Space for all senes by Kitting Yu

method study

Abstract in the main pedestrian street of the city centre, rushing to catch the bus, I hear distant cars “theWalking horns, and all the mixed noises from people leaving work places, shopping, trying to sell things on street. I pass in front of a favorite bakery, but have no time to stop. Just the smell of the fresh bread

In everyday life, we see, we hear, we touch, we smell, we taste, we…… owever, we are more ´aware´ of visual information and we ¨forget¨ about information obtained from H other senses. Often, we only realize something is important after we lost it. Does losing eyesight means you cannot go to anywhere? Does being deaf mean you cannot go to opera? Does sitting on

design

follows me for a short while. It is windy and cold, and I have too many books to carry. The stones of the pavement pass very fast and I have to be careful to avoid isolated areas where they are digging the underground light system. I cross the street in front of the main square, together with other pedestrians. The green light is on for us, and we avoid the cars that are almost stopped. Just two more squares and I will be at the bus stop ….” 1

wheel chair means you need special care anywhere? In reality, our capacity to act in space depends not only on our human abilities, but also affected by social rules and environmental factors. There is no real handicap, it is the user-unfriendly built environment makes people handicapped.

of Sweden to create multi-sensorial and delightful learning environment for mixed group of people. In where everyone regardless of ages, health conditions and cultures have the same chance to experience architecture and the nature.

1 Marta Dischinger, Designing for all sense p. 3 (2000)

follow-up

his thesis is an experiment for an ideal place, in where nobody is ¨ handicapped ¨, Spaces are accesTderstanding sible to everybody and information in all senses is enhanced to facilitate peoples´ perception and unof spaces. The concept is implemented into a realistic project- Solbacka Academy in Sunne

gardens

driving

ALL SENSES

ttaste astt

touch to

feel

SPACE FOR

path

organic farm

playground

treatment rooms (VIP)

sauna

by KIT TING KARIE YU

summer deck

bath treatment

spa & health reception

path The barriers is result of the lack of awareness and sensitivity of designers

beach house, sand pavilion, sauna

hear

coast promennade

city

auditorium hall

Several spots (eg. outdoor spa, summer deck, roof terrace) of the building provide direct contact with the surroundings.

barbecue

bridg

storage

swimming pool yoga hall

new Sunne city centre

dressing rooms

touch h

Site plan 1:2000

4. ANALYSIS

3. VISTING/INTERVIEWING USERS

6. MEETING CLIENTS

5. DESIGN

ffeell

2.KNOWLEDGE

Close your eyes

WE SEE...

smelll

three boxes....?!?

The -1 floor By turning right (instead of walking straight up to the steps) visitors will eventually reach a ramp and stair going down to the bottom level. The spa and health unit and the auditorium hall locate on this floor. The auditorium hall is covered by carpet for quiet learning atmosphere, the hall is connected by ramp and allow wheel chair user to access freely. The back of stage is openable to the terrace. The whole space is totally transparent to the Lake and closely contact to the nature by opening up the doors.

be ac h

ho us e

Three long and narrow Â´boxesÂ´ sitting on the gentle hill, facing the lake. The three boxes are interlocking and crossing each others by 90o and 45o. The Â´intersectingÂ´ surfaces of the boxes are use as central communication space, itÂ´s a space where visitors gather, move and enjoy. ItÂ´s a space with dynamic movement of people and activities happening around (sitting out, movies, exhibition, information...etc) Spaces are interlocking with each other, it provides multi-sensorial transparency through the whole building.

summer deck

visitor: Â´Â´After parking my car , I heard sound of water fall. To the direction of the water, I find stone paving. I walked along the path, i recognized the scent of lavender, the scent seems follwing the path, leading me towards the building. The sound of water and flower scents getting stronger. Finally, i felt i was under shade. I reached the building!``

EY EYE YE I SE SEE S EE EE

conference

terrace 1.EXPERIENCE

prespective from the way to entrance

-2/F plan (+64)

Spa and health unit The spa and health unit locate at the bottom of the hill because of its proximity to the lake. Walking towards the spa unit is like walking down the hill to the lake. With a water fall in the centre and direct connection to the outdoor and indoor poor, and tile as flooring and wall materials, the whole space smells and sounds Â´waterÂ´.

To experience from another perspective!

office o ffice ce

The Ground Floor

SOLBACKA ACADEMY

centre for development and edcation within leadership and health

Programme m

head d office

nurse pe personal person p ersona ers e errsonal sonall ad aadvisor d

work orr sspace

conference nference nferen nferenc nf fferenc eren n meeting m eeting ee ing ng ro ro room

reception

sstaff ta relax room

information

possible forms

application

staff dressing d r r room

copy py py room/ oo oom/ om om/ storage st ge e

ven vventi ve en e enti ntii-lation lla ai n

entrance hall

-1/F plan (+70)

student service

Reception and information offices locate right next to the entrance while administration office is on the left. Visitors go directly to upper floors (the learning areas) by following the running water sound and going straight ahead up the stairs (/ramp). Smell of food and coffee indicate the location of restaurant. Elevators are right next to the entrance of restaurant. By following the scent of plants in green house, visitors reach the two ramps, one is going up to the green house and library, and the other one is going down to the auditorium hall and spa & health areas (highlighted with waterfall, swimming pool and smell of chloride from the pool)

admistration

Visitor (blindfolded): Â´Â´After entering the building, I could feel itÂ´s a big space as I heard the echoes, and the sound of different activities of people remind me thatÂ´s a public space. I walked....I felt the vibration of floor, seemed I was walking on metal flooring. The vibration varied when I moved, some part I felt solid, some part I felt more vibration. I follow the solid path, I reached information centre. In there the staff showed me tactile models and maps, so I understood the spatial arrangement `` `Â´I heard the sound of running water. Walking towards the water source, I found handrail, then I climbed up the stairs with the handrail. In the mean time I smelled the scents of lavender again! Seemed itÂ´s leading me to somewhere! Â´Â´

