Maggie Keswick Jencks received her weekly breast cancer treatment in a windowless neon-lit room in Edinburgh’s Western general hospital. Her husband, the renowned landscape designer Charles, later described it as a kind of “architectural aversion therapy”.
It was then, in the early 1990s, that the Scottish artist and garden designer imagined her own blueprint that would allow cancer patients “a space of their own” within the alienating, clinical confines of the hospital estate, one where they might “not lose the joy of living in the fear of dying”.
