TeaTime. Design for Dementia
Contents
What is dementia? About TeaTime. Inspiration Initial ideas Design development Models Technical drawings Plan Elevation Short sections Long section Isometric view Exploded diagram Drawer details Extended counter drawer details Sample board Presentation drawings Essay References
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Dementia Designing for Dementia
Dementia is a term used to describe the progressive decline of memory and thinking skills. 60-80% of cases are associated with Alzheimer’s disease. Mental functions such as; memory, communication and language, focus, judgement and visual perception become impaired. Around 850,000 people suffer with dementia in the UK, and there is currently no known cure. Therefore designing for dementia is so important, as it allows sufferers to prepare for the future. However, there are things that can help with the decline in memory in dementia. An example of this is sensory stimulation. This can be used to help Alzheimer’s patients by arousing more than five senses. It can evoke positive feelings through sight, smell, hearing, taste and touch.
Sensory therapy has become a widely used activity that allows patients to explore a stimulating and safe environment that provides age-appropriate activites. It additionally helps them feel relaxed and safe.
Figure 1
Good designing for dementia includes sensory cues to help the patients continue with normal life. These cues include familiar smells, sensory rich materials and easy to use products. As there is still not a lot known about Alzheimer’s and its causes, there is currently little designing for it to help those suffering with their specific needs. There are a range of stages of dementia, making each individuals needs vary. Therefore a design should take this into consideration as well as the progression in dementia.
Figure 2
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“It occurred to me that at one point it was like I had two diseases – one was Alzheimer’s, and the other was knowing I had Alzheimer’s.” –Terry Pratchett 2
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TeaTime. I have designed a kitchen unit for people with early stages of dementia called TeaTime. The purpose of this design is that it assists those developing dementia with a morning routine in their own home. By offering this unit, users can extend their independence for longer during these early stages. The design is made up of three spaces: tea, coffee and toast. The layout is designed to encourage users to follow the process in the morning, as well as create a routine. The design will help with small tasks such as making a cup of tea, by showing the tea making process on a note board, and staggered shelving promoting the process’s steps. It is further assisted by a scented alarm clock that is programmed to release the smell of coffee and crossiants in the morning along with an alarm. People that suffer with dementia benefit from sensory stimulation and therefore
the smell of breakfast will aid the alarm. Another feature of the design is the extended counter surface. The top drawer of the unit at waist height, when pulled out, provides extra surface for whatever the user desires. For example it can be used for chopping up food and safely stowed away at anytime if the user wishes to gain quick access to the main counter top. In addition to this the counter also offers an easy access to the bin via a hole. By simultaneously opening the bin, this task can easily be done. Furthermore there is a drawer next the bin that holds knives. It opens up to expose a large solid block with slits to place knives. The purpose of this feature is that the knife handles are at hand level, and are therefore easy to pick up. One of the effects of dementia is the decrease in eyesight. Therefore this drawer stows knives away safely and they aren’t on the side in an easy place to knock of.
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Inspiration Joe Colombo
Joe Colombo was an Italian designer who had an interest for designing for the future, which he demonstrated in early sketches of “Nuclear Cities”. He once said “Furnishings will disappear… the habitat will be everywhere…” (Colombo) and expressed his idea that one day we would “create an inhabitable system that could be adapted to any situation I space and time” (Colombo). He designed the Total Furnishing Unit in 1971. This design breaks down domestic living into a kitchen, cupboard, bed and bathroom, making a simple space. His design was “autonomous, independent of (their) architectural container, and that can be coordinated and programmed to
adapt in any spatial situation, in the present or future.” (Colombo) Colombo’s work inspired my design through its simplicity and practical function. It has fit many aspects of a home into a small amount of space. In my deign I wanted to fit aspects of a breakfast process into a small unit that had the maximum space of 2400mmx2400mmx900mm. I also liked the contrasting colours in Colombo’s design. The strong orange stands out against the white, which is relevant to my project, as people with dementia need a unit with colours that have a LRV (light reflective Value) of more than 30%, as explained by Mary O’Malley. Furthermore the simplicity of the design is relevant to my project as people with dementia have a decreasing memory and sometimes forget where things are unless they can see the storage clearly.
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Therefore more modern and futuristic design can confuse them. Colombo’s design includes that of a kitchen, which is in a similar size space to mine. This design helped me visualise the space and how my design would fit into a void. He showed me that a lot can fit into a small unit and how different components can fit together to utilise space.