Requested by the client: Solbacka Academy and Sunne Kommun The Solbacka Adcademy building includes:

cloakroom cloakroom oakroom oakr oa o k m

touch to ch

taste ste

activity hall

The coast is developed for outdoor activities and the natural landscape is used as park, botanical garden and organic cultivation.

boat parking

e to

changing room

The Solbacka Adcademy situates on a gentle hill, with the slope against the Lake Fryken. It is accessed from the city centre by the new pedestrian bridge, by main driving roads or by boat.

boat storage

This thesis is an experiment for an ideal place, in where nobody is Â¨ handicapped Â¨, Spaces are accessible to everybody and information in all senses is enhanced to facilitate peoplesÂ´ perception and understanding of spaces. The concept is implemented into a realistic project- Solbacka Academy in Sunne of Sweden to create multi-sensorial and delightful learning environment for mixed group of people. In where everyone regardless of ages, health conditions and cultures have the same chance to experience architecture and the nature.

outdoor spa

The Swimming pool is at the bottom of the hill, directly connect to the beach house and the lake, and also with the out door spa. It can be accessed from indoor through the health and spa unit. The space under the building is preserved as natural, sitting devices (the green belts) continuously run to the space for visitors to enjoy the nature.

ITÂ´S MORE THAN WE SEE!

swimming/bath

The Solbacka Academy is located on a gentle hill east to the city centre, with the slope down against Lake Fryken, an orientation and structure that provide maximum transparency and view to the south. The Academy is easily accessed by train or car or even by boat, a new walking bridge will be built to connect the Solbacka Academy to the city centre and train station, while most visitors who travel by cars will go through the existing bridge and roads to the Academy. Solbacka Academy will serves as a meeting point for different culture and age for the same interest in health and welfare. The neighboring great piece of green will be developed as park, botanical garden, organic cultivation and outdoor activities areas. Also, the northern part of the area will be developed as housing for mixed age and culture.

In everyday life, we see, we hear, we touch, we smell, we taste, weâ&#x20AC;Śâ&#x20AC;Ś

hear

The -2 Floor (bottom floor)

wa lking

ttouch o h

We are naturally different, some are tall, some are short; some are fat, some are thin. Different people have different needs

â&#x20AC;&#x153;Walking in the main pedestrian street of the city centre, rushing to catch the bus, I hear distant cars horns, and all the mixed noises from people leaving work places, shopping, trying to sell things on the street. I pass in front of a favorite bakery, but have no time to stop. Just the smell of the fresh bread follows me for a short while. It is windy and cold, and I have too many books to carry. The stones of the pavement pass very fast and I have to be careful to avoid isolated areas where they are digging the underground light system. I cross the street in front of the main square, together with other pedestrians. The green light is on for us, and we avoid the cars that are almost stopped. Just two more squares and I will be at the bus stop â&#x20AC;Ś.â&#x20AC;?

However, we are more Â´awareÂ´ of visual information and we Â¨forgetÂ¨ about information obtained from other senses. Often, we only realize something is important after we lost it. Does losing eyesight means you cannot go to anywhere? Does being deaf mean you cannot go to opera? Does sitting on wheel chair means you need special care anywhere? In reality, our capacity to act in space depends not only on our human abilities, but also affected by social rules and environmental factors. There is no real handicap, it is the user-unfriendly built environment makes people handicap.

storage

water fall & pond treatment rooms

outdoor activities

Abstract

laundary

parking

relationships with the landscape - the building merges to the landscape, existing greenery is kept undisturbed - space under/ roof terraces/ surroundings encourage visitors to contact with the nature

chefsâ&#x20AC;&#x2DC; chefs s changing hanging h anging ang angi ngi room

kitchen

library green house

kitchen for training

serving ser ng counter counters ers rss

perspective from the entrance hall

comp com co ccomputer omp te om

m mu music

kitchen for education

restaurant

books

smell

hearr taste ta a te

ffeel

thin and narrow form allows maximum contact with surroundings (light,views.....)

possible arrangement of floor plans

BIG VOLUME

different quality of spaces: various volumes, roof-terraces, semi-outdoor space, and central communication

rotation brings different angles of views

inter-locking volumes variation in volumes, spaces react with each other while having its own characters

interaction with the nature brings water and green to the building the water as a gesture of turning the Â´boxesÂ´

stu studentsâ&#x20AC;&#x2122; students udentsâ&#x20AC;&#x2122; s changing ng g rooms roo m

water runs in the building from the top down to the ground, relate to the flow of circulation of visitors

outdoor dining i

SMALL ROOMS

combination of BIG VOLUMES, SITTING OUT SPACE, SMALL ROOMS AND ORGANIC FLOW OF COMMUNICATION+CONTACT WITH SURROUNDIGS

organic farm for restaurant

+ARRANGE IN GROUPS

spa & health

+ SITTING OUT SPACE (OPEN)

