Breaking Boundaries /

The Empowerment of Women

Through Architecture

A thesis submitted to the Graduate School of the University

of Cincinnati in partial fulfillment of the requirements for
the degree of

Master of Architecture

in the Department of Architecture of the College of

Design, Architecture, Art, and Planning

2015

by

Lauren Petrakis
B.S. University of Cincinnati, June 2011

Committee Chair: Michael McInturf, M.Arch.

Committee Member: Aarati Kanekar, Ph.D.
 My thesis demonstrates the opportunity for archi-
tecture to empower the social progress of women. This
theory is defined by identifying those spatial constructs
which foster sexism through social inhibitions, and using
this knowledge to create a new type of space that is whol-
ly different. There are three subcategories I have identi-
fied as contributing to my research; they are: boundaries,
space and violence, and domesticity.

My research is primarily composed of the experi-

ences of participants and administrators involved in do-
mestic violence intervention programs, designers who
have created women’s centers throughout the world, and
resources documenting the causes and treatment for those
affected by domestic abuse. This information has been
gathered through meetings and interviews with women’s
crisis organizations, finding successful precedents in simi-
lar typologies, and assimilating seemingly disparate sourc-
es to provide innovative approaches to this topic.

A new approach to designing rehabilitative spaces

for victims of domestic violence will focus on research in
boundaries (physical, emotional, societal); struggles with
identity; components of crisis housing and flexibility in
resident needs; maintaining security and safety of clients
and administrators; gendered spaces; and perhaps most
challenging, providing outreach and a sense of commu-
nity while simultaneously providing privacy during a very
intimate experience. An understanding of gendered spac-
es shapes our perception of gender, power, and identity
through control of our spaces.

Within the field of architecture, it may not be dis-

puted that women interact with space in a manner different
than men. I would like to further this concept by provid-
ing an example where this consideration is the means by
which the building is designed. Perhaps, instead of men
designing spaces for men; through this thesis I may pro-
pose an opportunity for men and women to design spaces
for men and women.

ABSTRACT

ii
iii
 If we are a product of our spatial experiences, then
it is not surprising that I have chosen to focus my thesis
research on the empowerment of women through archi-
tecture. Long before my academic pursuit of architecture,
though perhaps not preceding my fascination in construct-
ing with Lego building blocks, my life experiences were
shaping my future interests in the relationship of gender
and space. Unbeknownst to me at the time, every signif-
icant catalytic event in my life has provided me with the
opportunity to critically examine the role of gender, and
specifically the role of women, in our spatial interactions.
Few experiences have influenced my life as much
as the separation of my parents when I was four. As the
eldest child, I was suddenly propelled into the role of care-
taker for my younger sister and I; not that my parents were
absent, but rather both were consumed by the require-
ments of occupation and the responsibilities of being a sin-
gle head-of-household for a family. Growing up, I was able
to observe my parents each functioning independently
within their own spaces and assuming the roles typical as-
signed to both genders in a nuclear family. As time passed,
they both remarried and again, their roles within the home
transitioned. This comparison was reinforced by my tran-
sient sense of “home” which I never really defined as an
address, or specific house, but rather as a sense of place.
Home was defined differently at my father’s house rather
than at my mother’s house.
With a childhood that encouraged me to be in-
dependent, I applied for a scholarship to study abroad in
Thailand during high school. While living there, I enrolled
in classes at a local school and lived with a host family. To
my surprise, the classes at the school were often divided
by gender, which was not something common in public
schools within the United States. Upon graduation, all
men were expected to serve in the military while women
would assume post-secondary education or work in their
family’s business. There was little toleration for deviatio
iv
from these cultural expectations. The school I attended as-
signed me to classes that taught cooking, sewing, art, and
floral arranging. The students in these courses were most-
ly female, but there were also a few male homosexual and
transgender students. Perhaps the most impactful experi-
ence of Thai culture from my trip was that despite a strict,
militaristic educational environment - it was very open and
accepting in terms of sexuality. In this way the culture was
much more progressive than the high school culture of the
Midwestern United States.
When I returned from Thailand, I used my experi-
ences as inspiration for the artwork included in my senior
portfolio. Initially, I began my art by replicating the detail
of the ancient wats (Buddhist temples) I had visited during
my study abroad. While reviewing the hundreds of photos
I had taken during my trip, it became increasingly apparent
that there was a distinct difference in the gender of spac-
es within Thailand. The many images of wats showed only
male monks, which as a female visitor I was forbidden to
have contact with. The images of the school I attended
showed stark classrooms where the boys attended military
training and colorful classrooms where girls were taught
how to arrange flowers. My portfolio work transitioned
from a collection of architectural details into a body of fem-
inist work comprising of paintings exploring maternity and
printmaking demonstrating the role of women within the
workplace.
Whether at home, school, work, or in public spac-
es, each of these spaces affects our perception of the
empowerment or hindrance of gender. If we understand
these connections, then as architects, we are enabled to
create spaces that empower each gender. My intent is to
design a space that empowers the most victimized group
of women - a domestic violence shelter, in an effort to un-
derstand the capabilities of the empowerment of women
through architectural design and also to demonstrate the
distinct spatial needs of each gender group.
PREFACE
 Abstract .................................................................................. ii

Preface .................................................................................... iv

Table of Contents ................................................................... v

List of Figures ........................................................................ vii

Lines of Control ................................................................ 8 - 9

Architecture That Empowers ...................................... 10 - 19

Project Introduction ........................................................... 21

Client / Culture ............................................................ 22 - 25

Site / Context ............................................................... 26 - 31

Precedents / Types ..................................................... 32 - 37

Spaces / Experiences ................................................. 39 - 43

Conclusion ........................................................................... 45

Bibliography ................................................................. 46 - 47