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Initial Ideas Sketches and Designs
Left Page: Here is one of my original ideas to create a utility storage unit. The idea of this was that the users would be able to do laundry and store away shoes and household products easily. The counter top would be at an appropriate height, with easy access to laundry baskets below. The unit contains open spaces so the user can see clearly where everything is, which can be an issue for those who suffer with dementia due to memory loss. Different sized shelves allows for a variety of items to be stored. Additionally the plain wood structure creates a bold outline, which aids poor eyesight, a common effect of dementia. Top: This design was created with watercolour and Photoshop. It is a storage unit designed for a kitchen. It includes pull out cupboards that have clear fronts. The reason for this is to make the contents visible and to make it clear where everything is. Not only does this help the user to remember where things are but also to show that the cupboard actually exists. Sometimes people with dementia have trouble distinguishing lines and where one shape or object ends and the other starts due to decreasing eyesight. Therefore this design helps to tackle this. Bottom: These are three sketches of some initial ideas. I wanted to try and utilise the triangles three sides, which I did by joining shelves and creating hanging space. I progressively changed the arrangement of the triangles to create different storage spaces. This design contains open spaces, in a similar way to my other designs. Through this objects can be easily used and returned to the shelving. The pots and pans can additionally be easily hung, and do not take up any surface space.
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Top Left: Two sketches of an idea for a kitchen storage unit. The second image shows how two drawers would pull out. The idea demonstrated here is that the bottom drawer is a bin, and the drawer above is a surface that has a hole leading to the bin. This makes it easy to scrape rubbish straight into the bin. Bottom left: A design of a kitchen unit including space for an oven and a hob. The oven is placed at a lower height than usual allowing easier access for people with dementia. I chose the colour red as it is bold an will stand out of the rest of the space meaning the white surface will be easily seen in contrast to the red.
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Top right: The first sketch of my final design. I created multiple spaces to place different elements of breakfast. I came up with this idea after talking to Mary O’Malley, a psychology PhD student, who expressed how sometimes people with dementia can forget things as simple as the process of making a cup of tea. Therefore I wanted to create a unit that promotes routine.
Design Development Photoshop
Above Left: A render of a developed design. I added colour to create a visual idea of the contrast I wanted my design to withold. The strong orange combined with the contrasting blues form a colour scheme that will aid the client as well as be visually pleasing. Above Right: A render of the same drawing to display the scale of the design as well as colour. White and the bold blue have a high difference in Light reflecting Value, creating a clear distinction between surfaces and aiding with eyesight.
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Models Scale 1:10
Here are images of the cardboard model of my final design in the scale 1:10. I made this model after some sketches of my final design in my book, as I wanted to see how to proportions of the model appeared. In my model I made the top draw and cupboard doors functional so I could view how they worked with each other. Making the model revealed to me some issues with my design, one of which being a gap for feet at the bottom of the unit. Not having this gap would make it difficult and uncomfortable to stand near the counter, therefore I amended this in my design.
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Figure 8
I N G
I C A
T E C H N
L D R A W
12
13
2400
Coffee machine shelf
320
Scented Alarm Clock Kitchen wall
30
30 30 448
Plant Shelf
Breakfast Crockery Storage Toaster shelf
300
50
790
50
205
2080
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Tea cup and condiments shelving
60 60
780
330
555
555
Interior Objects
SE
Elevation 25th November 2016
1:20
Revision Number 0 Drawing Number 1 Miss Grace Vickery
14
320
Three shelves for tea and condiments
30 261
Top shelf for plants
375
185
Pull out counter
Bin
40 375
Cupboard with a shelf
Hole from Counter to bin Pull out counter 1094
Hole from counter to bin
2700
90
Shelf for breakfast plates
2764
25
25
Right side view
2764
Left Side View Interior Objects Short section Drawings 29th November 2016
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1:20
Revision Number 0 Drawing Number 1 Miss Grace Vickery
Tea cup and condiments shelves
2400
805
956 375 50
40
700
780
365
20
90 50
185
30
30
448
Wall
Bin
Knife Draw
Lower shelf
Upper shelf
Interior Objects
SE
Long Section 29th November 2016
1:20
Revision Number 0 Drawing Number 1 Miss Grace Vickery
16
11
4
5
80 05
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Shelving
00
790
956
2030
204
50
320
200 233 30
24
Cupboard 50
Pull out counter top Knife Drawer
50
Pull out bin
Floor
05
300
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Interior Objects
S
Isometric drawing 28th November 2016
17
1:30
Revision Number 0 Drawing Number 1 Miss Grace Vickery
Wall behind unit
Void
Sides of upper right shelves Base of main counter top
Top of Breakfast Unit Shelving in upper half of unit Pull out extra counter Hole from counter to bin
2700
Bottom right cupboard doors Knife Draw
Units main structure
Tea and condiments shelves
Floor
Bin
Interior Objects Exploded diagram 29th November 2016
1:40
Revision Number 0 Drawing Number 1 Miss Grace Vickery
18
30
720
Right side
Back board
660
660
30
Left side
Back board
330
Knife rack in drawer Base Front of Drawer
121
Front of drawer
121
780
330
Front of drawer
Front of drawer
Base
790
Left side
790
Back Board
Knife rack in drawer
Right side
Interior Objects Drawer Details 30th November 2016
1:20
Revision Number 0 Drawing Number 1
19
Miss Grace Vickery
2280
660
Hole from surface to bin 33
40
Counter Boarder Front of drawer
Front of drawer
Counter boarder
Hole from surface to bin
Interior Objects Counter drawer exploded diagram 30th November 2016
1:20
Revision Number 0 Drawing Number 1 Miss Grace Vickery
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Sample Board Colours and Textures
Contrasting Textures
Geometric Patterns
Natural Materials
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Right: Here is a floor plan of a kitchen that demonstrates how the TeaTime unit would fit with the set up.