+ CUTTING OUT SHARP CORNERS

smell

sm l smell

auditorium hall

+ CUTTING OUT SHARP CORNERS =CENTRAL COMMUNICATION SPACE + ORGANIC FLOW OF CIRCULATION + CONTACT WITH SURROUNDINGS

hear taste aste

+ARRANGE IN CLUSTER + SITTING OUT SPACE (OPEN)

flow of water

the central communication combination of ramp, steps and seats located in the central of the building, to create a centralize urban dynamic space in the heart of the building for gathering and communication, with handrail on both sides, it is accessible for ALL. water is running right next to the steps, to enrich the multi-sensorial information for the route.

sm smell me me

flow of movement water connect the three boxes, running from the top to the bottom

Three Â´boxesÂ´ rotated and interlocking, sitting on the landscape

central communication space, dynamic and filled with activities

flow of water interact with the flow of people, multi-sensorial experience of ROUTE

the belt run through the building, outdoor and indoor, guides visitors and links up the building and nature.

green belts and water belts enrich multi-layers of sensorial experience, and give guides and features for the different functions of the building.

Ground Floor Plan (+72) 1:400

green belt (scent belt)

=CENTRAL COMMUNICATION SPACE + ORGANIC FLOW OF CIRCULATION + CONTACT WITH SURROUNDINGS

perspective from the second floor Visitors can sit on the central steps and watched information showed on the screen (on the top of the entrance) or participate in different activities

Water Water connects the Solbacka Adcademy, both in nature and man-made water features. Different forms of water features give different textures to the space (different sounds, different smells, different forms of activities....etc.)

HEAR...

Â´Â´fountainÂ´Â´ Featured by the special sound, the start of the water belt is indicated by a little fountain on the top floor.

running water Â´Â´water beltÂ´Â´ is incorporated with the Â´Â´central communicaitionÂ´Â´ the flow of water indicates the flow of people. By recognizing the sound of Â´Â´running water down stepsÂ´Â´ visitors finds the main circulation path easily.

Echoes waterpark at the opposite side of the lake

The First Floor (top floor) visitor: Â´Â´I followed the scent, oj! I stepped on something soft! ItÂ´s carpet! I found myself now in another space, the quiet atmosphere drove me react quietly. Eventually, I heard voice of teaching; this must be lecture room area!

Reflection of sound varies in different volumes, we have idea about a volume (eg. floor height, width) by listening the echoes.

Following the running water and the green belt, visitors walk up the steps and arrive the first floor. The central communication space which is interlocking with the entrance hall is open for activity, exhibition, relaxing and gathering. As contiuation of the ground floor, the floor is covered with metal, by following the Â´hidden guideÂ´, visitors reach the teachersÂ´office, lecture halls or dining area.

LAKE FRYKEN

teachersâ&#x20AC;&#x2122; office

The green belts define the path and also space. central steps

outdoor pool in the lake

activity

the bigger the volume, the bigger the echoes (eg. in cathedral)

perspective in the first floor (lecture area)

indoor swimming pool

sitting out/ dining area

indoor garden

outdoor bath

the main entrance is highlighted by water feature, people from outside can easily find the entrance by following the water sound

outdoor spa

FEEL...

spa/bath treatment underground water canal the water belt continue from the top to the bottom, it goes underground when it Â´crashÂ´ to the circulation, and eventually ends in the pond on the spa floor (-1/F)

TOUCH... WE

pond the water belt ends in a pond on the -1 floor, to indicate the floor for spa and water treatment

visitor: Â´Â´I left the lecture, running water sound reminded me the route to walk. I climbed up another stair, refreshed by breeze and feeling the warmth of sun, I guessed roof terrace is near-by. This floor smelled like wood, it reminded me my home. I heard the voice of discussion of students, I guessed this is the Â´homeÂ´ of students â&#x20AC;&#x201C; studio (classroom).Â´Â´

learning zone lecture halls

tactile guide On the other floorings, different patterns are used to indicate the path, rubber sheets with pattern (the red pieces in the plan) is added right next to entrances, when change in material draws people attention to the locatin of entrance. The sitting out space is covered with different pattern or material from the communication space to tell the different in functions

FEEL...

Besides plants, artifical scenting elements can be used for more permanent effect

perspective in the second floor (classroom area)

Interacting with floor, the invisible guide In between the concrete slab and metal flooring plate, wooden bars are placed. Space with bars is solid while the other parts are hollow. Walking on the metal plate with bars underneath gives totally different feeling from hollow, the hollow space vibrate more vigorously than the solid space. The bigger the spacing of bars, the more vibration is felt. By arranging location of bars, it gives invisible information to the space. Especially when it reacts with people walking on, (eg. jumping, hitting with white cane/umbrella) it gives distinguishing different sound of resonance

Materials speak Walking on floors and touching walls is the most direct contact between human and buildings. The interaction between human and space provide information of self-existence in space and spatial perception. The tactile source of information provides guides for users. Different material materials give totally different tactile (and also visual and acoustic) feeling to a space. It affects peopleÂ´s spatial perception and recognition. For instance, in a house with same layout and furniture, people feel more relaxing with carpet floor and wooden wall, but feel stressed and cold if they are made of metal. People relate specific materials with specific space unconsciously (mostly because they relate from their common experience). For example, tiles remind bathing and toilet, metals remind temporary construction or industry.

First Floor Plan (+74.7)

Big wooden bars are put under the main route path and important spots (eg. elevators, information centre), while the others are placed with small bars. The Â´solidÂ´ paths act as a invisible guide leading people to various points. The interactive atmosphere created by the floors imply its vibrate character of the communication space.