TABLE OF CONTENTS

v
Figure 1.1 (Left) - Digital Collage of historic Covington
photographs showing domesticity, by author.
Figure 1.2 - Dadi, Iftikhar. Lines of Control: Partition as a
Productive Space. London: Green Cardamom; 2012.
Figure 2.1 - Photographer Unknown. October 2013. Equal
Rights Amendment. http://nomoremisandry.blogspot.
com/2013/10/the-feminist-movement-changes-name-of.
html
Figure 2.2 - Author Unknown. Photoshopped image of
Covergirl advertisement. Accessed September 2014.
http://www.latimes.com/fashion/alltherage/la-ar-cover-
girl-nfl-ads-protest-the-league-20140915-htmlstory.html
Figure 2.3 - Digital Collage showing the role of women
within public/private space, by author.
Figure 2.4 - CBF Women’s Health Centre. Photography by
FAREstudio. http://www.farestudio.it/cbf/
Figure 2.5 - CBF Women’s Health Centre. Photography by
FAREstudio. http://www.farestudio.it/cbf/
Figure 2.6 - CBF Women’s Health Centre. Photography by
FAREstudio. http://www.farestudio.it/cbf/
Figure 2.7 - Photography by Neri and Hu Design. http://
enthepractice.neriandhu.com
Figure 3.1 - Photographer unknown. “Domestic Violence
Victim”. Accessed November 1, 2014. http://imgkid.com/
domestic-violence-victims-women.shtml.
Figure 3.2 - Photograph by author.
Figure 3.3 - Image of Mount Athos monastary. Accessed
January 21, 2015. http://www.ouranoupoli.com/athos/
vii
Figure 3.4 - Image of Mount Athos monastary. Accessed
January 21, 2015. Nicolas Economou Photography. http://
whc.unesco.org/pg.cfm?cid=31&l=en&id_site=454&gal-
lery=1&&maxrows=30
Figure 4.1 - Rendered site plan and diagram by author.
Figure 4.2 - Historic Image of Covington. Accessed Online
from Kenton County Library.
Figure 4.3 - Development Opportunity Map. Accessed
April 3, 2014. http://www.gateway.kctcs.edu/About_Us/
Our_Campuses/Urban_Center.aspx.
Figure 4.4 - Rendered site plan diagram by author.
Figure 4.5 - Photograph collage by author.
Figure 4.6 - Photograph collage by author.
Figure 4.7 - Photograph collage by author.
Figure 5.1 - Image by Neri and Hu Design.
Figures 5.2 to 5.4 - Images by Pwferretto.
Figures 5.5 to 5.7 - Images by Robert Maschke Architects.
Figure 6.1 - Program diagram by author.
Figure 6.2 - Spatial diagrams by author. Images (Left to
right): Author Unknown, PWFERRETTO, Neri and Hu, Neri
and Hu, PWFERRETTO.
LIST OF FIGURES
Figure 1.2 This image shows a still from
Surekah’s video of an ant trapped within
a pen drawn boundary.

8
 “A mere marker pen traces a random boundary. An ant is
caught within this drawn frame, unable to get out, because
it imagines the drawn line is a boundary. It hesitates to cross
the line, but never stops walking towards it and away, in an-
ticipation of the unpredictable. Finally, at the end of the
video – by choice or chance – it [the ant] comes out or cross-
es the boundary. In this spontaneous one shot work, the
artist contemplates the being’s behavior when confronted
with boundaries: real, imagined, and metaphoric. Bound-
aries are made by human conditions. They are often im-
posed, assumed, accepted, and acknowledged. Surekah’s
video addresses several implications of a boundary, which
acts as an agency of power, control, and bifurcation be it of
geography, color, gender, religion, or otherwise. This par-
ticular work discusses the ambiguity of our choice to be in
or out, our indecisiveness, and out euphoric awareness of
and against something which we have been deeply condi-
tioned into. Through the discourse and practice of art, one
becomes aware that the boundary is a construct – like the
pen line to the ant.”

LINES OF CONTROL
EXCERPT FROM SUREKAH, FOR EXHIBIT

9
 We often neglect the others’ perspective until it af-
fects us personally. That’s the harsh reality, and my interest
in this topic is similarly entrenched in a deeply personal
experience. My parents divorced when I was four, and I
was catapulted into a role of caregiver for my younger sis-
ter and myself while my mother took on additional hours
working for financial support, and my father tried to figure
out how to deal with two young girls. At times, my child-
hood memories are those of a broken, but functioning
family. At other times I can’t help but remember our strug-
gle to co-exist, and the eruption of emotional and physical
fighting between my parents, my sister, and myself.

Despite the obvious challenges of growing up

in a family structure that was not even remotely nuclear,
formally; this experience has more deeply affected my un-
derstanding of the relationship between gender and place
than would be possible in a traditional instructional envi-
ronment. From a young age, I became accustomed to the
transient experience of shifting from place to place, void
of a sense of “home,” as I traveled between each of my
parent’s houses. Growing up, I was aware of the changes
between the way my parents functioned together inside
of a house, together in a public space, individually in each
of their houses, and still different in their houses once they
remarried. At times, they were each required to assume
the role of both traditional parents when each were single.
I also learned from an early age that these roles (and thus
the violence that followed) were conditional based upon
the setting of exterior versus interior or public versus pri-
vate.

Though I may not have been able to articulate it at

the time, these childhood experience developed an under-
standing that the relationship between gender and space
is an important one. I will further discuss this relationship

ARCHITECTURE THAT EMPOWERS

Figure 2.1 Women protestors supporting the

Equal Rights Ammendment, first introduced to
Congress in 1923, failed to receive necessary
support for ratification in the 1970s. The
ERA still has not been passed, almost a cen-
tury after it was first introduced.

