Hannah Ellliott: The Lighthouse Brief.
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Introduction
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Brief
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Concept Material
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Autism
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Historic Study
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Site Analysis
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Environmental Analysis
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Building Analysis
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Construction
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Case Studies
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Design Precedent
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Functions Analysis
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Project Conclusion
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Bibliography
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Illustrations List
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Appendix
o3 Contents
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4 - 28 Bridge End situated in Briggate, based on the outskirts of Leeds City Centre situated in West Yorkshire, 197 miles North of London.
Is a site with extensive hidden history however, there is a lot of public history relating to the famous Leeds cloth industry and Leeds Bridge its self where a community market was held twice a week. This idea of community has been expanded upon on this site by starting a new community based around the autistic spectrum. This project is to rehouse the current Lighthouse school in Leeds. Through worldwide autistic research will be pulled together with known basic knowledge of structures to make a tailor made autistic school within the Bridge End community.
Project Introduction
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My ideal education environment would be one where the room had very little echo and reflective light, where the lighting was soft and glowing upward rather than downward projecting lighting... It would be an environment where the educator’s volume was soft, so that you had to choose to tune in rather than being bombarded... It would be an environment that took account of mono and sensory hypersensitivity and information overload and didn’t assume that the educator’s perceptual, sensory, cognitive, emotional or social reality was the only one.... There are many things that people with autism often seeks to avoid: external control, disorder, chaos, noise, bright light, touch, involvement, being affected emotionally, being locked at or made to look. Unfortunately most educational environments are all about the very things that are the strongest sources of aversion. (Donna Williams)
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he Lighthouse School, Head mastered by Tim Greeves, will discover new designs and ideas through extensive research on Autistic Spectrum Disorder (ASD) and the effecting problems within buildings such as light, sound etc. Through researching these senses and combining the information with ASD research the design will propose a feeling of a safe environment where the pupils can work comfortably with as little distractions as possible. Rooms such as ‘Break-out rooms’, where the children can have short breaks to release of energy to enhance in-classroom concentration. ‘Transition-spaces’, where people using the space or room ahead will be-able to acclimatise before moving on. ‘Circulation spaces’ that the children can use to move around the building should be structurally considered to calm and dull noises and strong lights. And finally, a ‘sensory room’ which will pose to contain places for tailor made sensory profiles, so that each pupil can attend a one-to-one session at there own perfect comfort, this room should be change-able, almost to resemble a blank canvas. This project is to rehouse the current Lighthouse school in Leeds, which include children 11-19 years on the autistic spectrum, supporting staff, office staff and head teacher; Tim Greeves. The design should consider the capability of being accomodate to apply to 50 pupils with ASD.
o7 Lighthouse
Being held by surfaces pro‘‘ duces a calming effect that normal people get from a hug. ’’
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irected by Mick Jackson, the Biopic of Temple Grandin, ‘Thinking in Pictures’ has opened many peoples eyes to the intensity and the brilliance of the autistic spectrum. As well as telling how Temple played by well known actor Clare Danes, grew beyond her fears and expectations.
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Telling the story of how she learnt to ‘pass through doors’ as her own thresholds with in her mind and how she became a well known scientist across the USA and eventually across the world. Eventually, creating humane life-stock holdings and systems within the cattle industry. By observing patterns and circulations within a heard of life-stock .
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Through this she discovered that cattle travel in circular motions as a heard and influence each other as to which direction they travel in. Additionally, Temple researched the holding pens used when hearding cattle and due to her insight she was able to establish which pen was most suitable and calming. Temple Grandin viewed life differently from everyone else, her autism enabled her to assess situations differently and in specific detail. Often the most obvious aspects overlooked by most people were magnified to Temple, one of many examples illustrated in the was that film she recognised that horses ears point to the direction they are looking in.
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Behaviour tantrums at school may arise during or prior to times when many students are gathered together, such as recess, lunchtime, or assemblies. Stimuli that are most likely to cause problems are the flicker or fluorescent lights, perfumes/colognes and other strong smells (the cafeteria at school), and high-pitched sounds such as smoke alarms.
Sounds, smells, and textures that are merely annoying to people, maybe like a dentist’s drill hitting a nerve for a person with autism. I have difficulty tolerating scratchy clothes, but for some more sensitive individuals scratchy sweaters, still new clothes or double-stitched seams may cause pain sensation, ....
... Often something as simple as changing to a new brand of socks may feel like waling on burning sandpaper.
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Temple Grandin
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he Animation explores thresholds which Temple uses to get over obstacles within her life. Through the animation the group tried to convey different everyday situations which may affect a person with ASD. In hope that by watching that video the viewer will go through the experience also.
Animation
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The animation was introduced by the lighthouse title and the light house in order to direct the animation towards brief. Firstly the Lighthouse selects a person, it indicates that people with ASD are selected with these amazing talents which have consequences on the rest of their lives. The video then goes on to show that consequences, such as extra loud traffic, brings chaos (colour) upon a blank calm canvas. Additionally, a waiting room scene was explored where by the ticking of a clock could take over the entire situation. Also, showing that something as simple as a clock ticking in the back ground can tip concentration levels extremely for a hypo-auditory person. The clock then becoming the focus relating to numbers, times and dates which Temple may experience as she remembers everything related to clocks.
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Furthermore, the animation conveys thoughts of water. As Mick Jackson explores Temples memory of shoes. The animation explores images of water from, the sea to taps, rain, puddles and bottled water. These images were merged as one of the viewers was known to have epilepsy and so we tried to contain as little flashing images as possible. The sound throughout the animation was a calming sound that occurred from start to finish which was carefully created on garage-band to convey thoughts of this everyday life which is then dominated by the large masses of layered sound in everyday life for a hypo-auditory person.
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The animation then closes with Temples famous quote, ‘I am different, not less.’ To give the viewers an insight to how people with ASD should be viewed.
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o13 Research
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utism is an incurable disability which is a part of the ‘autistic spectrum.’ People with autism all have individual boundaries and talents. Additionally, one theory behind autism is that there are three main areas of difficulty that autistic people share are which sometimes known as the triad of impairments’.
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he autism spectrum is commonly spilt up in to higher functioning and lower functioning. However, this scale is also split individually. No person is the same; whether they are on the autistic spectrum or not. Some are hypo-sensitive, meaning that they have one or more senses that are heightened than the others, which when exposed can cause them mental pain.
Autism
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Many people with an autism spectrum disorder (ASD) have difficulty processing everyday sensory information such as sounds, sights and smells. This is usually called having sensory integration difficulties, or sensory sensitivity. It can have a profound effect on a person’s life.
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Controversially, an autistic person can be hypo-sensitive, where by there senses are dulled or muted, it is said that they are frustrated by the need to feel and heighten these senses to feel safe.
They are:
Difficulty with social communication.
Difficulty with social interaction.
Difficulty with social imagination.
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Furthermore, there is another rare condition known as Synaesthesia where by someone with ASD goes through a sensory experience ‘through one system and out through another. So a person might hear a sound but experience it as a colour. In other words, they will ‘hear’ the colour blue.
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Olga Bogdashina one of the leading researchers in sensory aspects of autism refers to Carl Delacato who ‘classified each sensory channel as being: Hyper-: The channel is too open, as a result too much stimulation gets in for the brain to handle. Hypo-: The channel is not open enough, as a result too little of the stimulation gets in and the brain is deprived. ‘White-Noise’ : The channel creates its own stimulus Because of its faulty operation and, as a result the message from the outside world is overcome by the noise within the system. Delacato stated that each sensory channel could be affected in a different way, for example, a child could by hyper-visual, ‘white noise’ auditory, hypo- to tastes and smells and hyper-tactile.
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coustics are said to be the main feature of a space.
And so as a main founder of a building it should be considered the most. In a school building certain aspects should be approached and solved with acoustic technologies. Such as, classrooms which block exterior sound and corridors that absorb sound. To make the area a calm place to learn in which will prevent sensory overload, resulting in the pupils feeling safe.
Auditory & Acoustics.
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Timber slats can be used on ceilings when ‘set about 10mm apart with an acoustic sound absorbing mat in the cavity behind. A proportion of sound goes through the gaps and is not reflected back into the space. Timber is a warm material and can be left natural.’ Which would also, avoid sensory overload through colour as wood can be used as a natural theme. Other, acoustic strategies can also be considered such as, shapes of rooms. As the way sound travels around a room relies on the shape of the walls and ceiling, sometimes even floor levels may make a difference to sound travel.