SMELL....

Green belt The green belts are ribbon structure running throughout the building (as well as the outdoor space), they are semi-fixed structure for partition space and supporting plants. They act as visual and olfactory guides and give character to the space.

In Solbacka Adcademy, different materials of floorings are used in different zones to provide totally different tactile experience to visitors. Five totally different materials are chosen for different functions:

The Second Floor (top floor) Continuously following the running water, walking up the steps, visitors reach the start of the water flow (featured by a little fountain) indicating itÂ´s the start (/end) of circulation. The end of the big steps is glazed by full height window, Walking up the steps is like walking towards the beautiful Fake Fryken and the warmth of sunshine. Visitors reach the roof terraces by walking straight, here people enjoy the magnificent contact of nature. This floor is more private studentsÂ´ learning and working space. The floor is thus covered by wood to give a home-like friendly atmosphere. Students go to their study place by turning left or right.

METAL - central communication space Walking on metal, people feel the floor vibrate with the body movement of one self and also the others. Sometimes sound is also produced. metal is used for the central communication space relating to the vibrant, dynamic and interactive character of the space. metal plate wooden bars concrete slab

stops

CARPET - lecture hall area Walking on carpet, people feel soft and quiet, as carpet absorbs sound. It is common that people react quietly once they step on carpet floor. carpet is therefore used on the lecture hall area relating to the quiet learning environment.

path

non-visual spatial references

path

water

vibration

floor section 1:150

vibration

activities voice/sound

water plants

water

vibration

TILE - spa and health area Because of tilesÂ´ smooth, shinny and waterproofing nature, tiles are commonly used in bathroom. It is common for people to relate tiles immediately with bath. So tiles are used as flooring for spa area because of this common Â´senseÂ´ and it gives cozy feeling to the space

plants

activities voice/sound

food

warmth breeze

classroom ssssroom room for fo fo 30 students ts

WOOD - classrooms area Wood is a common material for flooring, it is natural and give special tactile feeling when people is walking on. Thus it is used on the classroom floors

water

-1 Floor (spa floor)

STONE & VEGETATION - green house and library The rough texture of stones makes people relates to the nature. Library is placed inside the green house to provide bright and fresh environment for reading.

smell

classroom classroo cla la oo om for 45 students 4

central steps learning zone classrooms

discussion room/ group room

water

1 Floor (lecture floor)

smell from the green belts act as guidee for or paths ntt an smells from green house, restaurant and swimming pool as spatial reference

Dynamic landmark / sound &movement activities, movement by people ,water movement can be refered as spatial reference

sound

tactile- change of materials

tactile

others

B roof terrace

classrooms

grou g rou ou up ro oom om

+7 +77.4

+77 +77.4

library lib libr

gree r n ho house ouse use

+78.4

roof oo terrace te ace ce ce ccent e enttral al com al ccomm co ommunic u cat unicat atio at tio ti tio on lecture c ha halls ls

central cent ra ral a communic comm mm munic un catio a n atio

rest s aura ant

+74.7

+73

bath treatmentt

+72

au audi au ud tori to o um hall orium al

+72

entrance nce nc ce ce

central ntral com communication i ati +74.7 +72

spa- activity halls +70

section B-B 1:400 section C-C 1:400

+77.4

entrance ance h a hall all lll

+74.7

offi ffice ce

+71

+69.0

+70

+64

i d indoor poo pooll

Second Floor Plan (+77.4) garden

section A-A 1:400 m

2 method study

Background thesis is a continuation of the “Designing in the Dark Workshop” I took part in winter 2008. In the workshop I got along with ambasTworldhissadors (blind consultants) for eleven days. From intensive lectures, discussions, exercises and group works, I was inspired to perceive the in another perspective and I was impressed by how the ambassadors ´´see´´ the world, blind people have different tactics to deal with “dark situation”, which is difficult for seeing population to imagine. It is pity that we don’t really hear it, smell it, touch it or taste it. We just used to solely see it!

air movement…), sound (of voices, traffic, water, birds, wind, echoes), smell ( of plants, wood, food, perfumes, toilet…) are qualities worth to be explored the designers in order to adopt and enrich the multi-sensorial qualities and potentials of the built environment.

niversal Design is a recent design paradigm which aims to eliminate handicap in the physical environment and strives for a more humane U architecture. The concept of “designing for all” does not mean designing for “handicapped people”, It is about an ideal of a built environment designed in a user-friendly manner where no one is disabled. It is a human centered approach; it is also a matter of sustainability to

design

he thesis is an ambition to go further and design an environment accessible and also, to a greater extend, perceivable by all people. The Tamong fact that very little attention is paid to multi-sensorial in the built-environment is a consequence of unawareness and lack of knowledge architects, interior designers, and urban planners’ experience. Beside vision, tactility (texture of walls, floors, railings, heat radiation,

meet the trend of aging society and increased awareness of human rights of disabled.

he key to this methodology is an explicit attention for human cognition in matter of experiencing space and for the role played by all the TDesign’s different senses in this experience. This thesis has been elaborated with this attention in mind and I hope that it can point out Universal potential contribution to a more enjoyable and accessible environment for everyone.

follow-up

METHOD methodology learnt from Â´Designing in the DarkÂ´

study

design follow-up

4 1.EXPERIENCE

2.KNOWLEDGE

3. VISTING/INTERVIEWING USERS

4. ANALYSIS

5. DESIGN

6. MEETING CLIENTS

METHOD STUDY

Formation of the thesis The ´space for all sense´ involves the following research by design process (from Dec.2008 to Jun.2009): 1. EXPERIENCE In the beginning of the thesis, I participated in a workshop ´Designing in the Dark´. From first-hand resources form blind ambassadors, intensive lectures and group works, I experienced first time being blind and how blinds deal with daily lives. This raised my awareness about multi-sensorial design which I, and most architects did not pay enough attention to. Therefore, I have decided to further develop the ideas in the master thesis, the knowledge and experience from the workshop is used as guidelines or reference for the development of the project.