11
between the experience of architecture and gender.
For as long as people have co-existed in civiliza-
tions, a social hierarchy has been maintained within these
places. From the design of the suburban home; to the
modern office building as portrayed in the popular TV se-
ries, Mad Men (AMC, 2007); and even the occupation by
women activists of public spaces, such as streets; we are
constantly aware of a social hierarchy as it exists between
genders and space. This social stratification emphasizes
the disjointed relationship between gender interactions in
private and public environments. Unfortunately, this dis-
tinction between public and private has allowed a differing
treatment of women to occur in each environment. In the
most extreme cases, resulting in domestic violence. The
issue is that these actions originate in a private space but
are permeated in our public spaces, though rarely publicly
discussed or acknowledged.
It is challenging to credit architecture solely, as
being responsible for the advantage or disadvantage of
a particular social group. However, architecture provides
the framework within which all social interactions occur,
and thus, it is not solely influenced by society, but to some
extent we may assume it also influences our interactions.
In this paradoxical relationship, it is imperative that we crit-
ically explore the social framework that we are providing
through architecture. What message are we, as designers,
sending when we design a space and who are we design-
ing for? If all of our societal cues imply that gender in-
equalities exist in our surrounding environment, then is it
really possible to design one space that serves each gen-
der equally? Unfortunately, the majority of architectural
compositions give little consideration to the way each sex
inhabits a space differently from the other.
Historically, research and interest in the role of
architecture in sexism has varied along with changes in
policies and the popular culture. Since beginning my re-
12
search, numerous stories have surfaced about violence
against women in public spaces, the most popular by far
being the case of Ray Rice. Rice, a now-former NFL payer
for the Baltimore Ravens was suspended after a video-tape
surfaced of him punching his then-fiancée in a hotel ele-
vator (Wilson, 2015). The severity of this case was not in
the occurrence of domestic violence, which is almost ex-
cusable for the deity-like status of professional athletes in
our culture (after all Rice was only temporarily suspended);
instead, the real significance of this case was the fact that
this took place in an elevator where it was publicly doc-
umented. What cues do we, as a collective society, take
from our built environment that allows something like this
to happen in a semi-private elevator in a pubic hotel? If we
can compare this to other common locations of violence,
such as a bedroom, parking garage, or alley; we may con-
clude that these are all spaces that feel private, but can be-
come unsafe.
A comparison of these types of spaces can begin
to form a description of places where violence against or
infringement upon the rights of women occurs. The fol-
lowing texts aim to uncover these specific spatial qualities,
in hopes that if we gain a better understanding of what
elements from the built environment exist where the op-
pression of women occurs, we may inversely conclude the
types of spaces where women may be empowered. In my
research thus far, I have uncovered a variety of texts, vid-
eos, articles, policies, and websites dedicated to gender
in architectural design. Specifically, I have selected works
which focus on the relationship of gender and space, do-
mesticity, and feminism in architecture. The works select-
ed for review below come from disparate insights and of-
fering varying points of view on the subject of women and
architecture.
The book, Space, Place, and Violence: Geogra-
phies of Embodied Race, Sex, and Gender, by James A.
Tyner explores issues of violence through the contexts of
Figure 2.2 (Left) This photoshopped image
surfaced online during a CoverGirl NFL cam-
paign, and in response to the Ray Rice case.
Figure 2.3 (Right) This collage was created
to represent the public / private relation-
ship of gender and space.
“
Gender is an identity
tenuously constituted in
time, instituted in an exterior
space through a
stylized repetition
of acts. “