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My trol that and
hearing is like having a hearing aid with the volume constuck on ‘super loud’. It is like having an open microphone picks up everything. I have two choices: turn the mike on get deluged with sound, or shut it off. (Temple Grandin)
Hypo-auditory: May only hear some sounds. May not acknowledge particular sounds. Might enjoy crowded noisy places or bang doors and object. Hyper-auditory: Noise can be magnified and sounds become distorted and muddled. Particularly sensitive to sound and can for example hear conversa tions from a distance. Inability to cut out sounds - notably background noise which often leads to difficulty concentrating.
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‘‘ Blocks?
Vibrations?
Common signs of... Hyper-sensitive hearing:
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Hypo-sensitive hearing:
Covers ears.
Bangs objects, doors.
Is a very light sleeper.
Likes Vibration.
Is frightened by animals.
Dislikes thunderstorms, sea, crowds.
Dislikes haircuts.
Avoid sounds and noises.
Makes repetitive noises to block out other sounds.
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Echo?
Likes Kitchen, Bathroom. Likes crowd, traffic, etc.
Tears paper, crumples paper in his hands.
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Is attracted by sounds, noises,
Makes loud rhythmic noises.
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Feel of paper?
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he typical ways of solving problems for hypo-auditory people is to aid them with visual back up information.
However, through research it can be suggested that a room which echoes or a room with an echo point like in Grand Central Station, London, could aid hypo-auditory problems.
Sound control ceiling and floor
Where as a hyper-auditory person will need to shut out sounds and so the suggested methods are to reduce external sounds by shutting windows and doors. For this to happen proper ventilation, air conditioning and heating should be installed in order to obtain the correct temperature and oxygen : carbon dioxide ratio in a room. Transition spaces should be installed between noisy or crowded environments. Other alternatives are to supply ear plugs or listen to music however, it is said that this can effect vestibular issues (balance.)
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From external research acoustic solutions can be provided to absorb sound. Which would be vital in one to one teaching rooms and circulation spaces, especially for those who are hyper-auditory, but over all it would create a calm atmosphere. Additionally, it is suggested that material/fabric an be used on walls to help deaden sound for example, hanging carpet, curtains or drapes. Also, there are acoustic panels which can be used. Which consist of a fabric wrapped frame. However, these can be costly.
16 Sound control wall
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Sound deadening and absorbing paint. ‘‘Result: – Less working hour to sound damping one sqm. Up to 80% reduction. – Reduced material cost. – Less weight. Up to 50% reduction. – Environmentally harmless product. – Contains no solvent or other dangerous materials. – Better sound damping results.’’ 19
Foam Panels for Reflective Sound Control Hanging Baffles ‘‘Anechoic Wedge Design
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– Open Cell Polyurethane Acoustical Foam construction for maximum noise control – Flammability UL94HF-1 – Three unique designs allow customization’’ Magnetsteal framing for acrylic panels.. ‘‘Low-cost Interior Windows for Soundproofing for reducing sound passing through existing windows.’’ ‘‘For maximum sound reduction, the plastic acrylic panels should be thick and heavy, at least 1/4″ thick. They should be readily removable. They should not yellow from UV (Ultra Violet) sun rays over time. They should be relatively inexpensive to buy and make. They must fit well to eliminate sound leaks.’’
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Visual & Lighting
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Hypo-visual: Object appear quite dark, or lose some other features.
Central vision is blurred but peripheral vision quite sharp.
A central object is magnified but things on the peripheral vision quite sharp.
A central object is magnified but things on the periphery are blurred.
Hyper-visual: Distorted vision: objects and bright light can appear to jump around.
Images may fragment.
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or hypo-visual pupils extra visual aids and bright colours and large contrasts can be given to direct, help learn and also aid body awareness in a space.
However, bright colours and high contrasts in the same environment as a hyper-sensitive child would be catastrophic and so only small fragments of the space should be allowed to be bright and have high contrast. Additionally, neutral colours can be used such as earth greens and beige. And low contrasts such as cream and grey can be used. Also, florescent lights can effect the hyper-visual as the unnoticeable flicker to most people distracts them entirely. And so as much natural light is needed as possible so that florescent lighting can be restricted. However, deep-coloured light bulbs have been suggested, the reason for which is unknown. Additionally, sunglasses have been advised to wear n bright conditions. Furthermore, ‘‘in the classroom: a space or desk with high walls or divides on both sides to block out visual distractions and use blackout curtains.’’
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Hypo-sensitive sight:
Is attracted to light.
Looks intensely at object or people.
Moves finger or objects in front of the eyes.
Is fascinated with reflections, bight coloured objects.
Runs a hands around the edge of objects.
Perimeter hugging.
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Hyer-sensitive sight:
Constant;y looks at minute particles, picks up smallest piece of duct.
Looks down most of the time.
Covers or closes eyes at bright light.
Dislikes dark and bright lights. Is frightened by sharp flashes of light, lightning, ect.
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Tactility
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Hypo-sensitive tactility:
Likes pressure, tight clothes
Seeks pressure by crawling under heavy objects
Hugs tightly
Enjoys rough and tumble play
Prone to self-injuries
Low reaction to pain and temperature
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Hypo- sensitive to touch.
Holds others tightly - needs to do so before there is a sensation of having applied any pressure.
Has a high pain threshold.
May self-harm.
Enjoys heavy objects (e.g. weighted blankets) on top of them.
Hyper - sensitive to touch. Hyper-sensitive tactility:
Resists being touched
Cannot tolerate new clothes; avoids wearing shoes
Overreacts to heat/cold/pain
Avoids getting ‘messy’
Dislikes food of certain texture
Avoids people
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Touch can be painful and uncomfortable; peo- ple may not like to be touched and this can affect their relationships with others.
Dislikes having anything on their hands or feet.
Difficulties brushing and washing hair because the head is sensitive.
Only likes certain types of clothing or textures.
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ypo-tactile types of ASD may require weighted blankets or sleeping bags in order for them to feel relaxed. This may be due to getting a sense of security from the pressure caused by the weight.
Where as hyper-sensitive person would avoid sources of pressure. They may feel very responsive to another persons touch. This maybe due to security and personal space issues. Additionally, issues like hugs maybe seen as painful rather than comforting. It was suggested that different textures can be gradually introduced.
The National Autistic Society suggests that you ‘‘Allow a person to complete activities themselves (e.g., hair brushing and washing) so that they can do what is comfortable for them. Some people with an ASD are hyper- or hypo-sensitive to taste, and may limit themselves to bland foods or crave very strong-tasting food. We have not included any ways to help because as long as someone eats a bit of a varied diet, this isn’t necessarily a problem.’’
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Olfactory (smell): Hypo-olfactative: Smells self, people and objects
Smears (plays with) faeces
Seeks strong odours
Olfaction & Hyper-olfactory: Toileting problems Gustration
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Runs from smells
Wears the same clothes
Moves away from people
Some people have no sense of smell and fail to notice extreme odours (this can include their own body odour).
Bed-wetting
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Hypo-sensitive sense of smell:
Some people may lick things to get a better sense of what they are.
Hyper-sensitive sense of smell:
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Smells can be intense and overpowering. This can cause toilet- ing problems.
Dislikes people with distinctive per- fumes, shampoos, ect.
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trong smelling products as rewards for hypo-sensitive sense of smells can be used as a reward and to ‘‘distract people from inappropriate strong-smelling stimuli (like faeces).’’
Whereas someone with a hyper-sensitive sense of smell will be advised to use ‘‘unscented detergents or shampoos, avoid wearing perfume, make the environment as fragrance-free as possible.’’ It is hard to incorporate these issues into space however, having areas that smell different to others that can stimulate some people. Additionally, having learning tools around the space that smell can be effective as seen in some modern museums.
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Gustration (taste)
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Hypo: Eats anything (pica)
Mouths and licks objects
Eats mixed food (sweet & sour)
Hypo-sensitive sense of taste:
Likes very spicy foods.
Eats everything - soil, grass, Play dough. This is sometimes known as ‘Pica’.
Regurgitates
Pica is often associated with people with ASD putting relativity uneatable objects such as pebbles into their mouths. It is known to happen when the person is stressed or anxious. Giving them a sensory experience.
Hyper: Poor eater
Hyper- sensitive sense of taste:
Uses tip of tongue for tasting
Gags/vomits easily
Craves certain foods
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Finds some flavours and foods too strong and over powering because of very sensitive taste buds. (Has a restricted diet).
Certain textures cause discomfort; some children will only eat smooth foods like mashed potatoes or ice- cream.
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Hypo - sensitive:
Low muscle tone
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Hypo - sensitive:
Stands too close to others, because they cannot measure their proximity to other people and judge personal space.
