DEAFSOUND: Music Centre for the Deaf

DEAFSOUND: Music Centre for the Deaf Adapting the Musical Experience for the Hearing Impaired

MOHAMMAD NURHALIFF BINT LATIF MBE161018 THESIS SUPERVISOR: SHARIFAH SALWA NEW SPIRIT, 02 2017/2018

Deafness is ultimately an invisible disability – you can’t see it in the way that you can see someone who has lost an arm or a leg, making it what some call the “most normal” disability possible.

Yet that doesn’t make life any easier for those affected.

Theresa Tan, 2017. Millennials, redefined: Meet Generation Grit. The Straits Times.

Source: http://www.straitstimes.com/opinion/millennials-redefined-meet-generation-grit

PROJECT STATEMENT D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Deaf person exist in an environment built largely for and by hearing people.

Accessibility for the deaf of an inclusive society where Deaf person are fully integrated, with equality of opportunity and participation in Jalan Raja Abdullah, can be realised through a combination of modifications of the physical environment. The implementation of architectural elements and space configurations that address the issues of accessibility between deaf, music and architecture are vital. By reinventing the concept of music for the deaf and physical environment, will mitigate the disadvatages of deaf individual to access music. Therefore, the project of Music Academy for the Deaf at Jalan Raja Abdullah should become a landmark for the deaf to learn, empower and showcase their musical talents.

THESIS STATEMENT D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Musician spends most of their time in the rehearsal space to practice and music-making, this include the deaf musician. However, deaf musician generally find it difficult to communicate and sense the music in a conventional music rehearsal space, reminding us that the importance of spatial layout for deaf musicians to have appropriate visual sight and music experiences in an enclose space.

THESIS AIM D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

To critically assess the deaf musicians and existing rehearsal studio in order to identify factors, which contribute to the visibility and spatial layout efficiency for the deaf ensemble.

THESIS QUESTION 1. How does deaf musician sense music?

2. What is the relationship of visibility and spatial layout of music rehearsal studio for the deaf music ensemble?

3. What is the strategies to improve the deaf ensemble accessibility in the music rehearsal studio?

THESIS OBJECTIVE 1. To identify and classify about the deaf adapting experiencing in music

2. To determine and arrange the spatial layout through visual sense and vibrate indication 3. To highlight and design the appropriate rehearsal space and performance space for the deaf appreciating music

UNDERSTANDING DEAFNESS AND HEARING IMPAIRED

UNDERSTANDING DEAFNESS D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Definition

Hearing loss, also known as hearing impairment, is a partial or total inability to hear. A deaf person has little to no hearing

NORMAL HEARING PARTIAL DEAFNESS PROFOUND HEARING LOSS TOTAL DEAFNESS

A cochlear implant (CI) is a surgically implanted electronic device that provides a sense of sound to a person who is profoundly deaf or severely hard of hearing in both ears Source: Ministry of Health. Obtained from. Matron Cheoh Siew Tin (Family Health Development Division, Ministry of Health) on 17 May 2013.

CLASSIFICATION OF DEAF PERSON D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Pre-lingually Deaf

Post-lingually Deaf

those who are deaf before they learn to speak and understand language. Apprx. 95% of all deaf children are prelingually deaf.

those who experience profound hearing loss after they have learned to speak and understand language.

KIDS/ADULTS occurred before they began to speak either born deaf or lost their hearing before the age of one

COCHLEAR IMPLANT

ADULTS Deaf after the acquisition of speech and language hearing loss is gradual

HEARING AID

DEAFNESS: HEIGHTENED SENSES D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Sensory Substitution System • Defined as a change of the characteristics of one sensory modality into stimuli of another sensory modality.

• Brain plasticity refers to the brain’s ability to adapt to a changing environment, for instance to the absence or deterioration of a sense. It is conceivable that cortical remapping or reorganization in response to the loss of one sense may be an evolutionary mechanism that allows people to adapt and compensate by using other senses better.

Source: David M. Eagleman, 2015. Brain and Behavior: A Cognitive Neuroscience Perspective. Stanford University School of Medicine

The brain automatically replace a lost sense, by redirect it to another sense

UNDERSTANDING SOUND AND MUSIC D E A F S O U N D :

M U S I C

F O R

T H E

Source: Much of the information about animal perception in this chapter and in Chapters 14 and 16 come from the excellent book Engineering Animals: How Life Works by Mark Denny and Alan McFadzean.)

D E A F

Sounds are made by vibrations. that typically propagates as an audible wave of pressure, through a transmission medium such as a gas, liquid or solid.

A loudspeaker generates a sound wave: The areas where the air molecules are pushed together INFRASOUND

ULTRASOUND

Frequency is measured in the number of particle oscillations (cycles) in one second.

Music is organized sound and a combination of those sounds that have pitch. Pitch is the quality of the sound, making it high or low. When these pitched sounds combine, they make music

BELOW 20 Hz

20 - 20,000 Hz

OVER 20,000 Hz

FRECUENCY: HEARING RANGE D E A F S O U N D :

M U S I C

F O R

T H E

Source: Much of the information about animal perception in this chapter and in Chapters 14 and 16 come from the excellent book Engineering Animals: How Life Works by Mark Denny and Alan McFadzean.)

D E A F

14 - 12K HZ

100 - 15K HZ

20 - 65K HZ

20 - 3K HZ

Many animals, including fish and insect, can hear.

F I SH 20 - 3K HZ

They mainly uses their hearing senses for orientation and navigation.

100 - 30K HZ

As a rule of thumb, depending on their physical features, certain animal recieve the sound vibration differently.