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Presentation Drawings Photoshop
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Left page: A render of a variety of sketches, colours and technical drawings. This render is a two-point persepctive drawing and is atmospherical. It presents the colour scheme and textures of TeaTime. Left: An elevation of TeaTime. that I have rendered using Photoshop to put into perspective the colours and appliances this product can hold. The contrast of cream, red and blue is aimed to assist users suffering from sight impairment. This render shows the traditional style of the unit created by the painted oak frame and cupboards. Below: A view of TeaTime. in a kitchen space. This render puts the unit into perspective and demonstrates its fitting within a room as well as its height in comparison to the user. The bold red appliances stand out from the design and allow people with dementia suffering from decreasing eyesight.
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This page: Here is a photo-montage created with my sketches, technical drawings, materials and colours. This render demonstrates the atmosphere of the design through cool tones. The colour scheme of beige and light blue are soft and have the ability to compliment a variety of kitchen designs, which is why I chose them. The user has the option to chose a third colour to match this design in their home, depending on their personal taste as well as their visual needs.
Right page: Here is photo of TeaTime. in a home environment. The light colours blend with the kitchens style seamlessly, whilst still standing out due to the blue tiles. This photo demonstrates the efficiency of the unit within a kitchen due to its variety of shelf heights and open space.
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Figure 9
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Figure 10
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Left page: Here is TeaTime. in another kitchen. This time it has a darker colour scheme, which allows the white crockery to stand out against the unit. The design compliments the traditional kitchen. This image puts into perspective the height of the unit and its storage. It allows people developing dementia to utilise their home kitchen without having to install a whole new design depending on their new needs. It is a simple design that avoids causing confusion that can be fitted into any design.
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Has design in
care homes taken into consideration the requirements of those suffering with Alzheimer’s? 29
Alzheimer’s is the most common cause of dementia, and over 520,000 people suffer with it. Therefore it’s no surprise that most care homes in the UK provide care for those suffering with Alzheimer’s and other forms of dementia. However, do care homes design spaces well with considerations of Alzheimer’s? In this essay I will look at aspects of design that need to be considered when designing for the disease that are often looked over. The lack of design specifications with regards to Alzheimer’s in care home can affect the lives of those within the system. During the 18th century people suffering with what we now know as dementia were seen as ‘lunatics’ or ‘insane’ (Victorian Dotage, 2014). They were sent to asylums, usually when they had nobody to care for them, particularly coming from a workhouse. Research into Alzheimer’s only began in the last century, and is still underway to find a cause and cure. In the meantime, research has shown us how to care for those who suffer and also things that can be done to help with the effects, which I feel are not acknowledged enough in society and design. The first issue I believe involves the fact that not all people affected by Alzheimer’s are elderly. Alzheimer’s Society says that around 40,000 people who are below the age of 65 have Alzheimer’s (Alzheimer’s Society, 2014). Understandably it’s hard to adhere to the needs of each resident individually, but the design of care home can seem rather un-appealing to those of a younger generation. This is because care homes have become stereotyped as a place for the elderly and the design
in many appeals to the taste of their generation. I think one of the negative aspects of a care home is feeling like you need caring for. Terry Pratchett said “it was like I had two diseases: one was Alzheimer’s, and the other was knowing I had Alzheimer’s” (The Guardian, 2015). Therefore I think more needs to be done to break this stereotype, one of which being the design. I think care homes need to provide more homely environments, to reflect a more natural setting. Taking this into consideration they could design furniture echoing that of a home whilst making it safe to be used independently for those who have the early stages of dementia or who don’t have any other physical impairment. In addition to this they could design modern furniture with a