Hard to navigate rooms and avoid obstructions.
Unaware of their own body sensations (e.g. does not feel hunger.) Appears floppy, often leans against people, furniture, walls. Stumbles frequently, has a tendency to fall
May bump into people.
Difficulties with fine motor skills: Manipulating small objects like buttons or shoe laces.
Moves whole body to look at something.
Has a weak grasp; drops things A lack of awareness of body positions in space
Propreception & Vestibular
Propreception (Body awareness):
Rocks back and forth.
Hyper - sensitive: Places body in strange positions
Difficulty manipulating small objects
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Hyper - sensitive:
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There is little exact knowlege about solutions for both hypo and hyper sensitive autistic people for both Proprioception and Vestibular issues. However, from external research and knowledge it is presumed that balance balls and mats are available. Which force your body to balance. Something similar to this could be placed in certain areas of the school so that children who need a little stimulation or those who may need to learn how to balance can use these. Additionally, spinning and rocking may help hypo sensitive vestibular issues and so something as simple as a hanging chair could be of great use to a child with these problems. Especially if they are also, hypo-tactile and require pressure and cocooning to concentrate. As these chairs act as an almost levitating egg. However, safety and trust issues may preventsome from using them so a method of self security should be assessed. Cocooning spaces can also be made. As for someone with hypo-propreceptive problems, the space they are in should have a little obstacles as possible and so fixtures such as onwall storage could be vital.
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Hypo - sensitive:
Enjoys swings, merry-go-rounds
Spins, runs round and round
Rocks back and forth
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Vestibular (balance): Hypo - sensitive common traits:
Hyper - sensitive: Fearful reactions to ordinary movement activities (e.g. swings, slides ect.)
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A need to rock, swing or spin to get some sensory input. Hyper - sensitive traits:
Difficulty with walking or crawling on uneven or unstable surfaces.
Difficulties with activities like sport, where we need to control our movements.
Dislikes head upside down.
Difficulties stopping quickly or during an activity.
Becomes anxious or distressed when feet leave the ground.
Car sickness.
Difficulties with activities where the head is not upright or feet are off the ground.
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o31 Site Analysis...
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To the ‘‘right is no. 23, Henry Smith and Co., Bridge End Bottling Store. A man stands by the door of no. 22 and a man, woman and ...1867 directory children are in front of no of Leeds but not in an 23. These properties 1872 one; it is believed are listed in an... they may have been pulled
down at the same time as the nearby old Leeds Bridge which was demolished later in 1869.’’ 23
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‘‘View of Bridge End taken in 1869 by A. To the left is no. 22, J L Fernandes and Co., Ale and Porter Stores, with barrels lined up in front.’’
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Bridge End is said to be one of the oldest streets in Leeds, which was ‘founded in 1207, when the road began at the Northside of Leeds Bridge over the River Aire. The name ‘Briggate’ derives from ‘the road to the bridge.’
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‘‘7th September 1999.View on Leeds Bridge. To the left, a poster advertises the impending regeneration work to Dock Street. Premises of Wine & Co, charted accountants to the right.’’
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Additional research says that there was a market which gathered at the Leeds Bridge twice a week. And the River Aire was used to transport cloth when Leeds was a major part of the cloth industry. Furthermore, the bridge its self is an incredibly historic crossing, as the cast iron bridge date back to the 1730 ‘s and is grade II listed. It is said that it was due to this crossing and the situation of the river that the city of Leeds became what it is today due to its import and export industry.
Historic Information
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View taken in 1869 by A. Macaulay and reproduced by Leeds City Engineers in 1909. On the left is the Fountain Inn at no. 27. Next, no. 28 is the Bridge End fish, fruit, greengrocer and potato warehouse... These businesses were to shut down later in the year and it is believed they were demolished shortly after along with the old bridge. .
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he site was explored through all six senses individually. The response to these senses at site combined from both participants was the expressed upon cotton cloth with thick paint and ink to give a layered shadow effect.
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Through this exploring the history of the cloth industry within Leeds and how the layering of the senses both in the response and at site, make Bridge End. Each sense was designated a sheet of cloth which was sized and ordered. The order in size and placement was assorted to how dominant the sense was at site. Six sheets were used in order to portray sound, sight, smell, taste, touch and propreception. For example, the front and largest sheet represented sound, as we though that when standing at all three points of the site; across the river, standing at the front and rear elevation, sound was the most influential. The sheet shows the sound source from the left echoing to the right of Bridge End. Through the site response it can give results as to which senses need to be addressed within the building, to make it a comfortable and safe sensing area for a person on the autistic spectrum.
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Can you sense in pictures? The Six senses of site.
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he immediate responses to site was that it appeared very tranquil as the site was approached from the city and viewed the building overlooking the river Aire. Walking down the river path the sun was blinding from the south west as it as afternoon in winter and the building was left in partial shadow due to this. Also, there was work men underneath Leeds Bridge adjacent the site which over powered the site with both noise and with strong scent of fuel. As well as the occasional, smoke cloud. Furthermore, my responses of site changed more throughout the visit as we moved around onto and across Leeds Bridge. As traffic became more frequent the noise completely dominated site. The building almost felt abandoned when standing at the south side of the river, looking over the tall, powering modern flats which are situated at the north side, over the bridge. Accompanied by the city beyond that the entire area of bridge end feels old and decelerate. The building is self is on a slight downward slope leading south towards the river, this could be purposely done to allow extra water drainage. The river its self creates a massive boundary as nothing can be expanded past a certain point. Making the site inflexible as there are flats which need parking and access to the building, as well as one entrance and exit, which is approximatively two car widths wide, on to a small street which leads on the main road of Bridge End. There are two main views of site, one which faces south on to Bridge end which shouldn’t be exploited. However, it also cannot be blocked off because as much natural light as possible is needed. Never-the-less, the other north facing view of the river should be exploited as much as possible, also the back elevation is not listed and so could lead to interesting design proposals. The last view is one of the abandoned building next door which shouldn’t be exploited however it could be blocked. Overall, the building and the area of Bridge end almost feels unimportant when considering the amount of movement around the site, both from the constant flowing river and the busy road. The building is past many times, by many people. Therefore, all these experiences of passing the site layer up and eventually wear away the building. Just as the building has had many owners and purposes and so the building is now wore by is past, old and abandoned with little purpose and little life. The building strives for purpose that it once had. It strives for revival.
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Pedestrians
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edestrian traffic has mainly bee noticed by people walking past the site toward s the city centre in the morning and so it is predicted that they would be walking back from the city centre later in the evening. Also, pedestrians have the opportunity to walk adjacent the site along the river and cross the road via pedestrian crossings in front of the site.
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he area of bridge end is easily accessible as it is near the M1 motorway junction. However, it appears difficult to get to the actual building by car as various routes have to be taken in order. And so public transport would seem the most efficient way to arrive at the site as regular buses pass and with the train station less that 20 minutes away. 42b
Water-way
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ccasional barges and boats pass through the site. As well as workings on the bridge which have been scheduled for April 2012. Which work on the bridge from the water. Adding to presentations of the site due to chemical smells and loud noises.
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Vehicles & Public Transport.
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raffic is believed to have to most influence on site due to noise pollution making the area seem erratic at times. As well as people passing through the site by motor vehicle. There are also regular public buses which pass. Additionally, people can access the site via traveling by train and walking a short 15 minutes from the train station. Also, employees from The Teteleys Warehouse and customers to the local petrol station pass on a regular basis.
Approaches
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Areas around the site show great wearing from the weather conditions such as the moss which grows around the site, which the river may play a part of. As the River brings nature and life to 47the area of Bridge End. From this vegetation has begun to take over parts of site as grass and trees grow upon the building next door. Almost to say that if our building isn’t given a purpose now. It could one day by totally abandoned by the city and society; only to become occupied by vegetation and unwanted city life.
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The constant use by pedestrians travelling to and from the city has worn away most parts of the pavement and road markings, only adding to the as45 pect of peoples lack of care for the site. Also, it shows from the condition of the listed aspects of the building that the current and some past owner do not care for the history of the building. All using the building and leaving it a sorry, used state.
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o41 Materials of site
This Victorian building is listed as shown by the brown area. The front exterior is mainly is untouchable due to a listing of grade II on the windows and front shop area. However, this does not apply to the windows themselves or the doors. The gaps in between the listed aspects can be change but must be carefully considered.
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The sun rises in the east and sets in the west, bearing south throughout the day. Which means that the sun hits the front elevation facing the road approximately 20 percent of the morning, in theory leaving the front of the building at about midday. Due t this the sun will barely ever reach the back elevation due to the building next to site which will block sun in the afternoon.