20 - 20K HZ

1 - 100K HZ

2K - 110K HZ

Fish can sense sound through their lateral lines and their otoliths (ears). Some fishes, such as some species of carp and herring, hear through their swim bladders, which function rather like a hearing aid

FRECUENCY: HEARING RANGE D E A F S O U N D :

M U S I C

F O R

T H E

Source: Much of the information about animal perception in this chapter and in Chapters 14 and 16 come from the excellent book Engineering Animals: How Life Works by Mark Denny and Alan McFadzean.)

D E A F

14 - 12K HZ

100 - 15K HZ

20 - 65K HZ

20 - 3K HZ

Many animals, including fish and insect, can hear.

EL EPH A N T 14 - 12K HZ

They mainly uses their hearing senses for orientation and navigation.

100 - 30K HZ

As a rule of thumb, depending on their physical features, certain animal recieve the sound vibration differently.

20 - 20K HZ

1 - 100K HZ

2K - 110K HZ

“We think they’re sensing these u n d e r g r o u n d vibrations through their feet with the range of 1.5 - 2 kilometer away,” said O’Connell-Rodwell

SENSORY SUBSTITUTION SYSTEM D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

SENSORY CORTEX when music can be recognized through touch, feeling the vibrations, it is that much more pleasing to those that are deaf

These parts just adapt in the brain of a person who is deaf to interpret sound and music in a way other than through messages from the ears.

NUCLEUS ACCUMBENS, AMDALA &CEREBELLUM deaf can have this same sort of emotional connection to music, it would just be recognized from the bass notes or beat of the song rather than the (usually) higher pitched melody.

AUDITORY CORTEX sense the sound (the vibrations) which are then translated into neural messages that are sent to and processed by the brain, specifically, the auditory cortex

all these different parts of the brain play into experiencing music

Source: Merchel, S. and Altinsoy, M.E. (2014). The Influence of Vibrations on Musical Experience, in Journal of the Audio Engineering Society, 62(4), pp. 220-234.

Source: Baker, D. J. (2015). Unlocking the mysteries of music in your brain, Dr. Daniel Levitin public lecture. Psychomusicology: Music, Mind & Brain, 25(4), 455–456. doi:10.1037/pmu0000126

MUSIC FOR THE DEAF CONCEPT D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Sensory Substitution System

Sensing Music

Music

Source: David M. Eagleman, 2015. Brain and Behavior: A Cognitive Neuroscience Perspective. Stanford University School of Medicine

?

Sensory Element

Neuronal Messages

Human Brain

DEAF MUSIC MUSICAL EXPERIENCE D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

DEAF PERSON

MUSIC TOUCH

SIGHT

SMELL

BASS BALLOON

MOTION OF MUSIC

SCENT OF SPACE

EMOTI-CHAIR

CYMA DEAF ART

RESONANT ARCH.

CINEMATIC MVMT.

TASTE

Source: Nanayakkara, Suranga Chandima, Lonce Wyse, Sim Heng Ong, and Elizabeth A. Taylor. 2013. ‘Enhancing Musical Experience for the Hearing-Impaired Using Visual and Haptic Displays’. Human–Computer Interaction 28 (2): 115–60.

Source: Richard Burn. (2015, November 18). Music-making for the deaf. ScienceDaily. Retrieved February 13, 2018 from www. sciencedaily.com/releases/2015/11/151118101815.htm

TOUCH: Bass Balloon, Charleston Orchestra D E A F S O U N D :

M U S I C

F O R

T H E

PICTURE: EPA/ROBIN UTRECHT, 2012. Deaf people, Dutch Student Orchestra in Nijmegen. http://www.telegraph.co.uk/

D E A F

SOUND TRANSLATION CONCEPT SOUND WAVE

Charleston Ochestra: “Deaf audience are given a balloon to sense music was heard through vibrating balloons, special lighting and smells”

MUSIC

VIBRATION

BALLOON

DEAF PERSON

“study suggests that the brain of a deaf person rewires itself to process vibrations in the absence of sound”

AUDITORIUM SECTION NTS

TOUCH: Emoti-Chair, Tactile Audio Displays Inc. D E A F S O U N D :

M U S I C

F O R

T H E

PICTURE: Maulen Horren, 2015. Concerts for the Deaf: Introducing the Emoti-Chair. https://www.cmuse.org/

D E A F

VIBROTACTILE TECHNOLOGY

“feeling the emotions (of the music) dance across my skin,”

Vibrotory Composition SOUND TRANSLATION CONCEPT MUSIC CAPTURING

MUSIC

TRANSLATOR

TRANSLATION ALGORITHM

VIBRO-TACTILE

EMOTI CHAIR

device allows deaf to ‘hear’ music through skin

DEAF PERSON

TOUCH: Freitag Tower, Resonant Architecture D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

PICTURE: Resonan Architecture, 2016. VIDEO DOCUMENTARIES ABOUT ARCHITECTURAL SPACES SET INTO VIBRATION . http://resonantarchitecture.com/

Freitag Tower: “These experiences establish a dialog between architecture, the structures’ spatial components, and their geographic context – revealing building’s specific acoustic and vibrating qualities.”

SOUND TRANSLATION CONCEPT SOURCE

TRANSFER

VIBRATION

WIND

LIGHTWEIGHT STRUCTURE HUMAN MOTION

VIBRATING STRUCTURE

USERS

create an interplay between sound, visuals and architecture.

SIGHT: Motion of Music, MotionExposure D E A F S O U N D :

M U S I C

F O R

T H E

PICTURE: Maulen Horren, 2015. Concerts for the Deaf: Introducing the Emoti-Chair. https://www.cmuse.org/

D E A F

MotionExposure: “captures movement by attaching LED lights to his subject.”