3. VISTING/INTERVIEWING USERS In Sweden, I visited Dalheimers hus , which is a community centre for visually impaired persons. I also interviewed Stina Hörberg, who is blind, about her thoughts and needs. Stina was also invited to my final seminar to comment about the design project. Experiences of cooperating with Stina inspired me about users´ needs and her comments are used for further improvement of the project. The experience of multi-sensorial communication of ideas are valuable.

Knowledge from books is introduced in chapter STUDY. Analysis and design is illustrated in chapter DESIGN Chapter FOLLOW-UP involves progress of continuous improvement and maintainance between users, architects and clients

DESIGN

2. KNOWLEDGE Beside experience from workshop, several books and doctoral thesis about multi-sensorial design was studied and used as references.

This chapter METHOD is mainly about the experience from the Designing in the Dark workshop.

4. ANALYSIS Designing space for visually impaired was the first idea for the thesis, however, in order to maximize the users and eliminate discrimination. Designing for all senses, is used as the main theme. ´Space for all senses´ is a space for everybody without discrimination and border. Instead of designing a conceptual project, I decided to develop a real project to illustrate the concepts and ideas. A school in Sunne, Sweden - Solbacka Academy was chosen as an experimental project for the concepts of designing for all senses. Before design process, the city, the site and the requested programme are analyzed.

6. MEETING CLIENTS In mid-April, the project and concepts were presented to client and the city architect, perspectives about the project from the client´s point of view is obtained and developed further on.

FOLLOW-UP

5. DESIGN

SPACE P FOR ALL SENSES

EXPLORING THE CITY IN THE DARK

EXPERIENCING VISUAL IMPAIRMENT

glasses simulate different kinds of blindness

blind walk in the city with Ambassadors

Expereince from ´´Designing in the Dark´´workshop he workshop ‘Designing in the Dark’ is a 11 days ‘experience-centred’ workshop. The aim of the Intensive Programme is to imT‘user-oriented’ prove the research and design skills of master class students in architecture, interior design and urban planning in addressing problems such as ‘ageing’ and ‘situational handicap’. Particularly targeted are students from all faculties who are participating in the META-joint-masters programme. The enthusiasm of both participating students and teachers vis-à-vis topic (Universal Design and Designing in the Dark) as well as approach (intensive workshop) on the one hand, and the successful involvement of external persons with various types of visual impairments (from blindness over colour-blindness to tunnel sight..), provided us with confidence to organise a knowledge transfer at the level of our joint masters Meta-university network. and objectives of the Universal Design Paradigm in general and Designing in the Dark in particular is translated Theintoconcept four interacting teaching tools: a. Awareness training based on bibliographical study; b. Subjective experiencing of the (disabling) man-made environment through simulation exercises c. Learning from practice through Post-Occupancy Evaluation (POE) case studies of built projects d. Research by Design Studio work addressing real world problems in real world environments. Ouput of the workshop (http://designinginthedark.wordpress.com/) 1. Post Occupancy Evaluation (POE) case studies in search of best practice examples; 2. ‘Tactile’ scale models - of investigated situations (open and built public places as well as interiors); - of existing and experienced urban problematic situations - showing proposed improvements, designed for and with the accessibility experts 3. Drawings and models showing the design of the multi-sensorial info centre for the city of Ghent

Herman, one of the ambassadors (visually impaired persons), he shared his experience with stuednts and critizes our works from user-point of view

6 POST OCCUPANCY EVALUATION

DISCUSSION WITH AMBASSADORS

GROUP WORK

METHOD STUDY

Consultation with ambassadors - first hand information from usersÂ´perspective - experience of multi-sensorial communication

Group work on multi-sensorial tactile models

DESIGN FOLLOW-UP

Designing multi-sensorial info centre

SPACE P FOR ALL SENSES TACTILE SITE MODEL - model made of different material shows different layers of textures about the site TACTILE MODELS - 3 models were made for various multi-sensorial information about the city

THREE-DIMENTIONAL MODEL - information about volumes of the city

ACCESS ROUTE MODELS - information about the access route to the building / in the building

POST OCCUPANCY EVALUATION (POE) - analyze the existing urban situation from the perspective of visual impaired

8 METHOD STUDY DESIGN FOLLOW-UP

SPACE FOR ALL SENSES MULTI-SENSORIAL DESIGN STUDIO - Multi sensorial information Centre for the city of Ghent

:-) 7.5

7.5 6.0

6.0

-not small enough -not big enough

trees+building

long and narrow site next to dominating church facade

site next to St. Korean Markt Church

the centre on the site

the info centre is placed underground volumes at the ground is broken down to activate street activities (eg. shops, cafe, sitting-out area,greenery)

elevation

GROUND LEVEL

UNDERGROUND LEVEL

10 10 METHOD

perspective showing the relationship of the info-centre and the streetscape

Spatiall arrangement inside d the h info-centre f

public service

main entrance

bookshop/newspapers

storage

lift

backstage

STUDY

ram pd ow n

flower shop

cloakroom

church entrance wc toilette/changing room

cafeteria

storage

prepairing room

corridor

video room

changing room

Different levels are connecting by ramps to create a accessible environment for ALL.