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These facts suggest that the classrooms should be situated on the south side of the building. As classrooms require approximately a minimum of 40 in lux levels. Also, the use of natural light will be maximised in this area as the use of florescent, unnatural light in theory should be less. Additionally, it could be argued that the external noise from traffic is a distraction however, this can be fixed by the use of acoustic engineering. Where as the north facing side of site could be used for relaxation areas which look over the river.
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hese facts suggest that the classrooms should be situated on the south side of the building. As classrooms require approximately a minimum of 40 in lux levels. Also, the use of natural light will be maximised in this area as the use of florescent, unnatural light in theory should be less. Additionally, it could be argued that the external noise from traffic is a distraction however, this can be fixed by the use of acoustic engineering. Where as the north facing side of site could be used for relaxation areas which look over the river.
Sun Path
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T The red lines high light where the level changes occur within the building. This could be explored, by having a dip in the rooms level. Which may aid with propreception.
The selected blue parts are two of the entrances to the building, the third is shown on the front elevation. Additionally, the main entrance to the site is a large gate way which leads to the rear.
he first floor and ground floor were selected as I felt that there was a bigger possibility to explore external distractions for the pupils as they have visual access to the city and river.
The highlighted green sections of the building are to briefly show which parts of the building could be altered if required.
Also, through extensive research I believe that some pupils may find the aspect of an ‘underground room’ to b hard to understand as oppose to their usual two storey buildings starting from ground floor - up. Additionally, there are aspects such as claustrophobia which could be an issue raised at basement level and due to the lack of sun-light mass use of florescent lighting would be a problem for the children. However, the basement level was considered as there are no external distractions and more opportunities for level changing spaces which are said to help with vestibular and preceptive boundaries within ASD.
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o51 Construction & Structure
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Ground Floor 1:100
Non-structural wall (plasterboard)
Stronger/thicker partially-structural wall (lightweight block-work)
Internal structural wall
External wall.
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Threshold
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If I was to consider removing part of the wall, the area above the aperture would need to be supported by inserting a steel or timber lintel. However, this can only occur to the rear and side elevation, due to the listing on the front of the building.
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If the whole wall was to be removed the load above the aperture would need to be supported by inserting a steal or timber lintel. However, this can only occur to the rear and side elevation, due to the listing on the front of the building. If the whole wall was to be removed the load above the aperture would need to be supported by a steel or timber beam. However, if the span became too great, timber can no longer be used. Therefore, a steal beam must be used. But if the span of the beam is too great a column would need to be inserted. For example, if I were to take the entire back wall out that is a 8210mm span which would required of steel beam depth of 410.5mm deep. Which would be two wide when comparing it to the room height of 3600mm. So to solve the dilemma, columns can be placed in order to lessen the depth of the beam. (Shown to the right.)
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3000mm 445 -445 -222.5 /20 =116.625 116.6mm deep steel beam.
6100mm -445 -222.5 /20 =271.625 271.6mm deep steel beam
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Non-structural wall (plasterboard)
Stronger/thicker partially - structural wall (lightweight block-work)
Internal structural wall
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External wall.
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The red internal walls are 500mm and so probably made from block-work.
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The exterior walls (black) aren’t as flexiable as the other walls in the building however, they can be altered with care to where the alteration occurs and how large it is. The back exterior wall and the side elevation are the only two walls that can be changed due to listing regulations.
If a floor span of over 7000mm by 7000mm is wanted. A steal beam is needed in the centre to give the timber support. This beam will run perpendicular to the floor hangers on the structural walls with 3500mm floor boards running in the opposite direction. In the chosen building at Bridge end, at ground floor level, if the wall in the right hand corner of the plan, right of the current staircase were to be removed. The floor span would expand to 10500mm by 12500 at some points meaning that a steal beam would need to be introduced of 610mm deep. Which could cause problems for the basement below as it only has a room height of 2500mm. The room height at ground level is 3600mm and so an opinion could be made for the floor to rise which could solve the problem of having a level change from bays one & two to three at ground level.
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Additionally, one of the main requirements for the building is to insert a lift, and so this would result in making an opening in the floor above. If for example, the lift was placed adjacent to the stair case. Where the current range of floor span is between 5500mm and 9600mm by approximately 5300mm.
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Trimmer joists are used to create the opening, which usually consists of a doubled up joist. The cut joists are then left as trimmed joists. Additionally, the two joists either side of the opening are doubled up to create extra support.
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The Lighthouse school, is the currently based in temporary accommodation as part of the Derek Fatchett City Learning Centre just outside Leeds City Center. The pupils are all diagnosed to be on the autistic spectrum and so I aim to use their temporary accommodation to decipher what they can handle as a school. Traditionally, research suggests that autistic children should be placed in completely sensory spaces in order for them to work however, myself whitening that these children have been able to work and strive in such conditions that some people without autism may not be able to work in suggests an unknown boundary that has not yet been explored.
Case Study: The Lighthouse school.
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The school itself is separated from the main road via a long drive way which leads up to the school and its car park, which is too small for the learning center as many cars have been seen to park at the car park and drive sides. The pupils main access to the school is via taxi. However, the majority of the group walk to the school as it is a 15 minute walk from Leeds City Center. The Lighthouse school shared, lavatory, dining, entrance and circulation space with the Learning Center. The school is protected by a system where by you must sign in at reception and then after that their are door which must be scanned into with limited access.
The reception of the school is quite basic, as you would aspect their is a desk which is hidden behind a higher desk, making the school feel less clinical. The waiting area to the right of the entrance consists of seats with a television fitted opposite. Despite the cold feeling of it being situated in an extension the area is quite calm. Furthermore, this leads onto a gathering area where by pupils will be able to sit. When sitting in this area the lighting is extremely calming and is a lovely place to sit, with views extending through the reception to outside and into the learning centers dining and I.T suites. However, views of this area change dramatically due to its acoustic properties. The sound bounces around the area making the area feel chaotic. As well as your own voice echoing when you stand in certain parts of the space. Additionally, the dining space was in conjunction with an I.T space and a circulation space. In my opinion it was an extremely bad place to situate a dining space, as they are know to be loud, combining this which the chaos of a circulation space where pupils are trying to work on the computers. Does not make sense. Especially when considering the safety issues of having liquids near the computers. The dinning section is self contained televisions within paintings, which my have been acoustic panels. The colour and pattern on these panels were very vibrant and busy, which may add to the
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space feeling unearthing. Another aspect of the space I thought was quite odd was that when you sat down at the dining tables, you could not see outside, now for some people who may feel claustrophobic and need to see outside; combining this with the actual space makes the area extremely unsettling at busy times. However, I believe that the best part of this space is the very minor detail of their being a sign printed on the floor saying ‘’Dining’’, although a very simple decoration this may symbolise to an autistic child exactly what is expected of them in this area. The staircase which leads up to the lighthouse school is unusual, as it consist of bare painted breeze-block, with the contrasting colours of bright orange and grey. This then leads on to a high, bright corridor with a glass roof. The corridor has once curved bend which as research suggests is not the best design for autism however it is a very subtle curve. Which I believe to be very successful in that it then leads you to one straight corridor, with plain white walls. This then leads off on to two classrooms. The pupils themselves are spilt by ability in to red group which are the higher functioning and blue group who are classed as the lower functioning. We were notified that they switch classroom according to the session. One classroom containing a simple whiteboard, desks and lockers. Which would suggest that the room was mainly used for learning basic subjects such as English and Math.
Where as the other room was a combination. Containing an I.T suite which leads around the side of the classroom, desks in the center, and art corner and a quiet space. I believe this is mainly due to lack of space however, these children do cope with this environment where as previous research suggests that having multiple objectives in one room are completely unquestionable. In my opinion the room is extremely busy and the space itself is quite confusing however, they manage with this space. What I found most interesting about this space is that they block out the views, which is obvious that they aim to block out as many distractions as possible however, they are also blocking out the natural light, which through research is said to be a necessity. Additionally, the room has a ‘relaxing space’ in one corner, which is said to be used for a reward and relaxation periods. Which I believe should be separate however, due to their spacial issues this would be very difficult. The area is apparently converted in to a space where they can lie down and relax. However, the space is very un-sensory and quite cold and bare To conclude the outdoor space of the school is very limited. The pupils and staff said they enjoy being able to go outside however due to British weather it is very difficult as the area has no shelter and is mainly made up of grass. Also the area in which they do sports is made up of concrete slabs which could be seen as dangerous if any pupils were to fall.
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Sensory zone.