SOUND TRANSLATION CONCEPT PRODUCING

MUSICIAN

MOVEMENT

INSTRUMENT WITH LIGHT

LIGHT MOTION

VISUAL QUES

DEAF PERSON

imperceptible movement when sliding a bow along strings, the senses typically drawn to the sounds rather than appearance of the instrument being played

SIGHT: SEE SOUND, CYMA SPACE D E A F S O U N D :

M U S I C

F O R

T H E

PICTURE: Maulen Horren, 2015. Concerts for the Deaf: Introducing the Emoti-Chair. https://www.cmuse.org/

D E A F

SOUND TRANSLATION CONCEPT

1.

2.

TRANSLATING

MUSICIAN

TRANSLATOR VISUAL QUES

3.

4.

LIGHT MOTION

DEAF PERSON

Cymatics (the science and study of sound made visible)

CYMA SPACE: “make performing arts more accessible and inclusive to the Deaf & Hard-of-Hearing.”

SIGHT: SCENOGRAPHY, Cinematic Movement D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

SIMULATION OF MUSIC

TRANSLATING VISUAL QUES PROGRAMMING

TRANSLATOR MUSICIAN

LIGHT MOTION

artworks and lighting installations integrate moving image technologies to engage and delight the public and activate public space

DEAF PERSON

MUSICAL EXPERIENCE FOR THE DEAF D E A F S O U N D :

1

M U S I C

F O R

T H E

D E A F

MUSIC WITH VISUAL QUES Rhythm can most definitely be taught using physical, kinaesthetic exercises. Deaf people learn very visually, often by watching cues, following demonstrations and by imitation”

2

MUSIC WITH SENSATION AND VIBRATION

Rhythm can most definitely be taught using physical, kinaesthetic exercises. Deaf people learn very visually, often by watching cues, following demonstrations and by imitation”

3

MERGING SENSE OF SCENT WITH MUSIC

Rhythm can most definitely be taught using physical, kinaesthetic exercises. Deaf people learn very visually, often by watching cues, following demonstrations and by imitation”

DEAFBEAT MALAYSIA - A Deaf Troupe D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Source: Author, 2018. Interview with Deaf Founder, Deaf Beat Training Center.

Source: DeafBeat, 2017. INNER VOICES - Deafbeat 10th Anniversary @ Damansara Performing Arts Center (DPAC), Damansara Perdana, Malaysia. http://deafboleh.blogspot.my/

Percussion Performance

Comprises deaf youth who are totally deaf and achieve great goals with music performance.

DeafBeat is a world renowned deaf performer; Perform @ China, Singapore, Berlin, & many

TRIANGLE Poster: RECENT PERFORMANCE in KL ART FEST

GONG

DRUM

DEAFBEAT MALAYSIA REHERSAL STUDIO D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Percussion Music

LIMITED INSTRUMENT

Easy to learn and play especially for the deaf

Due to lack of technologies regarding music experience for the deaf

Percussion Setup

POOR VISUAL REACH

Arc Setup for orientation and communition between the performer

deaf musician uses their main eye sight for communitation and ques

Parquet Flooring

LACKING OF VISUAL QUES

vibration and influence on the rhythm of the music

vibration and influence on the rhythm of the music

Conductor & Board

POOR ACOUSTIC

Control the percussionist beat and rhythm

Control the percussionist beat and rhythm

Source: Author, 2018. Interview with Deaf Founder, Deaf Beat Training Center.

Source: DeafBeat, 2017. INNER VOICES - Deafbeat 10th Anniversary @ Damansara Performing Arts Center (DPAC), Damansara Perdana, Malaysia. http://deafboleh.blogspot.my/

DEAFBEAT TRAINING ROOM NTS

DEAFBEAT MALAYSIA TRAINING CENTER D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

DEAFBEAT TRAINING SESSION

The building were not build to cater deaf individual Tight Space difficult to communicate and commute

Deafbeat Team Rented the place to train Written Notes

Rhymic Clapping

Diagram Sketch

YMCA Complex given the oppurtunity for the deaf community to learn and train music Name: YMCA Complex Established: 2005 Location: Laman Midah, Cheras, Kuala Lumpur

Visual

Small Space Devided into two Class Poor visual reach Small Space

Notes

Vibration

Perform

MINI MASTERPLAN PLANNING

DEMOGRAPHIC & PROXIMITY D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Setapak Blindness Special Education Secondary School (SMPK)

15

NO Of Registered Deaf Person Disabilities

K M R a d

1,865

s

312

DEAFSCHOOL

iu

127

KB Deafness Special Education Primary School (SKPKKB)

KAMPUNG BARU KUALA LUMPUR

POT EN T I A L L A N DM A R K I N K U A L A L U M PU R

DEAFBEAT Training Centre Source: Ministry of Health. Obtained from. Matron Cheoh Siew Tin (Family Health Development Division, Ministry of Health) on 17 May 2013.

SITE BACKGROUND D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Sek. Keb. Kampung Bharu

Sekolah Kebangsaan Pendidikan Khas (Cacat Pendengaran), Kampung Bahru Sek. Keb. Men. Puteri Wilayah Padang Bola Sepak Kg Baru

Proposed Site

Ja la n Ra ja Ab du lla h

et Fr o m C h o w Ki t M a rk

1942 – 1945:

1946 - 1961:

1962 - 1987 :

1988 - Present :

Teaching the Malays as a part of Propaganda Plans & the school were intended as a Japanese administration office.

Educate Malays pertengahan tahun 1984, telah diserahkan oleh kerajaan Malaysia kepada Kementerian Pendidikan Malaysia.

First in KL Bangunan ini telah dijadikan sebagai pusat pembelajaran yang dikenali sebagai Pusat Khas Pendengaran.

pada ketika itu juga Sekolah Kebangsaan Pendidikan Khas Kampong Baharu diberi nama.

