Abstract:
With an ever-growing ageing population, caused by longer-lifespans and the exponential growth in global populations, Alzheimer’s is steadfast in becoming the next upcoming social crisis. As medical intervention and prevention are looked upon to be its most conclusive solution, the medical-centric view has associatively dictated its definition. It being defined as a distinct set of clinical and pathological features, with the over-emphasis on the end-of-life symptoms, it has burdened unfair social stigmas and judgements on those who live with Alzheimer’s by those who are unfamiliar with the disease. With personal memories being widely regarded as the essence that demonstrates the continuity of one’s sense of existence, those who lose it are often treated as if they are unaware of their own sense of self; often being marginalised and denied of their own personhood. Not necessarily out of explicit hostile intent but rather through unintended acts of discrimination due to an often ungraspable sympathetic viewpoint. A problematic communication barrier that has also outreached into the culture of Alzheimer’s care, with institutions extensively being more reliant on medical protocols, resulting in the social aspects of care being overlooked. Understanding that the idealistic cultural shifts in care is predicated on public awareness and understanding, this design study looks, not into the immediate remedial qualities of architectural space of care, but more towards the potential of
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symbolic architectural representations hold in influencing broader social outlooks. Focusing on the cinematic emphasis on Bernard Tschumi’s Manhattan Transcripts, this thesis explores the idea of symbolically representing the journey in living with Alzheimer’s, Auckland city, and its underground subway network being used as a backdrop, to provide a surreally ideated embodied experience of the unfamiliar and uncanny. Attempting to bridge the gap of miscommunication between the general public and people living with Alzheimer’s both face.