Entry point.
Case Study: Forest way school.
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Autism classrooms.
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Forest way school is a newly built general special needs school, with In my opinion, upon entering the building the there was a feeling of 30% of their pupils on the autism spectrum. The school its self is situ- calm and serenity. As you followed a canopy, first looking out across ated in Loughborough, Leicestershire. Teaching pupils from ages 3-19. the landscape, and then turning to the entrance, where there was a water collector which acted as a feature. Although, there was some Accessing the school was extremely easy if you traveled via your own confusion of where the entrance was, almost like the building was car. Other transport and in particular public transport would have blocking out strangers with this giant windowed elevation. been very difficult and costly. Through this it can only be assumed that the main mode transport is via taxis and private mini buses as the The reception of the building was as you’d expect, formal with a waitplace is a school. ing area which looked out again through onto the views. When entering the building at lunch time, when the majority of the pupils were My first impressions of the school were that it was very small, hid- presumably in the dining hall, the school was surprisingly quiet. Howden with hardly any windows, almost like it was totally blocking out ever, a realization of how much the detailing to acoustics had been the existence of cars and roads. However, appearing hidden from one ignored in the school corridors became every apparent as the group side, once driving around the building it appears to emerge from the walked through the school in between classes. ground and open out exposing itself to the vast beautiful views on the
When on the tour of the school the first facilities shown were that all the offices were in one zone; containing staff computers, a clinic room, a control room all which appeared basic. The office zone also lead upstairs to the conference rooms which were rented out for extra money and the staff room which felt extremely homely, this lead out on to a balcony which was said to be ‘ a nice idea and it is nice to sit out and get some fresh air from time to time however, there is no sun.’ which clearly shows that the sun path wasn’t properly considered when designing the school, this became even more apparent as the tour continued.
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The guide explained that all staff and pupils were very much involved in the design of the school. Lead mainly by a group of staff, who wanted the school to feel, ‘homely not clinical’, ‘make the outside as good as the in’ and have the concept of the forest.As the school was named forest way before as well as the fact that the school is situated in the national forest. And so they linked the building back to its roots. Additionally, the expressed that they would have loved to have a running river flowing around the school, just as they had seen in another. However, they said that the school they visited had many problems with condensation and so they went for the option of having a blue waved stripe which ran around the school.
This path was followed by a winding corridor in places However, they said that the school they visited had many problems with condensation and so they went for the option of having a blue waved stripe which ran around the school. This path was followed by a winding corridor in places. The main corridoor followed this river which fitted in beauifuly as a decoration and a guide to take people through the school from key stage 1 at the start, right the way to post 16 at the very end of the school, where a flat for learning life skills is set up. Which in my opinion worked very well, especially with the printed scenes on the walls of a foest changing through the seasons. It almost felt as though you are traveling through a journey. However, the actual shape of the corridor does not work well, although it may seem and look lovely to have the winding corridors, in actual fact when walking through them at busy times myself you can see how people don’t follow the wave, they simply walk straigh forward, leaving gaps in the curve where people become trapped. If this corridoor was to be reassesed in to my design it would have to address another purpose so that the gaps were not as threatening. Or so that people were forced to take this waving path.
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Each classroom leading off the coridoor contained its own storage room, a sink, lockers and hanging space, with some classrooms containing a toilet and/or kitchen. Addiionally, each classroom had access to its own or shared ‘‘quiet room’’ in which distressed pupils would be sent to calm down in. However, when inside one of there calm rooms it almost represents a cell in that there are no windows, only one door, or two in shared cases. In my opinion the rooms are a good idea in theroy and only in theory. As the rooms are not acoustically treat and so sound can be heard from the classrooms from either side when in the ‘‘quiet room’’. Additionally, objects such as paper and a computer was placed in the ‘‘quiet room,’’ To conclude, this did not work, however, it could work exceptionally well if the deisgn was carefully considered.
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Forest way also contained a ‘touchy - feely’ zone. Where by an aromotherapy room, swimming pool and two sesnory rooms are situated. Introduced by a light up wall which changes frequencey and colours when pressed. This was said by the guide to be ‘highly sucessful’ however, I believe that it was quite strong to the eyes even among approach, as well as it making a noise which to some could be seen as extremely disturbing. The first sesnory room, was as you would imagine, a white blank canvas white various, lighting and sound settings, as well as a heated water bed which caught my interest extremely when the guide
mentioned that the bed vibrates to the music being played. I thought that the room was very sucessful in the function however, I believe that it was not big enough for the amount of equiptment in it, as it did not appear calming when all the applicances were switched on and the room was full of only 3 pupils and 3 staff. The second sensory room was quite the oposite. The room appeared completely black, with black walls and no windows. The room then lit up as everything was turned on, all with flashing neon lights and ultra-violet equiptment. In my personal opionion, it was a slight nightmare, almost like a calm amusement park. They did not mention whether or not this room was sucessful and so I doubt it was. Unlike the white sesnory room which they said is used every period. The main problem I would like to address about the school in general are their floor to ceiling windows. Which they said are wonderfull, letting lots of naural light in and are brilliant for the disabled children who like to lire on the floor and look out one in a while. However, I believe they let too much natural light into teh building. Which makes transitions from some rooms without these large windows quite distressing. Feeling this distress myself it is a wonder the pupils are able, in particular the autistic children or pupils with sesnitive eye-sight. In particular the blinding light experience when walking through the corridors after entering the sensory rooms.
Additioally, Frorest way school had an ‘interactive classroom’. Where by they have the ability to reinact such thing as plane flights with vibrating seats. As well as changing the heat, lighting and smell of the room with canisters. The room almost appears to be a drama threate, however, the idea of a changeable room to almost signifiy a different place is intreging. This room working in particular well due to its lack of windows and ceiling lights surprisingly. Furthermore, we visited the classroom specifically made for pupils on the autistic spectrum. The room consits of seperate working spaces as the woman as the guide said that ‘autictic people can not work unless the have their own personal spaces and find it iritating to have other peoples things in their workig space.’ and so I beleived that this was one of the most successful rooms as it has no windows exposing the outside for distractions, however it allows plemty of natural light through a couple of large sun pipes through the room. As well as this, the idea of seperate working spaces is used well as they also have their own locker above thir desk. Unfortunaltley this would not work if many autistic pupils were enroled in to the school. Finally, I believe the outside should be mentioned due to their brilliant facilities of a geodome which acts as an outdoor classroom for teaching horticulture and a pond where by bird watching can take place. Additonally, the school is surrounded by an outter hidden fence which is situated at the bottom of a grass banking so that the students are secure but, they will not feel trapped.
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Many factors contribute to the character and use of our environment beyond just the shape and dimensions of the physical space. Auratic Chamber attempts to create different programs, uses, and experiences without the specific arrangement of walls, floors, or ceilings.
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Instead, light is the material used to create these spaces. When one person occupies a room, the lighting within that room interacts with that person’s physiological and psychological state measured through a neural impulse sensor worn by the inhabitant of the space. The room creates a halo of light according to the person’s behaviour and temperament. The inhabitant can consciously interact with this halo, treating it as an extra limb of his/ her body or an extension of his/her psyche.
Design Precedent: Auratic Chamber Jimmy Tran*
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As more people enter the room, each person creates their own halo. Each person’s halo follows them as they traverse the space, providing a new form of biofeedback and self expression. The halo of light and colour acts as a new form of body language, giving each person a heightened state of self-awareness and sends visual cues to others about their emotional and psychological state.
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‘‘Sequence shows the space under different circumstances. Some people light up a room, while others have the opposite effect.’’
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he Auratic Chamber interior consists of interlocking tiles as shown above which ‘‘attempts to create different programs, uses and experiences without the specific arrangement of walls, floors, or ceilings.’’ in this the chamber reacts to the things in it, where as a person with ASD will react to the world around them. So it could be said that the auratic chamber is completely the opposite however, there are still senses, emotions and reactions involved in order for this room to become such a beautiful way of expressing physiological states within different people. The space its self as a six sided room is an impressive and clever environment. It could also be proposed that it be used to help therapists or it could be argued that one to one teaching for a hypo-visual could occur in a space like this, it is said that they enjoy upward lights and so by having only the floor working in this situation would help the learner aid the teacher as they would know their physiological state which the pupil may not be able to express, especially if non-verbal.
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he tower of winds designed by Toyo Ito, was chosen not for how the building appears but, how the structure reacts to the elements surrounding it. Situated in Yokohama, Japan the tower is said to be ‘an ever-changing light sculpture that responds to wind speed and directions, was designed years before anyone else explored the use of photo-responsive glass or ‘interactive-architecture’ in the same way.’