Quote by Judith Butler

home, school, streets, and the community. Tyner explores
our obsession with violence as both part of our ordinary
lives and extraordinary fantasy, such as the fascination with
serial killers. The normalizing of violence is what allows in-
cidents to occur everyday on the street, in the office, or at
school without notice. We are inundated with information
from the news, crime shows, even fictional plots of movies
and books that communicate the normalization of violence
(Tyner, pg. 5).
Given the discourse of my thesis, I was most inter-
ested in learning about Tyner’s interpretation of violence in
the home. Tyner quotes Lynda McDowell and comments:
“‘Home must be one of the most loaded words
in the English language.’ What does she mean by this
statement?...Or are we missing something when we
focus too much on the physical structure that we call
home?...We often think of home as a place of shelter,
of security.”
Tyner discuss the both ironic and tragic reality that
for many women and children, the notion of ‘home’ which
so many people recall fondly, becomes a dangerous place.
This relationship between space and violence demon-
strates the ability of an otherwise ‘refuge’ to become a
nightmare. Tyner highlights the relationship between vio-
lence at ‘home” and domesticity (Tyner, pg. 33) stating:
“...Women have throughout history been over-
whelmingly consigned to child-rearing, household
upkeep, and family nurturance; however, under cap-
italism the cultural artifact of home and work, the pri-
vate and public, became particularly acute.”
This cultural confinement of women to and in the
home has reinforced a fear of violence in more public spac-
es, particularly streets. Fundamentally this becomes an is-
sue of control. If you’ve had the please of walking down
15
the street as a woman in anything other than a trench coat
and sweat pants you have likely at some point encountered
cat-calling (if you haven’t been so lucky, there are plenty
of videos that have recently surfaced Online documenting
the experience first hand). This is an example of control
over public space, and the struggle for women’s rights to
public spaces to be infringed upon (Tyner, pg. 135). Tyner
states:
“Places, in other words, come into being through
social relations and social interactions. However,
these relations and interactions are morally informed.
Who, or which group, for example, is granted or de-
nied access to a particular place? What activities are
deemed appropriate or not?
The book, Gender Studies in Architecture: Space,
Power, and Difference, by Dørte Kuhlmann, discusses the
historic architectural, fashion, and cultural influences on
gender in architecture today. Kuhlmann references sever-
al historic examples, such as churches, homes, and public
baths that featured separate, inferior areas dedicated sole-
ly to women. Two strategies for expressing sexual hierar-
chy in architecture are by using women’s bodies as alluring
embellishments (in advertisements, renderings, ornamen-
tation) or excluding them entirely from specific areas (Kuhl-
mann, pg. 4). Kuhlmann also discusses the importance of
spatial arrangement in the control of women:
“Space, the fundamental aspect of material cul-
ture, is... of central importance in constituting gender.
It determines how men and women are brought to-
gether or kept apart; it participates in defining a sex-
ual division of labour; its organization produces, re-
produces, and represents notion about sexuality and
the body. Space determines and affects behaviour,
just as the organization of space is produced by and
in relation to behaviour.”
 While the previous texts discuss the possible so-
cietal and psychological cues in the relationship between
gender and space, Richard Williams’ Sex and Buildings,
instead looks at particular architectural indicators. I men-
tioned previously that the set of Mad Men demonstrates
a social hierarchy within an office space. Williams further
explores this concept through pages 99-106 where he dis-
cusses the setting for the fictional advertising agency of
New York City, set in the 1960s. Williams offers a critique
of the spatial experience of the office depicted and the
layout of the office, which is an accurate representation of
many workplaces, still today. In Mad Men, The main pub-
lic space is inhabited by female workers, primarily recep-
tionists, and the private offices with views out and over the
city are reserved for their male counterparts, and a female
switchboard room. Every detail of the set, down to the fur-
niture, reinforces the ideas of gender and who occupies
each space. Williams states:
“But it is the interior that stays in the memory,
describing with marvelous clarity the complexities,
subtleties, and sexual politics of the modern open-
plan office....It is a spectacle of sexual domination in
which the architecture is complicit.”
Williams stresses to readers that the architectural
significance of Mad Men and the International Style is to
convey explicitly what it means to work and live in a mod-
ern office building (Williams, pg. 104). This idea is not lim-
ited to television, as in recent years the architects design-
ing towers have become arguably more phallic, such as
Fosters and Partners in London.
In my research, I have found a few examples of
spaces that empower women. One example, which is also
programmatically similar to the project that I will discuss in
later sections, is the CBF Women’s Health Centre by FARE
Studio. This project is a located in Burkina Faso, where
the female genital mutilation rate is 76.6% (Demographic
16
Health Survey, 2010). This resource center provides med-
ical, legal, psychological, and awareness services to the
affected women and their families within the surrounding
community.
The site is enclosed by a low wall, which creates
a sense of safety for the center’s patrons, and also pro-
vides a threshold into a very different environment from
the surrounding community. Within the perimeter are
two primary structures. One structure contains the public
programmatic elements: a Training Center, dedicated to
management and awareness-rising activities, and a Con-
sultancy Centre, where medical visits, legal assistance and
psychological counseling are provided to the community
almost free of charge. According to FARE Studio’s web-
site:
“The volumes that contain the different rooms
are independent from the umbrella roof structure,
placed atop the platform and freely articulated
around a series of shaded and ventilated patios that
ensure privacy from the exterior.
The modular configuration of the structure al-
lows future expansion while preserving the general
framework of the building.”
The success of this project can be attributed to the
thoughtful design, which uses several strategies to create
an environment that feels “safe” and a successful partner-
ship with a local organization, AIDOS (Associazione Itali-
ana Donne per lo Sviluppo). While a thoughtful program
should not be underestimated, the reality is that the archi-
tectural manifestation of a well-developed program deter-
mines whether or not it is successful, as demonstrated by
this project.
The preceding literature reviews and architectur-
al works demonstrate the capability for improvement of
architecture designed specifically for women. From the
Figure 2.4 (Left) This photogrpah shows an
exterior view of the CBF Women’s Health Cen-
tre, surrounded by a low wall.
Figure 2.5 (Right Upper) This floor plan
shows the division of the programmatic ele-
ments into public and private.
Figure 2.6 (Right Lower) The elevated roof
on the center allows for ventilation and pas-
sive cooling in the rural, African site.
17
texts, we can see the examples of sexual hierarchy in archi- fluctuate between the number of tenants per unit, client
tecture is present in the home, streets or community, and needs, and the demand for emergency housing.
workplace. The selected architectural work of FARE Stu- The project description is continued in further de-
dio exemplifies the application of these principles through tail in the following sections. While it may seem disheart-
simple, affordable design adjustments to achieve a more ening to account for all of the instances in which gender
successful project. All of these works provide a compre- is apparent in architecture (home, office, community, etc.),
hensive frame within which I may situate my thesis. it is also encouraging to see all of the opportunities to im-
prove the current architectural standards.
As the incidence of violence against women gains
publicity and awareness, it is increasingly important to
address the causes and provide meaningful design solu-
tions. The current standard of professional architecture
ignores these concerns, and reinforces societal standards
rather than challenging them. If we continue to produce
the same type of architecture and reject any opportunity
for progress, architecture will only permeate the problem
rather than provide opportunities for improvement. I can’t
image a culture that wouldn’t benefit from safer environ-
ments that empower women.

To accompany my thesis, I have completed a de-
sign for a domestic violence shelter that utilizes the good
design principles obtained through my research. The
design solution respectfully contributes to the surround-
ing urban context, provides a co-habitable environment
for visitors and residents, integrates into the surround-
ing community seamlessly, and provides the opportunity
for resident control over personal space. This building
type will be composed of a series of public and private
spaces arranged in varying degrees of privacy through
an integrated spacial sequence, delineated by thoughtful
thresholds. The site of the building is considered the most
public space (given the urban context), with programmed
elements that address the needs of the building residents.
The relationship of the building to the surrounding context
is also considered in the design proposal. The majority of
the building will be composed of housing units of two or
three bedrooms. The units will be designed to be flexible,
and adapt to the changing needs of the tenants as they

Figure 2.7 A monumental threshold example,

with thoughtful detail to scale, materiality,
and personal experience.