GROUND LEVEL

tech. room

staff room

adapt. room

activity/internet room

foyer foyer

staff room

box 1

box 2

storage

DESIGN

adapt. room

TACTILE MODEL for ambassadors to experience the space

UNDERGROUND LEVEL

FOLLOW-UP

section

SPACE FOR ALL SENSES BLACK BOX - black box is the main feature in the multi-sensorial info-centre, it is a completely dark box, multi-sensorial elements are put inside to simulate the daily situation. Visitors are grouped to go through the black box to experience ´´life in the dark´´.

BLACK BOX COMMINCATION SCHEME

box 1

chat room

box 2

adapt. room

interior of foyer

adapt. room BLACK BOX PROGRAMME SCHEME

corridor group 1 group 2

the main entrance (ramp going down)

VIDEO &EXHIBITION SCHEME

Different MATERIALS stimulate multi-sensorial experiences

12 method study

Application to the thesis

Knowledge from the lectures, exercises and group works are used as reference / guidelines for the development of thesis Experience of cooroprating with ambassador equipped me with knowledge of usersÂ´ needs Methodology of the workshop is referred in the process of the thesis:

design

- Multi-sensorial design - Tactile models as multi-sensorial communication tools of ideas - Post Occupancy Evaluation (POE)

follow-up

study knowledge from books, research by design

design method

follow-up

14 method study

Table of Contents Ideas and Concept Disabling Architecture ? Introduction of our visual dominating culture and ´disability´ in architecture

Concept of Designing for All (senses) Approach of human centered design

Dialog with Architecture Perception through dialog with space by our senses

Deprivation of senses and compensation

Spatial Mental Representation and Orientation Introduction on how we perceive, recognize and orient in space

Designing for all senses

The concept is afterward illustrated in the project in chapter DESIGN.

follow-up

This chapter STUDY is about the background ideas for the thesis´space for all senses´. The knowledge is mainly borrowed from literature studies.

design

Space for all Senses

Socio-political Socio-political aspect of the Universal Designaspect of the Universal Design

disability is….. Universa l desi gn , which is related Socio-political aspect of the Universal Design to "inclusive design" and "design thefor real issue all," is is anthe approach to the Disability refers to societal response design of products, services and the social effects of to disability environments to be usable by as physical, emotional if a community: many people physical, architectural,as possible � allows or mental transportation, and other barriers regardless to remain in place, society of is age, ability or creating handicaps that oppress situation. It links directly to the impairment individuals with disabilities. those barriers, � removes political concept of an inclusive persons with disabilities can function at much higher levels society and its importance has We can talk of 'social model' of disability, been recognised by governments, business and industry.

The barriers is result of the lack of awareness and sensitivity of designers

1.Disabling Architecture?

(images: Design Intervention)

Architects use to draw out ´spaces´ which are not only to be SEEN

ften, it is only when we cannot do something that we realize how important all elements involved in our actions are. In the modern era, we strive to develop environment in accordance to human needs. And we assume that the environment would not restrict our O individual ability. It is common that we cannot see without light, we cannot hear when the surroundings are too noisy. We can have our route blocked by obstacles not intended to act as such, we cannot enter with our baby trolley if there are steps in the entrance etc….

n reality our ability to act in the space depends not only on our human capacities, but also on the situation and affected by the social Istairs rules and the environmental factors. Today our city is designed mainly for “perfect human”. We have to be healthy enough to climb up which are common elements in our environment; our eye-sights have to be good enough to in order to perceive all the information and move independently.

Our visual dominating culture rchitects and designers in general, use to create, design, think with ´visual means´. They draw on a paper napkin, sketchbook, laptop or drawing board their mental image of a future physical environment. The language spoken during the design process is based on visual images . As the architect and theorist Bernard Tschumi (1975) noticed before: there is a gap between the mental world in which architects design and the physical world in which they build. Our cultural history has increased this gap and has contributed to this emphasis on visualization: on the one hand because an architect was believed to be a master builder; on the other hand because Western Society is visually marked. Our other senses meanwhile decline. For example, product which looks good in appearance always sells better than one which function better but not attractive in outlook.

his visual predilection is inherent to our human brain and nourished by our Western cultural framework. As a result, we are in fact ‘arTIncreasingly, chitecturally disabled’. Disability used to be considered as resulting from the physical and/or mental characteristics of the individual. however, it is recognized that disability may as well arise in situations where the individual confronts an unadapted social 1

physical and/or mental environment.

Roger Coleman, Designing for our future selves, Royal College of Art, London, United Kindom

The Lotus Museum symbolizing Lotus Flower gives strong visual impct to vistors

Being impaired is not equal to being handicapped. With suitable aids or tools, disabled persons can live independently as others. On the contrary, a healthy person could be handicapped by inappropriate designs.

16 method

We are always disabled by design in daily life eg. the instructions are too small to read; packages are too difficult to open, poorly designed stairs which is dangerous for users (image: Universal Design Handbook)

(images: Design Intervention)

Designing for all (senses) f architects create visual environments without bearing in mind of the user-friendliness, multi-sensoriality and functionality, this may results in spaces that lack of physical or mental comfort. For example a building can look very beautiful, but uncomfortable for people to use it. Hence, designers, producers and constructors are responsible for “handicap elimination” in the built environment. We do not have to adapt ourselves to the environment. It is the environment which has to be adapted to us.