Design Precedent: Before the competition, the site was described as a ‘brutalist and made-of-concrete structure.’ Tower of Winds: Ito’s proposal was the act of coving the tower with a vast amount of acrylic mirrors, Toyo Ito that would form a metallic oval-cylindrical
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structure 21 meters in height. Additionally, a ‘9 x 6 section was installed around the tower, lined with a perforated aluminium coating that reflects the sky during the day.’
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t night the lights and reflective surfaces dance to the music of the city, computer-controls and natural forces; ambient sounds, wind forces, time of day and season.’
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It is believed that the structure began its journey through Toyo Ito’s belief in ‘the importance of Ki, the energy flow that runs in the architecture of all things.’ The result was that the structure would explore ‘the wind flow with the flow of electrons and propose an architecture sensitive to the effects of the environment through the use of technology.’ The structure can relate to Autistic spectrum Disorders in that it is effected by natural and man-made elements of noise and force. Through this it has the ability to turn these sometimes ugly elements into something beautiful. Just as a person with ASD may use their influence on the world to solve amazing mathematical problems or create world changing structures such as Temple Grandin.
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Ecological Children Activity and Learning Centre.
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As a part of the ‘6 star hotel resort Soneva Kiri on Kon Kood, an island in the Gulf of Thiland. ‘ 73
Inspiring structure: 24hour Architecture
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The strength of bamboo comes from its integral structure.
24 hour architecture designed a series of ecological icons to contribute to Six Senses’ high ambitions in design and ecology. Most prominent is The Children Activity Learning Centre, which will provide visiting children a wide range of entertaining activities as well as raise the level of ecological awareness. .
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‘‘ Collaborators:
Olav Bruin, Anne Laure Noien
Local architecture: Habita architects Constructed area: 165 sqm Design year:
2006 - 2007
Construction year:2008 - 2009
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he centre is situated on a The design incorporates aspects of rocky slope adjacent to the sea. bio-climatics to suit the tropical temperatures. Which may give a clue as to by its design is inspired by a Manta-ray which makes up the Bamboo dome. The design incorporates aspects of bio-climatics to suit the tropical The exterior of the dome is made temperatures. 24 hour Architecture, out of local Bamboo. Where as, the carefully designed a cantilevering interior is made out of ‘River Red roof of up-to 8 meters, which acts Gum wood and rattan structur- as an umbrella ‘providing shade and al elements for the interior domes.’ protection from the heavy rains.’
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Bamboo is historically known as an amazing and sustainable building material, used in the majority of Asia. Additionally, there is a special technique to building with bamboo which has been generated over the history of Asia. Places such as Hong Kong use bamboo as a scaffolding, which can reach more than 6 stories high. The material is used as it is not only stronger than steel at times, and in the right conditions but is not expensive compared to the cost of steel.
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Although, bamboo can be extremely weakened by insects and rot if left untreated. However, a technique known as ‘boiling out bamboo’ is used to ‘remove the starches that attract insects.’ Typically, bamboo grows at an average rate of 1 meter or 39inches per day meaning it can be produced quickly and efficiently. ‘A typical height of range that would cover many of the common bamboos grown in the US is 15-40 feet (4.6-12 meters) depending on space. Additionally, it is interesting that Bamboo grows hollow. And that one of the reasons for its strength is that it is more solid and durable by just being this simple hollow skin. 76
Bamboo is surprising as it carries a weak appearance and is extremely light to say how strong it is. The idea of unexpected talents linked this material to my brief as it carries many underlying talents and uses. Such as beautiful finishes can be achieved with Bamboo as well as it being a good structure material. From this it can be said that a child or adult on the Autistic Spectrum, carries all their strengths and amazing abilities hidden inside their structure, however also carry consequences and needs protection and care. Just as the bamboo is incredibly strong but can be weakened to the state of unrepair by being allowed to rot and deteriorate rather than being nurtured and guided. 77
Spaces & Functions
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Lift access for the floor above is essential. Situated next to the steps should be more accessible than them being far apart. Additionally, both stairs and lift should be easily accessible for fire hazard safety.
Skills and workshop area should have access to outdoors if possible. So that workshops and painting can be done outside in the summer.
Storage area in a back corner which is fairly accessible, except for the current steps, which may have to be made into a ramp so that it is accessible for disabled people or those who find stairs difficult.
External area: could be used for horticulture activities however, there is not enough sunlight. Maybe an indoor green house could be created as an extension on the building and have a small outdoor break out area.
(Top) Circulation space which should be acoustically absorbent as possible to create a calm environment in between classes.
(Below) Staff space. (Offices and places for teachers and assistants to go between classes.)
Area for a possibility of reading, waiting for others, e.g. parents and taxis after school, informal meetings with parents ect. or an Information & Technology (computer) area.
Toilets.
Reception and drop-off area. Placed at the back as it is the furthest area from the main road. And has the large enough place for cars to park. An alternative to the back would have been the side entrance however, I felt that the back of the building needed to be expanded out and so would make a perfect entrance and reception as people will only pass through it so it should say something about the building, that has before been abandoned and forgotten.
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Kitchen adjacent dining space. Opportunity for cooking skills to be taught. Toilets. One per gender in each learning space. Circulation space. Should be acoustically considered to create a calm environment between classes on arrival.
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Head Teachers office situated in a sensible, comforting place so that if any pupil needs to talk to the head master, they can feel calm and not under pressure.
Dinning space. The views of the river should be expanded upon to create a calm peaceful environment. Transition spaces, should be situated in between classrooms and some other areas to give the pupils a chance to acclimatise. From an area which is crowded in to a classroom for example where they will need to focus and visa versa. Classrooms, are situated where the building gets most natural light during the day. 1:1 Multi-Sensory room. Should be situated in a place where many opportunities spacially can happen, for example , maybe a large window can be put it and cover and uncovered from people who like to people to look outside.
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To conclude, knowledge of the subject will drive the project. Trying to understand autism and address sensory issues will be the main aspect of the design. Taking in to consideration of what could effect all senses through out the site and the building is crucial at an early stage in order to address the issues and keep them in mind. Through this, extra research will have to be made in to lighting in particular. As a light which flickers must not be used. This simple point must be expressed to the client, forming reasons why and giving alternatives which will suit their budget. Other research into new forms and angles of the site should be researched into combination with the lighting already accessible to the site. Where the light can be pulled from and how to accomplish it to stimulate sensory aspects of the design. Additionally, the River Aire and the direct sunlight from the South must be exploited as much as possible in order to bring the building to life and up to speed with the current changes within Leeds. The river could also aid the circulation of the site if brought into it and used to help reflect light. This could also be researched in order to minimalise the amount of ‘fake’ light used within the building. Also, the case studies could be combined into know what not to do in site, as well as the aspects that did work such as the water bed used in Forest ways sensory room, could be exploited into using water to stimulate and vibrate with sound waves. This could be explored in the design connecting to the River Aire. More over, the sun pipes used in the Forest way school could be used in parts more than windows to draw in light, still keeping the distractions out. Furthermore, aspects of the design prescedent, tower of winds could be used as the building is effected and changed in according to the environment around itl exposing itself. Where as the bamboo inspiring structure blocks out the environment, keeping strong and soild.
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Bibliogrphy
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Books.
Bogdashina. O (2004) Sensory Perceptual Issues in Autism and Aspergers Syndrome. 2nd edition. London. Jessica Kingsley Publishers.
Bullivant. L. (2006) Responsive Environments, London. V & A Publications.
Damon. L (2012) Autism by hand. Available through www.amazon.co.uk; Amazon Media EU S.Ă r.l.
Godwin Emmons. P and McKendry Anderson. L (2006) Understanding sensory dysfunctions, Philadelphia, Jessica Kingsley Publishers.
Grandin. T (2011) The way I see it. 2nd edition, Canada, Future Horizons.
Lord. P and Templeton. D (1986) Detailing for Acoustics. 2nd edition, London, The Architectural Press.
Moore. J. E. (1978) Design for good acoustics and noise control. London ang Basingstoke. The macmillian press ltd.
Schwind, D R (1998) Room Acoustics, in Dangermond, R (Ed) (1998) Acoustics, San Francisco, William Stout Publishers, pages 69 - 116.
Redolphe el-khoury, christos marcopoulos, carol mouheiber. (2012) The living breathing, thinking, responsive building of the future. United Kingdom, Thames and Hudson.
Websites.