J a p a n e s e Occupation;

English-Malay School:

Deaf School:

Sek Keb Pendidikan Khas

SENSE OF PLACE: Three Generations D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Mr Ismail, 65; Retired Second Generation Community: • Used to see community activity being held in KSS when he was young • Play on the field when he was young and got scold by his late mother • Remember KSS as a community space to discuss Kg Baru issues • All of his kids studied in the school

Puan Siti, 44; Deaf Teacher Her education starts there: • Remembers playing at the streets with her friends after school • School sport used to be combine with deaf and normal school when she was young • Actively interact with the deaf kids when she was young • Currently feels the all of the school is segmented

Nurul & Liza, 11; Student In her primary at SK Kg Baru: • Walked back home immediately after school with her friends • Play mostly nearby the house, as her parent did not allow her to play far • do not have a deaf friends

THREATS D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

deteriorating a sense of place

a mono-functional space

an unsafe street

PROBLEMS The past (interviewed) suggested a place with vibrant interactions and participations, now its all been deteriorating.

PROBLEMS Various function are confined to specific geographical areas creating a numbers of precints dominated either by school, retail or housing.

PROBLEMS Majority of all the streets are filled with traffic and making it unsafe for kids to wonder around and plays.

CONSEQUENCES The livelyness of the place is a burden to the area, making each of the school is segmented with each other

CONSEQUENCES The lack of diversity and mix in functions within specific areas has a number of side effect. Generally there are fewer experiences and fewer attraction in each area.

CONSEQUENCES The streets here are turned into sevice corridors for the freeway and generally the public realm is under-developed compared to other part of the city

PRCDNT STUDIES: Place Activation, Curtin University D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Activate the public realm • An interactive frontage to the ground level of buildings • Showcase student activities and research (e.g. music / robotics)

Create a main street & Better Traffic • Enhance the existing spine of the campus to create a main street • Reduce the volume of traffi c and minimise parking in the core

Abuzz with activity both day and night

Place Programming • Activation of destinations aft er hours • Consider both temporary, ongoing and permanent programmed activities

Promotion, Communication and Partnerships • Showcase activities within campus and to the broader community • Virtual partnerships (connecting campuses with other campuses and places).

Clearer Visibility and Accessible wayfinding • Encourage the clearer visibility for the space to space movement • Place naming and identity and building addresses.

THE IMPORTANCE OF VISIBILITY D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

WHY VISIBILITY IS IMPORTANT ON THE PROPOSED SITE? DEAF INDIVIDUALS Uses visibility for wayfinding and orientation as a main source

SCHOOL KIDS insure that people feel safe and secure. provide informal surveillance of the urban environment.

Hansel Bauman - “Deafspace Guidelines” largely constructed by and for hearing individuals, presents a variety of surprising challenges to the deaf

The guidelines underlines the importance of clear wayfinding, intuitive circulation patterns and visual connectivity.

Jane Jacob - “Eyes on the Street”

But she emphasized that people don’t watch a street because it is their duty.

PROPOSED SITE (200 meter Radius) Scale: NTS

They do it because they are naturally drawn to the human interest and activity they find on a healthy street.

KEY STRATEGY FOR PROPOSED SITE D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

a placemaking programming

a inclusive and lively place

a safer street for kids

Input • Implement shared streets • Eco/social medians to slowed down traffic • Flexible programming throughout the day to activate the space

Input • Ensure an accessible place for all • Encourage and promote activation on laneways • Arrange festivals or programs spurring new initiatives and partnership

Input • Create a visible place for the kids to play • Ensure inclusive access to public space • Reduce on street parking • Widen footpaths where appropriate • Improve legibility of the public domain through better signage and reduction of clutter

Develop a place for the community to participats and activate whilst keeping the existing topology

Develop a multifunctional place with a close integration between various function

Develop an attractive and safe pedestrian environment

KEY STRATEGY: A Placemaking Programming D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

*all of the strategies proposal are intergrated with deafspace principles Park & Playground

Festival Streets

Open Amphitheater

Plaza

a placemaking programming

Develop a place for the community to participats and activate whilst keeping the existing topology Input • Implement shared streets • Eco/social medians to slowed down traffic • Flexible programming throughout the day to activate the space

KEY STRATEGY: A Placemaking Programming D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Sound Buffer Tree Landmark Sculpture

Outdoor Class

PLAZA COLLAGE PERSPECTIVE

Small Performer Stage (Vibration)

Loose Furniture for the easiness of the deaf to adjust and communicate

KEY STRATEGY: An Inclusive and Lively Place D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

a inclusive and lively place

Develop a multifunctional place with a close integration between various function Input • Ensure an accessible place for all • Encourage and promote activation on laneways • Arrange festivals or programs spurring new initiatives and partnership

*all of the strategies proposal are intergrated with deafspace principles

KEY STRATEGY: An Inclusive and Lively Place D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Light Tactile Performer Stage Adjustable Seating

OPEN AMPHITHEATER COLLAGE PERSPECTIVE

Sound Buffer Device

Open Space

KEY STRATEGY: A Safer Street for Kids D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

*all of the strategies proposal are intergrated with deafspace principles

Social Medians

Curb Bulb/Chicane

Social Medians Traffic Calming

a safer street for kids

Develop an attractive and safe pedestrian environment Input • Create a visible place for the kids to play • Ensure inclusive access to public space • Reduce on street parking • Widen footpaths where appropriate • Improve legibility of the public domain through better signage and reduction of clutter

Sidewalk Extension

KEY STRATEGY: A Safer Street for Kids D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Curb Bulb/Chicane Side Walk Extension

OPEN AMPHITHEATER COLLAGE PERSPECTIVE

Bicycle Lane

Social Median

DEAF PERSON

SIGN LANGUAGE

?

PLANNING AND FORM

It is not just musical ‘information’ that we want to convey, but the musical ‘experience’.

British Sign Language Dictionary

• Music • Description: Both hands open with tip of index finger touching tip of thumb. Hands move side to side in small arcs (as if conducting).

• Definition: Pleasant sounds made by voices or instruments.