18
“
She could just pack up and
leave, but
she does not
visualize what’s
beyond ahead.
“

Quote by Núria Añó

 The following is a collection of parameters for the
project to accompany my thesis document. The project
will be presented as a design iteration demonstrating the
application of the principles discussed in previous sections
of this document. The principles explored in this project
with regard to gender in architecture include, but are not
limited to:

- Boundaries
- Space and Violence
- Domesticity

To fully implement my research for the empower-

ment of women through architecture, I found it necessary
to develop a project that is focused on the empowerment
of the most disadvantaged group of (mostly) women - do-
mestic violence victims. The proposed design component
of my thesis research will be a new, expanded facility for the
Women’s Crisis Center of Northern Kentucky. This mixed-
use facility, containing both private and public functions,
will be located at 601 Scott Street in Covington, Kentucky.

Due to limited funding and awareness, minimal

effort has been dedicated to the design of domestic vio-
lence shelters. These facilities are often run by well-intend-
ed organizations in inadequate or out-dated facilities that
lack the proper measures for accessibility, safety, security,
temporary housing, and resources needed to encourage
successful rehabilitation. The key strategies implemented
in my design, which will be highlighted in the following
sections are:

- Integration with the surrounding neighborhood

- Public versus private control of space
- Camouflage, or hidden in plain sight

PROJECT INTRODUCTION

21
 For my thesis, I am proposing a domestic violence
shelter in Covington, Kentucky. This type of project will
align with the mission of several types of interests groups.
This project would be located at a key intersection within
Covington, which is currently undergoing an urban trans-
formation along with many other northern Kentucky com-
munities, which provides economic incentives for local and
regional planning entities. This project will also provide
a social service, and therefore, is aligned within the goals
for the targeted non-profit organization and their clients
served. For these reasons, there are both regional and lo-
cal stakeholders for this project.

Regionally, the Northern Kentucky Area Planning
Commission (NKAPC) is an organization that combines the
planning departments for the Northern Kentucky munici-
palities and provides a cohesive master plan. The intent
behind the formation of this commission, was to create
larger projects that span the Northern Kentucky area, and
are not confined within the smaller cities. My proposed
site at the intersection of 6th and Scott streets and the pro-
gram of my project align with the goals of this organiza-
tion and are fully integrated into the regional master plan,
which supports the redevelopment of the urban cities lo-
cated along the Ohio River’s edge..

Another regional stakeholder for my project is

Gateway Community and Technical College. This institu-
tion offers associate degrees and technical certifications
at multiple campuses throughout the northern Kentucky
area. As part of the institution’s goal to reach more stu-
dents, they have implemented a master plan to redevelop
a scattered-site campus throughout downtown Covington.
The masterplan calls for new infill structures as well as ren-
ovated existing structures, as precedented by other urban
campuses throughout Louisville, Savannah, and Charles-
ton. After years of research and planning, they have pro-
posed a series of developments within downtown Cov-
ington that will support a campus life - such as pedestrian

CLIENT / CULTURE

Figure 3.1 Image from domestic violence

awareness campaign, released in response to
allegations of NFL players’ domestic abuse
towards family members.

23
ways, renovated storefronts in the neighborhood business
district, two-way streets, and bicycle lanes. My project site
is located within the Gateway Urban Campus which implies
an opportunity for programmatic connections between my
project and the surrounding campus; however, the signif-
icance of this location and connection will be further ex-
plored in the site analysis portion of this document.
One local interest group is the Covington Depart-
ment of Economic Development. This group may provide
incentives for housing projects to be developed in Coving-
ton because it is serving a population need. Additionally,
my project will include a public programmatic component
of Gateway College classrooms that will provide economic
incentives for the Covington community, creating a more
financially sustainable project. While it is important that
my project meets the needs of the public interest groups
listed above, the project would likely be commissioned by
a local non-profit group that is currently serving the needs
of domestic violence victims - The Women’s Crisis Center
of Northern Kentucky.
The Women’s Crisis Center is 501(c)(3) social ser-
vice agency that was founded in 1979 as the Rape Crisis
Center of Northern Kentucky. The organization was found-
ed to provide the following services to women in north-
ern Kentucky: a 24-hour crisis hotline, crisis intervention,
counseling, community education, advocacy, and support
for rape victims. The organization originally provided shel-
ter to victims be placing them in private homes within the
community. Today, their only emergency housing is of-
fered in a shelter located in Maysville, Kentucky (approx-
imately 90 minutes south of Covington). They also have
outreach centers (without housing) located in Covington
(Figure 3.1), Carrollton, Vanceburg, Williamstown and He-
bron. Although their primary clients are battered women,
the center also helps males and children, along with vic-
tims in homosexual relationships.
During my initial research, I contacted the execu-
tive director of The Women’s Crisis Center, Marsha Crox-
ton. She was incredibly polite, and seemed interested to
learn more about my project and research, because this is
a topic that despite its prevalence, is not often publicly dis-
cussed. Marsha offered to meet me at the organization’s
administrative offices in Hebron, Kentucky. When I arrived
at her office, I was a little surprised to find the facility in the
center of an office park. The building appeared to be new-
er, and an appropriate design for an office building, less
specifically an office for a battered women’s organization.
Aside from the friendly demeanor of the building’s occu-
pants, there was little other indication that the facility also
served as an outreach center.
While meeting with Marsha, we discussed the or-
ganizational structure of The Women’s Crisis Center, the
spatial and programmatic requirements (discussed later in
Spaces / Experiences), and the specific design consider-
ations for a domestic violence shelter. While discussing
the planning and long-term goals for the organization,
Marsha mentioned that the administrative office, where we
were meeting, while a nice design is somewhat removed
from the majority of the population they serve. The offices
are only accessible by car, and for this reason the outreach
center doesn’t provide as many services as other locations
which are accessible by walking and public transit. Also,
Marsha expressed a desire to offer emergency and tran-
sitional housing in all of their facilities, because “we never
have enough housing.” This is a concern that is echoed
throughout other sources I’ve researched on this topic,
which have lead me to the decision to incorporate both
forms of housing into my project. According to one nation
survey of domestic violence shelters and services, there
are 9,641 unmet requests for services every day, of which
60% (5,778) are for housing (Domestic Violence Counts,
2013); and another states that 12.7 million people experi-
ence domestic violence every year (NoMore.org).
After my interview with Marsha, she arranged for

Figure 3.2 (left) The Women’s Crisis Center existing

facility located at 835 Madison Avenue in Covington,
Kentucky.