I I

of aging population will give high profile to this issue, particularly in old buildings and cities which Thearereality frequently, disabled by their design.

´The International Classification of Functioning, Disability and Health, known more commonly as ICF, is a clas´perspectives sification of health and health-related domains. These domains are classified from body, individual and societal by means of two lists: a list of body functions and structure, and a list of domains of activity and participation. Since an individual’s functioning and disability occurs in a context, the ICF also includes a list of environmental factors. he ICF puts the notions of ‘health’ and ‘disability’ in a new light. It acknowledges that every human being Tsomething can experience a decrement in health and thereby experience some degree of disability. Disability is not that only happens to a minority of humanity. The ICF thus ‘mainstreams’ the experience of disability

Roger Coleman, Designing for our future selves, Royal College of Art, London, United Kindom Lastett, P.,A , Design Slippage Over the Life-Course

http://www.who.int/classifications/icf/en/

follow-up

and recognises it as a universal human experience. By shifting the focus from cause to impact it places all health conditions on an equal footing allowing them to be compared using a common metric – the ruler of health and disability. Furthermore ICF takes into account the social aspects of disability and does not see disability only as a ‘medical’ or ‘biological’ dysfunction. By including Contextual Factors, in which environmental factors are listed ICF allows to records the impact of the environment on the person’s functioning.´3

It is important to stress that impairment may lead to a handicap, but not necessarily so. 1 2

design

Disabled by Design n USA people with disabilities is currently the accepted term, whereas in Europe many people object to the implication that disability is something they are born with, or acquired by accident, or through aging. Here, one preferred term is disabled person, which suggests that disability is something people have thrust upon them by inadequate environment. People are disabled by design1 , rather than by their particular capabilities, and many people are likely at some point in their life to experience disability as a mismatch between themselves and their environment2. Since the human habitat, in its urban manifestation in particular, is constructed and designed almost entirely by human beings and if it does not work for any particular individual at any particular time, then it is a question of disabling design and not disabled people

Impariment/ Disability /Handicap? aced with the increasing life expectancy and thus the growing population of disabled, there is an international emerging international trend towards Universal Design. The UN’ ‘Declaration of the Rights of Disabled Persons’ declares that disabled persons and their families, irrespective of their races, colour, sex, language, religion, political opinion, national or social origin, and state of wealth, should be respected in human dignity. This means that a person with any sort of impairment have the right to a normal life and is entitled to the necessary support in order to enable her/him to be as self-reliant as possible.

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Disabled persons should live as everbody

Space for all Senses

images: Design Intervention

Some features like level-type handles,are a benefit for everyone to use. Adjustable elements make some features universally usable

Concept of Designing for All (Senses)

Enabled by Design ust as design can disable, it can also enable1 . Mismatches can be eliminated through appropriate useraware design . Unfortunately, examples of good enabling design2, particularly of products, are few and far between. Changing this reality requires not just changing the legislation, but more importantly the altitude among designers, manufacturer and service providers and also, everybody in the society. This attitude has to recognize the difference between “physical disability” and “handicapping environment”.

Human centered design is a Global TREND hanks to the improvement of emergency rescue and medical procedures that saves lives that would had been lost, as well as the aging population which is one of the primary causes of disabling condition, the number of people with severe disability increase rapidly, because of the Very few people are born with disability, more often, disabilities are acquired over the lifespan. Loss of hearing whether due to aging, genetic or accidents is a disability. Inability to climb steps, whether caused by a stroke, a broken hip or childhood polio, is a disability.

t is likely that most people will have disabling conditions if they live long enough. DeJong and Lifchez report Ipopulation that 46 percent of the population aged 65 and over have either limited or severe disabilities. As the over-65 increases, so does the prevalence of disability-inducing diseases. Designing in taking care of the old and weak community is the global trend.

1 2

Benkzton,M., Designing for Our Future Selves: The Swedish Experience, Applied Ergonomic, vol.24, no.1, 1993 Coleman,R., and D.J. Pullinger (eds.) designing for Our Future Selves, Special edition of Applied Ergonomics, vol. 24,. no. 1, 1993

The universal design pyramid demonstrates the bottom -up methodology of universal design

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The Discriminating Environment can be avoided

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From Design for disability… e, ´healthy person´, use to use our own perspective to measure the others (the so called minority groups), misconceptions are resulted from our ignorance.

W the common misconceptions to disabled: Here- - arepeople people with disabilities don’t go out with disabilities don’t want or need jobs - - -

powering with all types of physical or cognitive disabilities to be integrated as fully as possible into the mainstream of daily life.

people with disabilities don’t have families, marry, or have children, so one-bedroom apartment should be sufficient people with disabilities only need access to doctors’ offices and other medical facilities. people with disabilities want to or should live together people with disabilities are not affluent and not self-sufficient, so they are not important part of the consumer market

design

isabled people just like you and I, they have their thoughts and feelings, living like a normal healthy D person without any discrimination is their dream. The concept of designing for disabled should be changed. Designers motivated to eliminate environmentally induced handicaps, can assist in em-

disability community includes not only the people with disabilities, but also the caregivers who TTheheoften must lift, transport, bathe, feed, or provide therapy or other support to the disabled person. disability community also includes families and friends who wish to accompany people with dis-

abilities wherever they may go1.