PLANNING STRATEGIESS D E A F S O U N D :

M U S I C

F O R

T H E

Source: Author, 2018. Defining Deafsound Guidelines.

D E A F

Source: Hessel Bauman, 2016.

Deafspace Design Guidelines.

Gautlett University.

SIGHT; Visual

Wayfinding, Connectivity Light, Colour ‘Seeing’ Music

TOUCH; Vibration

Facade, Texture Acoustic, Reverberation ‘Feeling’ Music

*all of the strategies proposal are intergrated with Deafspace Guidelines

DEAFSPACE: Architectural patterns to facilitate communication D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Hessen Bauman; Deafspace “Deaf people inhabit a rich sensory world where vision and touch are a primary means of spatial awareness and orientation.“

Maintain Clear Visual Communication classrooms with sign language speakers are usually equipped with a table arrangement in a flat U-shape or a circle shape. This should allow the visual contact to all classmates as well as to the teacher at a sufficient distance.

Journeys into a Space, with Landmarks if a deaf person standing outside, the person can immediately see where the main space are and decide where to go.

STEP 2: Program Distribution D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Rehearsal Space Main Auditorium Participatory Area (Beginner Studio) Light Tactile Plaza Service Area

PROGRAM DISTRIBUTION

Implementing floor space area based on previous typologies space area STRATEGIES • Distribute the floor area into block • Stack the space together base of previous analysis SYNTHESIS • Space arragement are not catered for the deaf • Poor visibility

Admin.

Rehearsal Space & Music Class

Perfoming Stage & Auditorium

Services

Retail

STEP 3: Visual Communication D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Shaped; Based of Previous Analysis a lot of communication in the studio or class

VISUAL COMMUNICATION

Visual communication are the primary spatial means for the deaf to orientate STRATEGIES • Using Deafspace Design Guidelines • Implementing design strategies based on previous research • Stacked design SYNTHESIS • Poor visibility indoor • Ground floor is not good enough

Circular Shape

Hexagon Shape

STEP 4: Visibility & Wayfinding D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Stagged Arragement

Facility Landmark

Cone shaped Space

Raised Space

VISIBILITY AND WAYFINDINGS

Strategic approach to ease the visibily and mobilty for the deaf STRATEGIES • Raised space to ease visibility • Cone shapes to improve the visibility • Stagged effect SYNTHESIS • Moderate visibility • Circular shaped easily identify as a landmark

STEP 5: Diffuse Light D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Inbetween spaces Skylight strategies Stagged; to maximise light penetration

DIFFUSE LIGHT

When the built environment has poor lighting, restricts the ability to communicate.

STRATEGIES • lighting conditions that reduce shadows • Type of opening to diffused light SYNTHESIS • Moderate visibility • suitable backgrounds that reduce eye strain

DEAFSPACE: Deafsound (previous findings) D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Richard Burn; Musical Tactile “ Deaf person having trouble hearing pitch and the melody. To follow the changes in a song, they watches the light show and visual cues.“

Tactile Stimuli to Feels the Music when music can be recognized through touch, feeling the vibrations, it is that much more pleasing to those that are deaf

STEP 6: Interactive Surface D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Illuminate Staircase

Dynamic Pathways Musicscore Pattern

INTERACTIVE SURFACE

Pocket space to interact with Feeling Music

Creating an interactive space to encourage interaction between architecture and music STRATEGIES • Dynamic pathway to encourage interaction with architecture and music • Musical score pattern to imply the musical senses SYNTHESIS • Moderate visibility • Staicase should allocated elsewhere

Vibrating Nets to Sense Music

Sunken Timber Seatings

STEP 7: Kinetic Sound D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

(Touch Foyer) Kinetic Ceiling & Installation

Main Auditorium (Visual Foyer) Light Tactile Display

KINETIC SOUND

Converting sound into interactive displays of visual sound towards the deaf STRATEGIES • Distribute the floor area into block • Stack the space together base of previous analysis SYNTHESIS • Moderate visibility • Type of visual sound could be change

Interactive Sound Display

STEP 8: Lightweight Structures D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Main Auditorium

Resonance sound throughout the space

LIGHTWEIGHT STRUCTURES

Using lightweight structure to encourage musical vibrations into architectures STRATEGIES • Identifying the location wheres the whole space vibrates • 3 main space for entertaiment SYNTHESIS • Moderate visibility • Type of visual sound could be change

Controlled vibration Main Auditorium

STEP 9: Reducing Reverberation D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Rehearsal Space Main Auditorium Hollow space to redirect the sound wave

Service Area

REDUCING REVERBERATION

Creating an tunnel inbetween the spaces to change the sound direction STRATEGIES • Redirecting the sound towards a suitable area • Buffer trees to diffused sound SYNTHESIS • Moderate visibility • Type of visual sound could be change

COLLAGE: Collage Idea D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

CREATING REHEARSAL SPACE ADAPTABLE FOR THE DEAF

RANGE OF DEAFNESS D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

NORMAL HEARING

MILD HEARING LOSS

MODERATE HEARING LOSS

PROFOUND HEARING LOSS

TOTAL DEAFNESS

20 Hz - 20,000 Hz

Every level of deafness are somewhat capable of hearing something

0 - 150 DB

25 - 150 DB

55 - 150 DB

90 - 150 DB

0 DB

STRING INSTRUMENT Tuba, 33Hz - 349Hz Violin, 240Hz - 3550Hz

WIND & BRASS INSTRUMENT Bassoon, 65 - 587Hz Piccolo, 600 - 3950Hz

PERCUSSION INSTRUMENT Timpani, 65Hz - 256Hz Xylophn, 350 - 2000Hz

SINGER & PERFORMER Voice, 73Hz - 880Hz

Source: Caldarelli, David D. and Ruth S. Campanella. Ear. World Book Online Americas Edition. 26 May 2003.