Figure 3.3 (center) One example of monastic archi-

tecture is The Holy Great Monastery of Megesti Lavra
located on the island of Mount Athos, Greece.

Figure 3.4 (right) A monastery located on Mount

Athos, Greece.

24
me to tour the Covington facility and provide an assess-
ment of the opportunities for renovation or new construc-
tion within the existing structure. The current site for the
Covington Outreach Center is a typical mixed-use, neigh-
borhood business district building from the 19th century
with a first floor commercial spaces, and formerly residen-
tial units above. To maximize their outreach opportuni-
ty within the Covington area, the Women’s Crisis Center
would need to upgrade the existing facility to meet ac-
cessibility, security, privacy, and parking needs. With these
considerations, I have chosen to recommend a relocation
to a nearby Covington site for a new facility, because I be-
lieve that the required modifications would be inefficient
and compromise the integrity of the historic structure on
the current, smaller site. Ultimately, I need to demonstrate
the ability to provide housing and outreach facilities that
are specific to the requirements of a domestic violence
shelter.
Arguably the most important stakeholder for this
project, and the one with the greatest potential gain / loss
are the victims of domestic abuse. The residents within the
community of Covington, Kentucky who would utilize the
Women’s Crisis Center, would do so in response to vio-
lence they’ve experienced from someone they know. They
would potentially call the center to gather information
about resources as they are preparing to flee a domestic
abuser, which can be the most frightening experience as a
woman is 70 times more likely is to be murdered in the few
weeks after leaving her abusive partner than at any other
time in the relationship (National Sexual Violence Resource
Center, 2014). Despite the fact that 1 in 3 women or 1 in
4 men will experience violence from their partner at some
point in their life, very few will be able to find the services
they need available in their community (NoMore.org). In
Kentucky alone, 1,097 victims are served every day, and
of those seeking emergency housing to escape a danger-
ous living situation, only 40% of needs are met (Domestic
Violence Counts, 2013). 503 of those served were seeking
25
non-residential services such as legal services, counseling,
and children’s support groups. These statistics demon-
strate not only the prevalence of domestic violence, but
also the importance of designing a facility to specifically
address the unmet needs: the social services and housing
required to successfully rehabilitate domestic violence vic-
tims back into their surrounding communities.
Designing (and for that matter, researching) a do-
mestic violence shelter provides very few precedents, and
even fewer well-designed examples. For this reason, I have
had to look at other building typologies that have similar
spatial requirements based upon differing, but similar pro-
grammatic elements. One similar typology is monastic
architecture. In this example, the formal arrangement of
spaces is pushed to the perimeter of the site, which creates
a fortress, a barrier, a boundary. This perimeter is charac-
terized by a thickened wall of inhabitable space. In gener-
al this typology has a few key points of controlled entry, but
public access is not continuous around the site. Addition-
ally, this typology is characterized by simplicity where by
ornamentation is limited to enhancement of the building’s
construction.
While the clients of a domestic violence shelter
may not be seeking religious isolation, they do require a
similar environment for introspective reflection, personal
growth, security, and to free themselves from the restric-
tions of the surrounding environment or their past. Some
aspects of monastic architecture, such as Mount Athos that
could influence my design of a domestic violence shelter
include: the idea of a formal barrier or separation from the
surrounding area, controlling the access of portions of my
site for public patrons and residents, creating a layout with
the most private and personal program elements internal-
ized for security and experience, and a simplistic form that
is expressive of function without ornamentation.
 Figure 4.1 Site Plan of project, located in
Covington, Kentucky.

26
 For my thesis, I am proposing a new and expanded
facility for the Women’s Crisis Center’s outreach center in
Covington, Kentucky. The new facility, located at 601 Scott
Street will replace the current branch of Women’s Crisis
Center located at 825 Madison Avenue in Covington. The
current site is small, is located within the business district,
doesn’t offer the appropriate privacy for patrons (there are
full-length curtains covering the storefront entry), and has
no room for expansion. The new site could offer the ability
to house and help more victims of abuse, better adjacen-
cy to resources for education / employment, and enough
space to offer community resources that may be an outlet
for helping additional victims – a women’s medical clinic,
and a daycare. Both of these new services could serve the
public, as well as the victims at the Women’s Crisis Center.

The new site selection was based upon research

on the masterplan for the City of Covington; the recent
housing development and new college campus locations;
adjacency to neighborhood resources; public transpor-
tation, vehicular, pedestrian access; and site zoning. 601
Scott Street is bounded by three streets – Scott, East Pike,
and East 6th. The west boundary of the site is adjoining
another property. This site is currently underutilized as a
surface parking lot with a small shed. This site is located
within a pedestrian shed of the Kenton County Library, the
new Gateway College Urban Campus (a local college asso-
ciated with Northern Kentucky University), across the street
from the Kenton County Adult Education Center, only one
block from the Madison commercial district, and nearby
numerous employers.