simple design that appeals to all generations. The simplicity of the design would avoid confusion for those in late stages, whilst not appearing ‘specialist’ to those in early stages, as this can highlight the awareness of Alzheimer’s within the care home. This could make residents feel abnormal or categorized. Another major problem with design in care homes is within function. Because of the high risk of infection and germs in this environment its important that design includes materials and textures that can be easily cleaned. An example of this is flooring. Creating an easy clean floor is often tackled with Vinyl or other smooth surfaces. However I learned from a presentation from Mary O’Malley, a psychology PhD student who came to talk to us about designing for dementia, that when light is reflecting on these surfaces, people with Alzheimer’s sometimes mistake this as a wet floor and refuse to walk across it. This is due to their poor eye-
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sight, one of the effects of the disease. These floor types are cost effective and manageable; however cause distress to some residents, which I believe is entirely wrong and not functional to their needs. On the other hand some steps can be taken to resolve this problem. Either a carpet that has cleanable properties can be used, which would also protect the residents if they were to have any falls. Or better lighting can be introduced to eliminate the spotlight effect that creates shiny reflections. Care homes additionally need to improve by introducing sensory design. Sensory stimulation can reduce restlessness and agitation in people with Alzheimer’s, as written by John Schmid In an article about alternative therapy (Schmid, 2009). During my Duke Of Edinburgh award I volunteered in a care home called Hungerford House. The home had a section specifically for those suffering with dementia. I noticed during my time there the design in this part of the home was no different to that in the other sections. They had a seating area around a TV and an area of tables and chairs, used for activities and meals. Although staff were well trained in the care of the patients they had no other aid that design could provide. One idea in design that could help the effects of Alzheimer’s is having textured material on chairs that the users could feel whilst they are sat down, for example on the arms of the chair. This would stimulate their senses of touch. They could also have smells and textures placed around the environment to activate senses further, such as non-toxic plants. Alzheimer’s Society has an article about how engaging with nature and plants “help to ease stress, anxiety, agitation, aggressive behaviour and
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Figure 12: Flowers and Plants can be used in care homes to stimulate senses such as colour and smell.
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pain”. Including nature in the home provides care idents with Alzheimer’s to find their way around without the staff’s aid (Alzheimer’s Society 2014). and to their rooms. Further making this challenging is their decreasing sight. Mary showed us that a In order for staff to allow independence of the way of tackling this is by using doors that contrast Alzheimer’s residents they have to ensure the envi- with the colour of the wall. Through this residents ronment is safe. As the effects of dementia include can identify where the door and wall meet. On the forgetfulness, orientation and visuospatial skills, other hand, Mary made an interesting statement the design of the space must allow for bumps and about an experience she had, where a care home knocks without damaging the furniture or the res- tried to use colour in the design. In order to help idents (Alzhimer’s Society, 2012). From my time in show where the toilet was they had used a red toiHungerford House I saw that in the dementia sec- let seat. However multiple residents refused to tion of the home that there was very little furni- sit on it as they thought the red was blood. This ture, possibly due to the fears of the harm reg- is an example of how much care and thought has ular furniture could cause. A way to tackle this to be put into the design, and how colour should in design for a low cost could be to attach corner not just be used to tackle function but also form. guards to draws and shelving. This allows for full furnishings in the care home without the wor- Multiple aspects such as cost and research conry of residents knocking into harmful corners. tribute to the ability to design for Alzheimer’s, With regards to orientation, the space could be which I believe isn’t prioritized enough in the designed in a way that furniture is placed stra- care system. Its understandable that small care tegically creating pathways to key areas. Fixing homes simply do not have the funds to create these positions means that people are less likely an ideal