INSTRUMENT PLAYING STATISTIC D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Figure Beside: stated all the type of deafness which include, partially deaf, total deafness.

Every type of deafness have their advantages and disadvantages to play the instruments

NDCS, UK: Comparison Study of instrument played between Deaf and normal person

Source: National Deaf Children’s Society (NDCS), 2014. How to make music activities accessible for deaf children and young people . The statistics: part 2. Shifts in instrumental trends. Retrieved, https://gb.abrsm.org

MUSICIAN BASED OF INSTRUMENT D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

PERFORMER HEARING: RHYTHM: COMPLEXITY:

Voice, 73Hz - 880Hz

STRING INSTRUMENT HEARING: RHYTHM: COMPLEXITY:

Tuba, 33Hz - 349Hz Violin, 240Hz - 3550Hz

WIND & BRASS INSTRUMENT NORMAL HEARING

HEARING: RHYTHM: COMPLEXITY:

Normal person can learn and play anykind of musical instrument without any difficulties

Source: ABRSM, 2014. Making Music Report 2014.

Supporting the teaching and learning of music in partnership with the Royal Schools of Music: Retrieved, https://gb.abrsm.org

Bassoon, 65 - 587Hz Piccolo, 600 - 3950Hz

PERCUSSION INSTRUMENT HEARING: RHYTHM: COMPLEXITY:

Timpani, 65Hz - 256Hz Xylophn, 350 - 2000Hz

DEAF MUSICIAN RANGE D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

PROFOUND HEARING LOSS HEARING: RHYTHM: COMPLEXITY:

NORMAL HEARING PARTIAL DEAFNESS

PERFORMER

MILD HEARING LOSS HEARING: RHYTHM: COMPLEXITY:

STRING INSTRUMENT

PROFOUND HEARING LOSS TOTAL DEAFNESS

MODERATE HEARING LOSS HEARING: RHYTHM: COMPLEXITY:

Different hearing loss are derive from type of sound frequencies range they are recieving Source: National Deaf Children’s Society (NDCS), 2014.

How to make music activities accessible for deaf children and young people . The statistics: part 2. Shifts in instrumental trends. Retrieved, https://gb.abrsm.org

WIND & BRASS INSTRUMENT

TOTAL DEAFNESS HEARING: RHYTHM: COMPLEXITY:

PERCUSSION INSTRUMENT

DEAF MUSICIANS: MANDY HARVEY D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Source: Shea, Christopher D. “Mandy Harvey, Deaf Singer, Finds an Audience. And Leaves It Weeping.” The New York Times, June 8, 2017, accessed September 15, 2017 Source: Moniuszko, Sara M. “Watch this deaf singer win Simon Cowell’s heart on America’s Got Talent”, USA Today, June 7, 2017

MANDY HARVEY she was majoring in vocal music education before she was deaf

Profoundly Hearing Loss (result of the connective tissues disorder Ehlers-Danlos syndrome)

BAREFOOT To sense the rhythm, vibration of the music VISUAL TUNER digital tuner to practice singing in tune

PRACTICE VIDEO

TYPICAL MUSIC REHEARSAL SPACE D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Adams Center: Orchestra Rehearsal Room

WIND & BRASS ACOUSTIC AT THE FOREFRONT OF THE DESIGN “The building has a resonance of the respectable academy of the last two hundred years, but provides the utility of the most modern facility.”

PERCUSSION

Thomas Duffy, director, yale university bands

STRINGS

MUSICAL DIRECTOR

Source: Yale School of Music, 2017. Adams Center: Orchestra Rehearsal Room. ttps://up.yalecollege.yale.edu/performance-rehearsal-venues/rehearsal-spaces

CHARECTERISTIC OF SPACE D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

Source: Author, 2018 Source: Deafspace, 2016. Gautlet University for the Deaf.

FOR NORMAL MUSICIANS

GREAT ACOUSTIC FLOOR’s VIBRATES FLEXIBLE ARRAGEMENT VISIBLE TO THE CONDUCTOR

FOR DEAF MUSICIANS PERCUSSION

POOR VISIBILITY

WIND & BRASS STRINGS MUSIC DIRECTOR

POOR SPACE, MOBILITY & PROXIMITY COLOUR DISTURBANCE POOR MUSICAL EXPERIENCE *CROSS REFERENCE ON DEAFSPACE PRINCIPLES

STUDIES FRAMEWORK D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

*BASED ON CASE STUDIES

REHEARSAL STUDIO

SPATIAL ANALYSIS THROUGH VISIBILITY

VISUAL REACH

ANALYSIS & SWOT

SPACE, MOBILITY & PROXIMITY ARCHITECTURAL TECH.

COLOUR AND LIGHTING ‘SENSING’ MUSIC PROPOSED SCHEME

OPEN STAGE PLAZA 1. SMALL STAGE 2. AMPHITHEATER

MUSIC WORKSHOP 1. DEAFMUSICIANS 2. AWARENESS

LEARNING ROOM

REHEARSAL STUDIO

1. MUSIC INSTRUMENT CLASS 2. THEATER ROOM

1. MUSIC REHEARSAL STUDIO 2. DANCE STUDIO

CONCERT HALL 1. MAIN AUDITORIUM 2. BLACKBOX HALL

CASE STUDY: REHEARSAL SPACE ANALYSIS D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

YMCA COMPLEX: DEAFBEAT TRAINING STUDIO

PHILHARMONIA CENTRE: CONCERTO ORCHESTRA LA FILHARMONIE

ADAMS CENTER: ORCHESTRA REHEARSAL ROOM

Year Established: Users: Musicians:

No of Musicians:

2015 Deaf Musicians Percussionist Performer 10 Pax

Year Established: Users: Musicians:

No of Musicians:

2010 Musicians Orchestras Set Performer <50 Pax

Year Established: Users: Musicians: No of Musicians:

2017 Musicians Orchestras Set <50 Pax

Space Dimension:

12 x 6 x 3.5 (m)

Space Dimension:

(16 x 14) x 10 x 10

Space Dimension:

(18 x 16) x 12 x 6

FINDING: DEAFBEAT TRAINING STUDIO D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

*GLOBAL MEASURES: R15

ISOMETRIC PLAN

VISIBILITY ANALYSIS

VISIBILITY Radial array positioning of percussionist; WHITE WALLS

GLARE WINDOW

SPACE, MOBILITY, AND PROXIMITY COLOUR AND LIGHT

PARQUET FLOOR

LAMINATED FLOOR

‘SENSING’ MUSIC

the most suitable arrangement for the deaf musians 1000 mm radius per musician, making them easy to play the instrument and using their sign language Poor lighting conditions such as glare, shadow patterns, backlighting interrupt visual communication Poor sensing music experience but laminated flooring give a small impact

STEP DEPTH ANALYSIS

SYSTHESIS: Arrangement of the musician make them accessible to communicate and visual reach towards the conductor, but the poor lighting placement and poor music experience are major contributors to the causes of eye fatigue that can lead to a loss of concentration and even physical exhaustion.

FINDING: CONCERTO ORCHESTRA LA FILHARMONIE D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

*GLOBAL MEASURES: R15

ISOMETRIC PLAN

VISIBILITY ANALYSIS

VISIBILITY Moderate visual reach towards the con-

COPPER CLADDING

DIFFUSED LIGHT

ductor due to the stacking arragement of the musicians SPACE, MOBILITY, AND 600mm radius per musician make the deaf PROXIMITY musician hard to communicate COLOUR AND LIGHT Proper Electric lighting and architectural

TIMBER FLOORING

SUSPENDED TIMBER FLOOR

elements used to control daylight can be configured to provide a soft, diffused light.

‘SENSING’ MUSIC Suspended timber flooring give the effect of vibrations to sense the rhythm

STEP DEPTH ANALYSIS

SYSTHESIS: Moderate visual reach are shown in the Visibility Analysis, due to a tight space arrangement of the musicians.

But the diffused light from the top window and lighting give a sensable approach towards the deaf musicians, and also the sensing musing due to the suspended floor.

FINDING: ORCHESTRA REHEARSAL ROOM D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

*GLOBAL MEASURES: R15

ISOMETRIC PLAN

VISIBILITY ANALYSIS

VISIBILITY Scattered visual reach towards the con-

TIMBER WALL

GLARE WINDOW

ductor due to the stacking arragement of the musicians SPACE, MOBILITY, AND 600mm radius per musician make the deaf PROXIMITY musician hard to communicate COLOUR AND LIGHT Poor lighting conditions such as glare,

TIMBER FLOORING

STAGGERED STAGE

shadow patterns, backlighting interrupt visual communication ‘SENSING’ MUSIC Staggered stage are used for easy accessibilty for visual reach towards the conductors and other musicians

STEP DEPTH ANALYSIS

SYSTHESIS: The poor lighting placement and poor will colours are major contributors to the causes of eye fatigue that can lead to a loss of concentration and even physical exhaustion. Staggered stage are a suitable approach to have a upmost visibility access.

INITIAL CONFIGURATION STUDIES D E A F S O U N D :

M U S I C

F O R

T H E

VISIBILITY ANALYSIS

D E A F

STEP DEPTH ANALYSIS

*VGA ANALYSIS ON CONFIGURATION STUDIES WERE BASED ON: 1. CASE STUDIES ANALYSIS 2. DEAF SPACE PRINCIPLES 3. MUSIC HALL, ACOUSTIC STANDARD DESIGN

RECOMMENDATION D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

*GLOBAL MEASURES: 10000 MM

ISOMETRIC PLAN

VISIBILITY ANALYSIS

VISIBILITY Radial array positioning of percussionist; COOL; PASTEL COLOUR

DIFFUSED LIGHT

SPACE, MOBILITY, AND PROXIMITY COLOUR AND LIGHT

SUSPENDED TIMBER FLOOR

STAGGERED STAGE

‘SENSING’ MUSIC

arrangement for the deaf musians to see the conductor and each other 1200 mm radius per musician, spaces enable singers to move, communicate and play through space uninterrupted Proper Electric lighting and architectural elements used to control daylight can be configured to provide a soft, diffused light Visual ques are located infront of the stage while vibrotactile located at the surround of the musicians

STEP DEPTH ANALYSIS

SYSTHESIS: Deaf people “read” the activities in their surroundings that may not be immediately through an acute sensitivity of visual and tactile cues such as the movement of shadows, vibrations, or even the reading of subtle shifts in the expression/position of others around them. Color can be used to contrast skin tone to highlight sign language and facilitate visual reach.

STRUCTURAL CONSIDERATION D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

STRUCTURAL SYSTEM: LOAD BEARING WALL CONCRETE COLUMN AND BEAM

STRUCTURAL SYSTEM: STEEL FRAME STRUCTURE

FLOORING SYSTEM: CONCRETE FLOORING TIMBER FLOORING

PREFABRICATED FACADE SYSTEM: ALUMINIUM CLADDING PANEL PERFORATED CLADDING PANEL DOUBLE GRAZING GLASS

SUSTAINABLE CONSIDERATION D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

DAYLIGHT CONSIDETATION

DIFFUSED LIGHT

INTERNAL COURYARD PERFORATED FACADE

DIRECT SUNLIGHT

SKYLIGHT

PEDESTRIAN ORIENTATION PEDESTRIAN BUS STOP VEHICULAR ROAD

GREENERY PLACEMENT COURTYARD

INTERNAL COURYARD

GREENERY AS A DAMPING NOISE SYSTEM

SITE GREENERY

CONCLUSION D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

The uniqueness of the deaf ‘hear’ the music are one of the main features to further understand their difficulties in the accessing music and the physical environment.