The area surrounding the site is currently a com-

mercial district adjoining the residential neighborhood
of Eastside and supporting the Madison Business District.
This area of Scott Street has been newly developed in re-
cent years and will likely see even more development in
the near future. The site will be part of the targeted de-
velopment zone for the Gateway Urban Campus. This

SITE / CONTEXT

27
will be a scattered site college campus, similar in concept creating a domestic violence shelter that is hidden in plain
to SCAD in Savannah, Georgia. The new campus will in- sight. This type of design may be formally manifested as a
clude the renovation of several existing buildings and the shell, perimeter, or barrier that blends into the surrounding
addition of one new building. As the campus becomes context (see Figure 4.4-4.8) from the exterior. By creating
more developed, it would be likely that the few remain- an inventory of the facades surrounding my site, I am able
ing underdeveloped sites in this are would become either to use these as inspiration for similar strategies within the
expansions for the campus or supporting facilities for the exterior elevations of my building. This allows the interior
campus, such as student housing, cafes, or shops. of the building/site to take on an entirely different charac-
ter. Combined, this strategy allows for the accessibility of
The site at 601 Scott Street is currently zoned “CG- an urban site with the privacy of a secluded, agrarian site.
3P” which according to the Northern Kentucky Area Plan-
ning Commission, is a mixed-use land use zone intended
to be first floor commercial space with residential units
above. This zone also requires the structure be built up
to the street front and the only vehicular access must be
from an adjoining secondary street or alley. Parking must
be located behind the building on the lot. Scott Street
would be considered the primary access for this site, while
East 6th Street and East Pike Street would be considered
the secondary access. These secondary streets would be
best suited for the vehicular access to the site. This zone
also requires a minimum of 700 square feet per dwelling
unit, with a maximum building height of 5 stories and no
setbacks required on any side (because the site is not ad-
joining an R Zone). This zone also dictates that the street
frontage of my building should have approximately 65%
transparency, which is appropriate for a mixed-use build-
ing, but will need to be taken into design consideration
and placement of the structure on the site.

Due to the public nature of a site located within an
urban core, great consideration must be given to imploring
strategies that successfully integrate the public program-
matic elements into the surrounding neighborhood; while
simultaneously providing the necessary means for privacy
for the residents, as required for their safety. At a mini-
mum, this strategy requires separate entries and designat-
ed areas for each. In a more sophisticated strategy, this
could be demonstrated through the use of camouflage, or

Figure 4.2 (Left) Historic Image of Cov-

ington advertisement, highlighting both the
prevalence and longevity of sexism within
this region.

Figure 4.3 (Right) Development Opportunities

Map showing the new location for the Gateway
Urban Campus

Figure 4.4 (Next Page) Site Plan Analysis

showing adjacencies to surrounding areas of
development within the Gateway Development
Opportunities Map.

28
SITE PLAN DIAGRAM
INTEGRATION WITH GATEWAY URBAN CAMPUS

30
Images
Figure
From
4.5
Top to Bottom:
Pike Street South Elevation
SITE CONTEXT ELEVATIONS
Figure 4.6 Sixth Street North Elevation COVINGTON, KENTUCKY
Figure 4.7 Madison Road West Elevation

31
POLLEN STREET SOCIAL
NERI + HU DESIGN

32
 While researching precedents for my accompany-
ing project, it was challenging to find well-designed exam-
ples of domestic violence shelters. For this reason, I have
included precedents from a variety of program types but
with elements that could also be implemented in a domes-
tic violence shelter.

The style precedent I have selected is Neri and Hu

architects from Shanghai, China. As a design firm, their
collection of projects are characterized by simple finishes
and forms that define spatial transitions. The transitions are
created by transparency, change in material, and changes
in spatial heights. Their style may be characterized as min-
imalist, industrial, and wabi-sabi (the principle of materials
naturally decaying).

PRECEDENTS / TYPES

33
 Figure 5.2 (Above) Rendering of the ex-
terior of the Women’s Recovery Center.

Figure 5.3 (Left) Photograph of center

before and elevation drawing showing the
integration of the new facade onto the
existing structure.

Figure 5.4 (Right) Diagrams showing the

relationship of the facade to interi-
or spaces to create privacy, variety of
spaces, and daylight shading.

34
The precedent I have selected to illustrate building type is the Women’s Recovery Center designed by Robert Maschke
Architects. This facility is located in a low-income urban neighborhood of Cleveland, Ohio. The facility houses resources
supporting women that are victims of domestic violence. The otherwise uninteresting single-story commercial building
has been transformed by an ivy clad mesh facade that provides privacy while still allowing daylighting into the interior
spaces.

WOMEN’S RECOVERY CENTER

ROBERT MASCHKE ARCHITECTS

35
The site precedent I have selected is the Active Monument by Pwferretto. This project is a monument in Seoul, South
Korea for the Catholic martyrs. The project is characterized by the treatment of the site’s boundary as an active space
that is both inclusive and exclusive. The site is exposed on all sides in an urban location, and programmatically becomes
increasingly private and reflective toward the center of the site.

Figure 5.5 (Above) Rendering showing ae-

rial view of monument.

Figure 5.6 (Left) Rendering of exterior

space within monument.

Figure 5.7 (Right) Site plan for mon-

ument showing thickened perimeter wall
within dense urban context.

36
 ACTIVE MONUMENT
PWFERRETTO

37
“
Loft living is the
antithesis of suburban
domesticity,
if only because the
open spaces don’t easily
accommodate family life.
Lofts also offer residents
the opportunity (and
responsibility) to structure
their own space to reflect
what’s important to them. “
Quote by Virginia Postrel
 In general, the programmed elements of my thesis
project include: a daycare facility utilized by residents and
also available to community members, a women’s medical
clinic open to the public, and a new facility for the Wom-
en’s Crisis Center. The Women’s Crisis Center will consist
of new administrative offices for the center; 12 individu-
al units for residents; and communal resident facilities for
cooking, dining, and meeting. The Women’s Crisis Center
will also operate the daycare facility as a potential source
of revenue to support the facility, an outreach opportunity,
and a service for residents.
I have compiled the following as a list of experi-
ences for my facility:
Daycare; outreach; discreet.
Covington families; Gateway students; resident’s children;
daycare; income.
Children; playing; laughing; exploring; safe.