Aechidose.com (unknown date) [online] Avaliable at: http://www.archidose.org/Apr01/040901a.html [Accessed; 16th febuary 2013] Acoustic foams (2011) Super Soundproofing | www.soundproofing.org | 455 East Carmel St., San Marcos, CA 92078 Avaliable at: http://soundproofing.org/infopages/acousticfoams.htm [Accessed; [20th January 2013] Architecture awards (2011) Tomio Ohashi, Toyo Ito Associates Architects, Japan [online] Avaliable at: http://www.architecture.com/Awards/RoyalGoldMedal/RoyalGoldMedal2006/TowerofWinds.aspx [Accessed; 14 febuary 2013] Architecturalmoleskine(2010) Carlos Zeballos, Toyo Ito: A Tribute to the Winds. [online] Avaliale at; http://www.autism.org.uk/living-with-autism/understanding-behaviour/ the-sensory-world-of-autism.aspx [Accessed; 14th febuary 2013]
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Auratic Chamber (2011) Jimmy Tran* 230 College Street, Toronto. [online] Avaliable at: http://rad.daniels.utoronto.ca/2011/01/auratic-chamber/ [Accessed; 28th Febuary 2013] Ecological Children Activity and Education Center / 24H > architecture (2009) ‘‘architecture” 15 Sep 2009. ArchDaily. [online] Avaliable at; http://www.archdaily.com/34946/ecological-children-activity-and-education-center-24h-architecture/ [Accessed; 29th Febuary] The National Autistic Society (2013) Avaliable at: http://www.autism.org.uk/living-with-autism/understanding-behaviour/the-sensory-world-of-autism.aspx?sc_lang=en-GB [Accessed; 7th January 2013] Toyo Ito (2005) D.H. Chung [online] Avaliable at; http://www.egothemag.com/?p=44 [Accessed; 15th Febuary 2013] Thinking in pictures (1990-2013) Imbd [Online] Avaliable at; http://www.imbd.com/title/tt1278469/ [Accessed; 20th december 2012] Paint/ liquids (2011) Super Soundproofing | www.soundproofing.org | 455 East Carmel St., San Marcos, CA 92078 Avaliable at: http://soundproofing.org/infopages/acousticfoams.htm Avaliable at; http://soundproofing.org/infopages/liquid.htm [20th January 2013] SOUNDPROOFING WALLS ceilings USING RESILIENT CHANNEL (2011) Super Soundproofing | www.soundproofing.org | 455 East Carmel St., San Marcos, CA 92078 Avaliable at: http:// soundproofing.org/infopages/channel.htm [Accessed 20th January 2013] Search; Bridge End; Leeds Library and Information Service, Leeds City Council [online] Avaliable at; .http://www.leodis.net/searchResults.aspx?LOCID=0&DECADE=0&YEAR=&KEYWORDS=bridge%20end&KEYWORDS2=&ANDOR2=And&KEYWORDS3=&ANDOR3=And&RECSPAGE=5&IMG=0&VIEW=1&CURRPAGE=1&RESID=&PUBID=0 [Accessed 21st January 2013] Ultimate bamboo house (2010) Faery Victoria blog. Avaliable at: http://britishfaery.blogspot.co.uk/2009/09/ultimate-and-my-future-bamboo-house.html [Accessed; 28th Febuary 2013]
Illustrations List
Front cover image. Page 1, Elliott. H, front image expressing a threshold. (2013) Own source. Banner image. Left page, Elliott. H, See Fig 30. (2013) Own source. Banner image. Right page, Elliott. H, See Fig 30. (2013) Own source. Fig. 1. Page 08. Thinking in pictures, http://the-lundgaards.com/?cat=42&paged=2, (2012) (publisher unknown) Fig. 2. Page 08 and 09. Drawings of livestock handling facilities. (1987) Temple Grandin. Source. http://www.grandin.com/inc/visual.thinking.mind.autistic.person.html Fig. 3. Page 09. Picture of Temple Grandin. (2012) source. http://today.uci.edu/briefs/2012/09/nb_grandin_120927.php, university of California; Irvine, CA. (2013) Fig, 4. Page 09. Front cover of the way I see it. Grandin. T (2011) 2nd edition, Canada, Future Horizons. Fig. 5. Page 010. Animation still shot, Elliott, H, (Nemirovska, J. Grace-card H. Williams B.) (2013) Own source. Fig. 6. Page 010. Animation still shot, Elliott, H, (Nemirovska, J. Grace-card H. Williams B.) (2013) Own source. Fig. 7. Page 010. Animation still shot, Elliott, H, (Nemirovska, J. Grace-card H. Williams B.) (2013) Own source. Fig. 8. Page 010. Animation still shot, Elliott, H, (Nemirovska, J. Grace-card H. Williams B.) (2013) Own source.
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Fig. 9. Page 010. Animation still shot, Elliott, H, (Nemirovska, J. Grace-card H. Williams B.) (2013) Own source. Fig. 10. Page 011. Animation still shot, Elliott, H, (Nemirovska, J. Grace-card H. Williams B.) (2013) Own source. Fig. 11. Page 011. Animation still shot, Elliott, H, (Nemirovska, J. Grace-card H. Williams B.) (2013) Own source. Fig. 12. Page 011. Animation still shot, Elliott, H, (Nemirovska, J. Grace-card H. Williams B.) (2013) Own source. Fig. 13. Page 011. Animation still shot, Elliott, H, (Nemirovska, J. Grace-card H. Williams B.) (2013) Own source. Fig. 14. Page 011. Animation still shot, Elliott, H, (Nemirovska, J. Grace-card H. Williams B.) (2013) Own source.
Fig. 15. Page 018. Sound control ceiling and floor. Super sound proofing co. Since 1997. Soundproofing.org. (Date and publisher unknown) Fig.16. Page 018. Sound control ceiling and floor. Super sound proofing co. Since 1997. Soundproofing.org. (Date and publisher unknown) Fig, 17. Page 019. Sound deadening paint. Super sound proofing co. Since 1997. Soundproofing.org. (Date and publisher unknown) Fig. 18. Page 019.Magnetsteal framing. Super sound proofing co. Since 1997. Soundproofing.org. (Date and publisher unknown) Fig. 19. Page 019. Foam Panels. Super sound proofing co. Since 1997. Soundproofing.org. (Date and publisher unknown) Fig. 20. Map Fig. 21. Page 032.http://www.leodis.net/searchResults.aspx?LOCID=0&DECADE=0&YEAR=&KEYWORDS=bridge%20end&KEYWORDS2=&ANDOR2=And&KEYWORDS3=&ANDOR3=And&RECSPAGE=5&IMG=0&VIEW=1&CURRPAGE=1&RESID=&PUBID=0 Fig. 22. Page 032 http://www.leodis.net/searchResults.aspx?LOCID=0&DECADE=0&YEAR=&KEYWORDS=bridge%20end&KEYWORDS2=&ANDOR2=And&KEYWORDS3=&ANDOR3=And&RECSPAGE=5&IMG=0&VIEW=1&CURRPAGE=1&RESID=&PUBID=0 Fig. 23. Page 032 http://www.leodis.net/searchResults.aspx?LOCID=0&DECADE=0&YEAR=&KEYWORDS=bridge%20end&KEYWORDS2=&ANDOR2=And&KEYWORDS3=&ANDOR3=And&RECSPAGE=5&IMG=0&VIEW=1&CURRPAGE=1&RESID=&PUBID=0 Fig. 24. Page 032 http://www.leodis.net/searchResults.aspx?LOCID=0&DECADE=0&YEAR=&KEYWORDS=bridge%20end&KEYWORDS2=&ANDOR2=And&KEYWORDS3=&ANDOR3=And&RECSPAGE=5&IMG=0&VIEW=1&CURRPAGE=1&RESID=&PUBID=0 Fig. 25. Page 032 http://www.leodis.net/searchResults.aspx?LOCID=0&DECADE=0&YEAR=&KEYWORDS=bridge%20end&KEYWORDS2=&ANDOR2=And&KEYWORDS3=&ANDOR3=And&RECSPAGE=5&IMG=0&VIEW=1&CURRPAGE=1&RESID=&PUBID=0 Fig. 26 Page, 033 http://www.leodis.net/searchResults.aspx?LOCID=0&DECADE=0&YEAR=&KEYWORDS=bridge%20end&KEYWORDS2=&ANDOR2=And&KEYWORDS3=&ANDOR3=And&RECSPAGE=5&IMG=0&VIEW=1&CURRPAGE=1&RESID=&PUBID=0 Fig. 27 Page, 033 http://www.leodis.net/searchResults.aspx?LOCID=0&DECADE=0&YEAR=&KEYWORDS=bridge%20end&KEYWORDS2=&ANDOR2=And&KEYWORDS3=&ANDOR3=And&RECSPAGE=5&IMG=0&VIEW=1&CURRPAGE=1&RESID=&PUBID=0 Fig. 28 Page, 033 http://www.leodis.net/searchResults.aspx?LOCID=0&DECADE=0&YEAR=&KEYWORDS=bridge%20end&KEYWORDS2=&ANDOR2=And&KEYWORDS3=&ANDOR3=And&RECSPAGE=5&IMG=0&VIEW=1&CURRPAGE=1&RESID=&PUBID=0
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Fig. 29. Page 035. Site response, Elliott, H, (Nemirovska, J.) (2013) Own source. Fig. 30. Page 035. Site response, Elliott, H, (Nemirovska, J.) (2013) Own source. Fig. 31. Page 035. Site response, Elliott, H, (Nemirovska, J.) (2013) Own source. Fig. 32. Page 036. Emotive site. Elliott, H (2013) Own source. Fig. 33. Page 038. Site Picture. Elliott, H (2013) Own source. Fig. 35. Page 039. Site Picture. Elliott, H (2013) Own source. Fig. 36. Page 039. Site Picture. Elliott, H (2013) Own source. Fig. 37. Page 040. Environment materials, Elliott, H (2013) Own source. Fig. 38. Page 040. Environment materials, Elliott, H (2013) Own source. Fig. 39. Page 040. Environment materials, Elliott, H (2013) Own source. Fig. 40. Page 040. Environment materials, Elliott, H (2013) Own source. Fig. 41. Page 040. Environment materials, Elliott, H (2013) Own source.