By focussing on the sense of sight and touch, the proposed building are full with attributes such as the tier arrangement of the rehearsal space and until the type of floor and wall finishes, for the deaf which could enhance the experience of ‘listening’ to music with clarity and ease.

Another key element to point out is that the deaf are visual centred person, hence, by designing a space that have a suitable visual reach and mobility could improve the accessibility of the deaf in a physical environment.

Thus, further improving the accessibility of the deaf in the physical environment and dismiss the misconception of assuming that music can only listen using the ears.

THANK YOU

BUILDING PROGRAMM & SPACE PLANNING

THE CLIENT D E A F S O U N D :

M U S I C

F O R

T H E

D E A F

1 2

MISSION AND VISION DeafBeat Malaysia are dedicated to providing access, education and opportunities in music for deaf children, young people and adults.

DEAFBEAT MALAYSIA

Programs

â&#x20AC;&#x153;Enriching live through Musicâ&#x20AC;?

Workshop

Projects

Talks, Training & Consultation

Rentak Workshop

Modulate Project

Awareness Talks

fun, memorable, musical day Music and the Deaf works hard to share good practice and to actively encourage deaf children to access and enjoy music.

directly engage students in primary and secondary schools to pursue instrumental lessons.

Activity led will take place over twelve months during 2017.

DeafBeat Esemble i.

TRAINING PROGRAM

ii. AWARENESS PROGRAMS Source: Author, 2018. Interview with Deaf Founder, Deaf Beat Training Center.

Source: DeafBeat, 2017. INNER VOICES - Deafbeat 10th Anniversary @ Damansara Performing Arts Center (DPAC), Damansara Perdana, Malaysia. http://deafboleh.blogspot.my/

Frequalise Tech.

Changes in technology have had a profound impact on how we all access, listen to, perform and enjoy music. We created Frequalise to engage more deaf and hard of hearing young people in digital music-making technology

cover topics including deaf awareness, lived experience as a deaf musician, how deaf people can engage with music, and how barriers to deaf people accessing music can be overcome.

Training provide techniques and activities that teachers can use in the classroom or community, discuss communication tactics, advise how to deliver a music or set up a group for deaf musicians, and assist with festival or venue access.

Consultations

BUILDING PROGRAMME BREAKDOWN D E A F S O U N D :

M U S I C

F O R

T H E

TYP E

D E A F

AIMS Building Relationship

MAIN

AC TIVITIE S

S P AC E

s.

DEAFSOUND TRAINING FACILITIES

DEAFMUSIC – DEAF PEOPLE

• • • • • • •

Intermediate DeafSound Studio Professional Deafsound Studio Open Training Area Recording video music Storage for Instruments Mastering Room Loundge

• • • • • • •

Implementing deaf for music elements Studios for learning music skills Feels and see music Storage for Instruments Recording video music Training Living Skills & Abilities Extending ability to mix within the wider community

b.

DEAFSOUND SHOWCASE PLATFORM

DEAFMUSIC – DEAF PEOPLE DEAFMUSIC – PUBLIC

• • • • • • •

Black Box Stage Auditorium Performance Square Side Stage Storage Control Room Preparation area

•

A space where they can showcase their talents with necessary music for the deaf instruments Plaza which encourage sense of place for the public to used and interact, Urban Recreational Musical space to encourage interaction and open up new boundries

• • • • • •

Rentak Workshop Hall Auditorium speech Deafbeat Assemble Storage Preparation Area Loundge

•

A day or weekly training for deaf to deaf to deaf to the public to create awareness forcover topics including deaf awareness, lived experience as a deaf musician, how deaf people can engage with music, and how barriers to deaf people accessing music can be overcome.

• •

c.

PROGRAMS; DEAF PEOPLE – DEAF PEOPLE WORKSHOP DEAF PEOPLE – PUBLIC PROJECTS TALKS & CONSULT

d.

Interaction Space

DEAF PEOPLE – DEAF PEOPLE DEAF PEOPLE – PUBLIC

• • •

Social Atrium Entrance Plaza Cafeteria

•

For networking for the deaf people towards the surrounding communities

e.

Management

DEAF PEOPLE – POLICY MAKER

• • • •

Management Office Trainer Office Meeting Room Supportive space

• • •

Manage and arrange the programs Advertise on the program provided Finding fund to sustain

MUSIC PROGRAMME D E A F S O U N D :

M U S I C

F O R

T H E

Source: Royal College of Music, London, United Kingdom http://www.rcm.ac.uk/

D E A F

Source: Bentley Music Academy, Kuala Lumpur Malaysia http://www.bma.com.my/

DEAFSOUND + DEAFSPACE

AMETEUR / WORKSHOP

INTERACT AND LEARN USING MUSIC INSTRUMENTS TO A STUDIO LEARNING SYSTEM

DEAF SHOWCASING THEIR TALENTS INTERMEDIATE STUDIO

SKILLED STUDIO

TEACH AND SUPPORT; WORKSHOPS PROGRAMS AND PROJECTS

MEDIA INVOLVEMENT = AWARENESS

EXPECTED GRADUATES D E A F S O U N D :

M U S I C

F O R

1. Novice & Professional Training Space 2. Music For the Deaf Awareness Space

1. Auditorium 2. Amphitheater Stage

1. Workshop 2. Projects 3. Talks, Training & Consultations

1. Social Atrium 2. Entrance Plaza 3. Cafeteria

T H E

D E A F

Source: Royal College of Music, London, United Kingdom http://www.rcm.ac.uk/ Source: Bentley Music Academy, Kuala Lumpur Malaysia http://www.bma.com.my/