SPACES / EXPERIENCES

39
Public spaces: public view; Private spaces: controlled vis-
ibility.
Daycare; playground; outdoor.
Daycare; play area; kitchen; restrooms; sleeping area.
Nap time; quiet, dark; undisturbed; employee break-time.
Children; grow; learn; explore; investigate.
Vehicular access; daycare drop-off; women’s center resi-
dents; medical clinic; side street.
Pedestrian access; primary street front.
Public transportation; bus-stop; movement
Pause; integration; safety; privacy; access.
Bus-stop; well-lit; sheltered; transparent; eyes on street;
safe.
Women’s Medical Clinic; serves community; outreach.
Medicine; private; healing; internal.
Clinic; current; technology; evolving.
Clinic; reception; waiting room; exam rooms.
Exam Rooms; sterile; clean; private.
Housing; privacy; flexibility; adaptability.
Organization offices; ease of access; private.
Staff kitchen; restrooms; storage; convenient.
Staff available all day; every day; space for sleeping; wait-
ing; working.
Storage; residents; staff; short-term; long-term.
Resident access should be private; discreet; side street;
alley.
Victims arriving 24 hours / day; visitability; safety; well-lit.
Resident units; safe; welcoming; accommodating.
Pet-friendly facilities; residents; safe.
Daylighting; views out; restricted / screened views in.
Private outdoor space; balconies; recessed; operable win-
dows; fresh air.
Courtyard; sheltered; safe; free.
Shared cooking / dining space; indoor; community.
Resident units configured for support; stability; safety.
Connected; shared; supporting.
Outdoor courtyard; freedom; fresh air; healing.
Gathering space; multi-function; instructional space; tech-
nology; flexible seating.
Figure 6.1 (Above) Program diagram showing
the relationships between public / private
spaces.
Figure 6.2 (Next Page) Images and diagrams
showing range of public to private spaces.
40
The arrangement of these spatial experiences is
determined by both the relationships between experienc-
es and the varying degrees of privacy for each activity, as
is necessary for a client such as the Women’s Crisis Cen-
ter. The attached sheets provide potential spatial arrange-
ments for the program. In general the more public facil-
ities, such as the daycare and medical clinic are located
along the more public access (Scott Street) and the more
private function, the Women’s Crisis Center is accessed via
a secondary street to protect the identity of patrons.
The daycare component of the project must be
designed to achieve the following qualitative properties:
it should address the needs of children of varying ages;
provide a safe environment for exploration and instruction,
and provide the necessary spaces for the staff to complete
required tasks. The daycare should meet the needs of
different age / ability children by providing adaptability
in access to different components of the space. The re-
strooms should be designed for access and ease of use by
a child by having sinks and toilets located at the appropri-
ate height or providing a step stool to access the sink. The
bookshelves, storage components, and resources target-
ed toward the client, should all be located so that they are
easily accessible.
With respect to the specialized needs of domes-
tic violence victims, providing specific spaces and pro-
grammatic relationships that allow individualized control
of space is imperative. Similarly, it is important that these
spaces are clearly distinguished and the progression of
private to public is both apparent and discouraging of un-
welcomed visitors in the private spaces, such as bedrooms.
 BED + BATH PUBLIC MTG BED + BATH

KITCHEN / PRIVATE MTG / KITCHEN /

BED + BATH BED + BATH DAYCARE BED + BATH BED + BATH
DINING DINING

LIVING ROOM / PLAYGROUND / LIVING ROOM /

MEETING SPACE GARDEN / DOG MEETING SPACE
BOARDING

KITCHEN / KITCHEN / BED + BATH

BED + BATH BED + BATH BED + BATH
DINING DINING
CLINIC / ADMIN.
OFFICES

BED + BATH INTAKE BED + BATH

PROGRAM DIAGRAM

41
 1 2 3

BATHROOM THERAPY AREAS BEDROOM

INTAKE AREA ROOF GARDEN SECURE ENTRY
MECHANICAL SPACE LIVING AREA
STORAGE PRIVATE MEETING
OFFICES

PRIVATE SPACES

42
 4 5 6

BALCONY CIRCULATION EXTERIOR SPACES

DINING AREA KID’S PLAY AREA PUBLIC ACCESS
MEETING ROOMS PUBLIC CLASSROOMS PET BOARDING
EMERGENCY SHELTER COMMUNITY SERVICES PARKING
WORKSPACES

PUBLIC SPACES

43
“
Progress or lack of it, can only
be judged by a measuring
rod, and if the rod is
placed low enough the
standard will never
threaten you. “

Quote by Sara Niles, From “Torn From the Inside Out”

 As domestic violence shelters continually see
an acceleration in request for services every year, it has
become increasingly important to provide spaces that
demonstrate good design principles and meet the needs
of domestic violence victims. This may be accomplished
through a more thorough understanding of boundaries,
the relationship of space and violence, and domesticity.

Designing a space for domestic violence victims

provides the opportunity to empower a group of women
accustomed to constraint. This thesis provides the oppor-
tunity for a challenging design dealing with issues of safe-
ty, trust, rehabilitation, independence, and integration with
the community. A balanced solution is required.

The same principles implored here could also be

utilized in the design of homes for all family structures,
workplaces that demonstrate equity, and safe public spac-
es. If these considerations can be made for all architecture,
perhaps a new type of architecture can emerge, where all
genders are considered equally. Every time.

CONCLUSION

45
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