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Fig. 42a. Page 031. Extract of Leeds City Map (1849) 1:2500 Publisher unknown. Fig. 42b. Page 038. Extract of Leeds City Map (Approaches and traffic) (1849) 1:2500 Publisher unknown. Map Fig. 42c. Page 040. Extract of Leeds City Map (decorative) (1849) 1:2500 Publisher unknown. Map Fig. 42d. Page 044. Extract of Leeds City Map (sun path) City Map (1849) 1:2500 Publisher unknown. Map Fig. 43. Page 040. Environment materials, Elliott, H (2013) Own source. Fig. 44. Page 041. Environment materials, Elliott, H (2013) Own source. Fig. 45. Page 041. Environment materials, Elliott, H (2013) Own source.
Fig. 46. Page 041. Environment materials, Elliott, H (2013) Own source. Fig. 47. Page 041. Environment materials, Elliott, H (2013) Own source. Fig. 48. Page 041. Environment materials, Elliott, H (2013) Own source. Fig. 49. Page 041. Environment materials, Elliott, H (2013) Own source. Fig. 50. Page 043. Front elevation. 1:100 Fig. 51. Page 045. Image of sun at site, Elliott, H (2013) Own source. Fig. 52. Page. 046. Side elevation. Love. J (2013). Leeds Metropolitan. Fig, 53. Page 050. Decorative orthographics. Love. J (2013). Leeds Metropolitan. Edited by Elliott. H. Fig. 55. Page 052. Wall ground floor plan, Love. J (2013). Leeds Metropolitan. Edited by Elliott. H. Fig. 56. Page 053, Expanded side elevation. Love. J (2013). Leeds Metropolitan. Edited by Elliott. H. Fig. 57. Page 055. Wall first floor plan, Love. J (2013). Leeds Metropolitan. Edited by Elliott. H. Fig. 58. Page 056. Floor and Ceiling Section plan, Love. J (2013). Leeds Metropolitan. Edited by Elliott. H. Fig. 59. Page 057. Floor and Ceiling Section plan, Love. J (2013). Leeds Metropolitan. Edited by Elliott. H. Fig. 60, Page 070 Auratic Chamber. The living breathing, thinking, responsive building of the future (2012) Redolphe el-khoury, christos marcopoulos, carol mouheiber. United Kingdom, Thames and Hudson. Fig. 61. Page. 070 Auratic Chamber. The living breathing, thinking, responsive building of the future (2012) Redolphe el-khoury, christos marcopoulos, carol mouheiber. United Kingdom, Thames and Hudson. Fig. 62, Page 070 Auratic Chamber. The living breathing, thinking, responsive building of the future (2012) Redolphe el-khoury, christos marcopoulos, carol mouheiber. United Kingdom, Thames and Hudson.
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Fig. 63, Page 070. Auratic Chamber. The living breathing, thinking, responsive building of the future (2012) Redolphe el-khoury, christos marcopoulos, carol mouheiber. United Kingdom, Thames and Hudson. Fig. 64, Page 070. Auratic Chamber. The living breathing, thinking, responsive building of the future (2012) Redolphe el-khoury, christos marcopoulos, carol mouheiber. United Kingdom, Thames and Hudson. Fig. 65, Page 071. Auratic Chamber. The living breathing, thinking, responsive building of the future (2012) Redolphe el-khoury, christos marcopoulos, carol mouheiber. United Kingdom, Thames and Hudson. Fig. 67, Page 071. Auratic Chamber. The living breathing, thinking, responsive building of the future (2012) Redolphe el-khoury, christos marcopoulos, carol mouheiber. United Kingdom, Thames and Hudson. Fig. 69. Page 072. Tower of winds. Marlin. L. E. (unknown date) Word.press.com Fig. 70. Page 073. Tower of winds. Shinkenchiku-sha (1986) London, V & A Publications. Fig. 72. Page 073. Tower of winds painting. Elliott. H (2013) Own source. Fig. 73. Page 074. Bamboo Learning center (2009) http://www.archdaily.com/34946/ecological-children-activity-and-education-center-24h-architecture/ Fig. 74. Page 074. Bamboo Learning center (2009) http://www.archdaily.com/34946/ecological-children-activity-and-education-center-24h-architecture/
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Fig. 75. Page 074. Bamboo Learning center (2009) http://www.archdaily.com/34946/ecological-children-activity-and-education-center-24h-architecture/ Fig. 76. Page 075. Bamboo Learning center (2009) http://www.archdaily.com/34946/ecological-children-activity-and-education-center-24h-architecture/ Fig. 77. Page 075. Bamboo Learning center (2009) http://www.archdaily.com/34946/ecological-children-activity-and-education-center-24h-architecture/ Fig. 78. Page 078. Functions.Ground floor., Love. J (2013). Leeds Metropolitan. Edited by Elliott. H. Fig. 79. Page 081. Functions first floor. Love. J (2013). Leeds Metropolitan. Edited by Elliott. H. Fig. 171. Page 061. Lighthouse School. Elliott. H. (2013) Own Source.
Fig. 172. Page 061. Lighthouse School. Elliott. H. (2013) Own Source. Fig. 173. Page 061. Lighthouse School. Elliott. H. (2013) Own Source. Fig. 174. Page 062. Lighthouse School. Elliott. H. (2013) Own Source. Fig. 175. Page 062. Lighthouse School. Elliott. H. (2013) Own Source. Fig. 176. Page 062. Lighthouse School. Elliott. H. (2013) Own Source. Fig. 177. Page 062. Lighthouse School. Elliott. H. (2013) Own Source. Fig. 178. Page 062. Lighthouse School. Elliott. H. (2013) Own Source. Fig. 179. Page 064. Forestway School. Elliott. H (2013) Own Source. Fig. 180. Page 064. Forestway School. Copyright © 2013 Forest Way School (2013) http://www.forestway.leics.sch.uk/around_school5.php Fig. 181. Page 064. Forestway School. Copyright © 2013 Forest Way School (2013) http://www.forestway.leics.sch.uk/around_school5.php Fig. 182. Page 065. Forestway School. Elliott. H. (2013) Own Source. Fig. 183. Page 065. Forestway School. Elliott. H. (2013) Own Source. Fig. 184. Page 065. Forestway School. Copyright © 2013 Forest Way School (2013) http://www.forestway.leics.sch.uk/around_school5.php Fig. 185. Page 065. Forestway School. Copyright © 2013 Forest Way School (2013 http://www.forestway.leics.sch.uk/around_school5.php Fig. 186. Page 067. Forestway School. Elliott. H. (2013) Own Source. Fig. 286. Page 067. Forestway School. Elliott. H. (2013) Own Source. Fig. 187. Page 067. Forestway School. Elliott. H. (2013) Own Source.
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Fig. 188. Page 069. Forestway School. Elliott. H. (2013) Own Source. Fig. 189. Page 069. Forestway School. Elliott. H. (2013) Own Source. Fig. 190. Page 069. Forestway School. Elliott. H. (2013) Own Source.
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