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ual areas with people and goods (food, laundry, waste, workpieces, etc.). In contrast to a "normal building",
where the architect can make use of all materials and spatial means of expression to create the most pleasant
atmosphere possible, he must in prison architecture adapt to the specific circumstances (especially security
and imprisonment).

Four basic architectural tools for sensible prison design

More light and comfort as well as the resulting more adequate living and working conditions can be achieved
with a suitable choice of materials, colours, light, and shapes. Especially under the conditions of imprison-
ment, their interaction and effects are dominant. Technological development has brought many new building
materials onto the market, especially over the last century. If used correctly, these can make an important
contribution to the smooth day-to-day operation of a prison. Properties such as haptic quality and hygiene
are self-evident and are therefore not discussed in greater detail here. The criteria for the use of building
materials in prison architecture have hardly changed in recent years. These are still: security, economy,
preservation, and renewal. For this reason, materials that can be repaired by the inmates in the facility's
workshops (e. g. wood) should be preferred. The pedagogical value of the repairs by inmates represents
another characteristic that is difficult to replace. The maintenance of prisons requires regular renewal of wall
and door paints. These jobs are usually carried out by the inmates under the supervision of the personnel.
Die Haftzelle als Multifunktionsraum Since the 1970s, it has been possible to observe how the choice of colours, as a sign of liberalisation, has
increasingly been left to the detainees or the staff of the facility - that is to say, laymen in architecture. They
rarely use the original shade of colour determined by the architect of the facility. This shade was usually bro-
ken and of a higher potency. The current choice of colours is almost always too bold and influenced by the
prison-internal differentiation of the inmates. From the media, we usually remember an image of prisons in
black and white. This stylistic device is intended to underline desolation, but the "colourful" reality is often
even more dismal. Many different "patterns" in the most different colours result in disquiet and unease,
which can hardly be found outside a prison. White is a neutral solution that harmonises with all other
colours. The detention room looks clean and tidy until a prisoner arrives and lives in it. The contradictions
between theoretical ideas and practical use quickly become apparent. As with the choice of materials, safety
Veränderte Anforderungen an eine Zelle is a top priority when selecting the form of the individual rooms. In this respect, security means above all:
safety of the detainees from each other (harassment), security of the individual inmates from themselves
(danger of suicide) and security of the personnel entering the detention room. The enhancement of existing
detention rooms by retrofitting WCs and water connections in the second half of the 20th century did not lead
to a change in the shape of the detention rooms, even in new buildings. However, it has made a considerable
contribution to changing the living space layout of the detention room. According to today's requirements and
the analysis of the detention rooms built so far and their use, it is clear that a detention room has to consist
of two rooms: the living room and a bathroom. The increasing awareness of the inadequate size of the deten-
Empfehlung: Ein flexibel möblierbarer Raum tion room also entails the possibility of rethinking the concept of the detention room. In prison architecture,
you can in the individual areas (living, work, etc.) adhere to the usual regulations and norms that apply in
freedom. An essential aspect is the deprivation of liberty. Even the slightest variation - even if it is only a
wandering ray of sunlight - results in a considerable increase in the prison-specific atmosphere, which is not
least characterised by monotony and deprivation. If a user has to be exposed to artificial light for a longer
period of time, then the possibility of looking through a window out into the distance or rooms of different
sizes and lighting can help.

The desire for individuality and creative enhancement

During a visit to a prison, you will again and again notice individual, often very unprofessionally designed
areas which, on closer inspection, reveal a lot about the needs and the specific atmosphere. The inappro-
priate and regarding their concept outdated, mostly cramped spatial conditions of the prison system as well
as a system-immanent powerlessness lead to a certain frustration among the detainees (cf. Etienne Monier,
Penalties in the penal system, p. 37f) as well as among the staff. The frustration is counteracted by marking
one's own area (territory). The markings range from: prettying and embellishing, to displaying one's own
merits or the particularly successful "art therapy products", the conversion of everyday objects through to
vandalism. The impulse always results from reaching a certain degree of frustration. Usually on the initia-
tive of the staff, a small sub-area is "beautified" with more or less "artistic" intentions in cooperation with
the inmates. There are numerous examples of colour designs, which have certainly been chosen with the
best intentions, but completely missed their purpose (creation of an agreeable atmosphere). The need to
design one's own living space can be influenced in a prison by the following factors: the intersection of the
inmates' living space and the work area of the staff, the number of people per square metre and inherently
Handbuch Strafvollzugsarchitektur: closed system that lacks positive impulses from outside. In order to find adequate solutions for this difficult
Parameter zeitgemäßer Gefängnis - situation, one has to deal with the sustainability of interior design. Only one concept that takes all of the
planung von Dr. Andrea Seelich. above factors into account and also allows for variety, change and adaptation to changing trends, while at
Erschie nen als Print-Ausgabe bei Sprin - the same time not requiring too much maintenance, can prove its worth. This project should definitely be
ger. 312 Seiten. Hardcover 54,00 EUR. carried out in collaboration with architects, the prison staff and visual artists. Sustainability can be promot-
ISBN 978-3-99043-310-2 ed by the regular supervision of the concept by visual artists and architects.

122 • AIT 12.2017