, it changes people’s lives.</p> <p> Maggies Edinburgh</p> <p>Edinburgh, Richard Murphy, 1996.</p> <p>Maggie’s Edinburgh, at the Western General Hospital, was the first of its kind, and begun during the last year of Maggie’s life. Maggie and Charles interviewed five architects for the Edinburgh Centre, but after some consideration rejected the large professional offices in favour of young Scottish architect, Richard Murphy.</p> <p>Murphy’s design converted the old stable block into a welcoming and fun exemplar of postmodern complexity and contradiction, skilfully weaving together traditional Scottish stone masonry with the quirky cool of 90s British architecture – glass bricks, exposed steel skeleton, bright colour palette. </p> <p>The Centre was designed without any corridors, to avoid an institutional feel. Murphy describes his concept as creating spaces within spaces: “Architecturally the idea was to slip a building within a building, lots of little niches and intimate spaces, all on the small side.”</p> <p>The gardens were designed for year-round colour by Emma Keswick, and feature a kinetic sculpture by American artist George Rickey. </p> <p>This became the precedent for several more buildings, the first one of five major styles that characterize the Centres. After completion, the Edinburgh Maggie’s Centre won the 1997 RIBA Award, the 1996 EAA Conservation Award, as well as the 1997 RIBA / Department of Health National Award.</p> <p> Maggies Dundee</p> <p>Dundee, Frank Gehry, 2003.</p> <p>A striking form, the Dundee Centre adjacent to Ninewells Hospital combines the local vernacular of Scottish ‘butt n’ ben’ dwellings with a distinct folded silver roof. It was the first completely new-build Maggie’s Centre. Gehry had been a close friend of Maggie Keswick Jencks and waived his architect’s fee; the project was realized through charitable donations and fundraising efforts of the local community.</p> <p>The Centre is sited on a hill overlooking the Tay estuary and landscape beyond. The project marries two key formal elements: the tower, inspired by lighthouses, and the asymmetrical folded roof, based on woman’s shawl in a Vermeer portrait he had viewed with Maggie. The roof construction, a latticework of Finnish pine and laminated plywood, is finished in stainless-steel shingles, with a soft matte finish, reflecting clouds drifting above. While the unique roof is space-agey, consisting of numerous complex curves, the interior is warm and traditional, with exposed timber structure the dominant element. An elevated timber deck projects out from the the central seating area, allowing visitors to enjoy the picturesque gardens and landscape beyond. </p> <p>The heart of the garden designed by Arabella Lennox-Boyd is a labyrinth based on one at Chartres Cathedral in France; it serves as a metaphor for life’s journey – you must find your own way through it. Also in the Centre grounds is a sculpture by acclaimed artist Antony Gormley, Another Time X.</p> <p> Maggies West London </p> <p>West London, Rogers Stirk Harbour and Partners, 2008</p> <p>This terracotta-hued refuge is sited adjacent to Charing Cross Hospital in Hammersmith. Architect Richard Rogers conceived of the centre as a heart nestled in the protection of four walls.</p> <p>The Centre consists of four elements: a protective perimetral wall; a central kitchen; annexes off the main space, forming meeting, sitting and consulting rooms; and a roof which ‘floats’ over the outer walls to let light in through clerestory windows. Small courtyards are formed between the building and the wall for quiet spaces. Operable walls allow the spaces to be used for anything from cosy private chats to active fitness classes, and allow visitors and activities to flow between spaces.</p> <p>The journey through the spaces was designed to remove the inhabitant from the overbearing influence of the hospital and main road, in what can be a dense, uninviting territory. The Centre is surrounded by and connected to the main hospital by a series of peaceful courtyard and garden spaces by Dan Pearson, designed to gently coax patients towards the Centre. </p> <p> Maggies Glasgow</p> <p>Glasgow, OMA, 2011.</p> <p>The Glasgow Centre, in Gartnaval, is an angular loop of spaces </p> |
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