space for people with the disease, but to get confused about their location in the home. I think small changes as simple as colour, could be made in design resulting in significant beneColour is important in design universally, but par- fits. In the future I see these changes becoming ticularly in Alzheimer’s design because of the de- more widely used as research about Alzheimer’s crease of eyesight and colour throughout the dis- develops and a cure is sought. Running parallel to ease (Alzhimers Society). During the presentation this I see design evolving to a point where people by Mary O’Malley, I further learned that the Light are able to stay independent in their own homes Reflecting Value must be at least 30% between col- for longer due to new innovative ideas that asour for people with dementia, otherwise two ob- sist them. These could be anything from colour jects or areas may seem to merge together. Whilst I schemes to robots in design. This begs the queswas volunteering at Hungerford house I would of- tion of would people entrust their lives and health ten get confused about where I was due to the lack with new futuristic designs caring for them? of significant markings in the design. From this I Grace Vickery realise that it must be extremely difficult for res-
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Essay
References
1. victoriandotage (2014).Why was someone with dementia called a ‘lunatic’? https://victoriandotage.wordpress.com/2014/08/24/why-was-someone-with-dementiacalled-a-lunatic/ (Accessed: 16 November 2016). 2. Judd, N. and Society, A. (2007b) What is Alzheimer’s disease? - Alzheimer’s society. https://www.alzheimers.org.uk/site/scripts/documents_info.php?documentID=100 (Accessed: 20 November 2016). 3. Pratchett, T. (2015) ‘A butt of my own jokes’: Terry Pratchett on the disease that finally claimed him. https://www.theguardian.com/books/2015/mar/15/a-butt-of-my-own-jokes-terry-pratchett-on-the-disease-that-finally-claimed-him (Accessed: 1 December 2016). 4. Schmid, J. (2009) Sensory stimulation for Alzheimer’s. http://www.best-alzheimers-products.com/sensory-stimulation-for-alzheimers.html (Accessed: 16 November 2016). 5. Bishop, L. and Society, A. (2012a) Living with dementia magazine may 2012 - Alzheimer’s society. https://www.alzheimers.org.uk/site/scripts/documents_info.php?documentID=1867&pageNumber=3 (Accessed: 20 November 2016).
Essay Bibliography 1. Hennessy, B. (1997) Writing an Essay. Fourth edition edn. Oxford, uk: How to books Ltd. 2. Marquardt, G. (2011) ‘Wayfinding for people with dementia: A review of the role of architectural design’ HERD: Health Environments Research & Design Journal, 4(2), pp. 75–90. doi: 10.1177/193758671100400207. 3. Morrison, A. (2013) Facing the future with dementia: Designing buildings that will be adaptable written for the housing learning & improvement network by executive summary. Available at: http://www.housinglin.org.uk/_library/Resources/Housing/Support_materials/Viewpoints/HLIN_Viewpoint_42_facingthefuturewithdementia.pdf (Accessed: 16 November 2016). 4. Sauer, A. (2013) History of Alzheimer’s: Major milestones. Available at: http://www. alzheimers.net/2013-12-30/history-of-alzheimers/ (Accessed: 15 November 2016).
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Images
Front page. Photo by Aga Putra. https://unsplash.com/search/tea?photo=P_p4NGz5Cb4 (Accessed: 3rd December 2016). Contents page. Photo by Annie Spratt. https://unsplash.com/search/kitchen?photo=maS7GmsVeRs (Accessed 3rd December 2016). Figure 1. Limited, P. 6. (2015). Ways to prevent and conquer dementia. [online]. http://6pmsolutions.com/media/6pm-blog/ways-to-prevent-and-conquer-dementia (Accessed 3 December 2016). Figure 2. Photo by Aaron Burden. https://unsplash.com/search/swing?photo=_p5CoeXeF_I (Accessed: 3rd December 2016). Figure 3. Photo by Peter Žagar. https://unsplash.com/collections/193881/herbs?photo=bLgWa9b0ioY (Accessed: 3rd December 2016). Figure 4-7. Pope, T. and lucarelli, fosco. (2013). Territories. http://socks-studio.com/2013/10/16/joe-colombo-total-furnishing-unit-1971/ [Accessed 5 December 2016]. Figure 8. Photo by Oleg Guijinsky. https://unsplash.com/search/tea?photo=2CRgKZAyPXg (Accessed 3rd December 2016). Figure 9. Authority, H. D. P. (2000). Kitchen at the home depot. http://www.homedepot.com/b/Kitchen/N-5yc1vZar4i [Accessed 4 December 2016]. AG, L. K. (2016). LEICHT – modern kitchen design for contemporary living. http://www.leicht.com/en/kitchen/traditional-style/ [Accessed 4 December 2016]. Figure 10. Staff, C. L. and Smith, L. (2016). 100+ inspiring kitchen decorating ideas. [online]. http://www.countryliving.com/home-design/decorating-ideas/g1213/kitchen-designs/ (Accessed 3 December 2016). Figure 11. Photo by Annie Spratt. https://unsplash.com/search/old?photo=lIWF2uHxs0Q (Accessed: 3rd December 2016). Figure 12. Photo by Sandro Katalina. https://unsplash.com/search/flowers?photo=VkUFZhaKF4A (Accessed: 3rd December 2016).