the solutions are poorly designed and built. Owing to the indifference of designer altitude, the design is solution to meet the basic accessibility requirements. For instance it is common to see the disabled entrance is always at the back side of the buildings, seems the disabled persons are always being excluded from enjoying an elegant welcoming entrance hall. Their accessibility seems to “additional”

Ronal L.Mace, Graeme J. Hardie, Jaine P. Place Accessible Environments towards Universal design

(images: Design Intervention)

follow-up

s reported in U.S. News and World Report (September 1989), the biggest problem facing disabled A is not their own blindness, deafness, or other physical condition, but discrimination. After over 20 years of universal design development, most of the buildings are basically accessible but sadly most of

Space for all Senses

Humane design facilitates not only ´´Universal men´´ but everybody , no matter you are old, young or sick

´´Universal man´´ (a) ´´Vitruvian Man´´ (leonardo da Vinci), (b) ´´Le Modular´´ (Corbusier,1961), and ´´Average Male´´ (Ramsey and Winttkower,1994) (images: Universal Design Handbook)

We are naturally different, some are tall, some are short; some are fat, some are thin. No one is ´´universal man``

To design for all oday’s concept of universal design – to make designs that are used by the widest variety of persons as possible is a relatively new definition. Universal design as an architectural principle used to mean something quite different. The ancient Roman architect, Vitruvius, describe the universal harmony and perfection of the human body in terms of how a “well-built man fits with extended hands and feet exactly into the most perfect geometrical figures, circle and square” 1 This single observation has influenced the thinking and, ultimately, the designs of generations of great masters since, particularly those of the High Renaissance such as Beamante and Leonardo da Vinci. Cesariano was even so bold as to assert that with the Vitruvian figure “ one can define the proportions of everything in the world” 2 In more recent examples, one sees the outstretched hand of a male figure define Corbusier’s universal measuring device “ Le Modular” 3 and the detailed anthropomorphic measures for a human (male) in Architectural Graphic Standards 4, a widely used reference book. For very long time, great design has been for about the celebration of the optimal male form or “universal man”

niversal Design, also called Design for All or Inclusive Design, is a revolutionary concept to consider from U the start the diversity of human needs, eliminating the subjacent concept of making special projects for persons who are different because they have unusual needs. Yet, without awareness about what might be the

he concept of universal man is based on a high ideal of human form that most people simply do not fit. Tas Architectural Yet, surprisingly, it was not until 1970s that design reference books of anthropometrics and measures, such Standard started to include dimensions for females and children. Dimension for persons with

niversal and adaptable features are generally no more expensive than traditional features if incorporated U by the designer at the programming and conceptual stages. The cost-conscious designer must consider and advise clients not only about short term construction costs reacted to accessibility, but also about the

How to achieve ´´human centered design´´? n the human centered design process”, first of all, it is architects’ task to change their attitude to give primary attention to the human needs. It doesn’t means only fulfilling basic functional requirement, but combining users´ needs with aesthetic concern. Then, it is important to understand what the clients´ or users´ needs and desires. Feedbacks from users or experts on a new building can yield useful knowledge in the design process.

disabilities, such as a person seated in a wheelchair, have only started to be included in the past 10 years. Even with the inclusion of a broader scope of human dimensions, measures of human form are still based on averages. Consequently, people who do not fall into the definition of average are forced to adapt or change their behavior in order to be able to function in environments based on these measures.

iven the long-standing history of design standards and guidelines being based on the universal man and average dimensions, the new concept of universal design is quite revolutionary. It represents a substantial and fundamental shift in perspective from considering people in environments to be disabled to considering environment and products to be disabling.

1,2

Wittkower, R., Architectural Principles in the Age of Humanism, St. Martin’s Press, New York, 1988

Corbusier, Le., The Modular: A Harmonious Measure to the Human Scale, Universally Applicable to Architecture and Mechnics, 2nd ed., Feber and Faber, London, 1961

Ramsey, C.G., and H.R. Sleeper, Architectural Graphic Standards, 8th ed., John Ray Hoke, Jr. (ed.), Wiley, Chichester, UK, 1988.

specific needs arisen from different restrictions we can hardly reach Universal Design goals. The real design challenge then is to design in a way that conciliates all needs, recognizing that people are naturally different, and conquering knowledge to deal with this complexity. Sustainable and economical t is important to note that Design that works for people with disability is good for all people. The Universal design approach is simply designing all products, building, and spaces to be usable by all people to the greatest extent possible is advanced here as a sensible and economical way to reconcile the integrity of design with human needs in the environment.

long-term life cycle costs of ignoring a potentially huge segment of the market and the trend toward stricter accessibility standards in employment, housing, education and public services.

n progress of this thesis, I got along with ambassadors (blind consultants) for eleven days in the ´Designing IWorkshop´´). in the Dark Workshop´ (refer to the following pages about the ´´Experience from the ´Designing in the Dark From intensive lectures, discussions, exercises and group works, I learnt about the users´needs and the knowledge is used as the guidelines/references for further development of the project.

20 method study design follow-up

To experience from another perspective!

Space for all Senses

Dialog with Architecture

hen I worked with Herman and some other blind ambassadors in the Designing in the Dark Workshop, we W presented the site model made of layers of textured papers and our design with brail drawing and conventional model. They surprised me by how much they already understood, just from a quick touch of the models.

They have good tectonic sense, they mapped out the house in their heads and seemingly in their brains, they have their internal maps for the whole world which is non-visual. Blind people have different tactics to deal with “dark situation”, which is difficult for seeing population to imagine. It is pity that we use to see things, but don’t really hear it, smell it, touch it or taste it.

e do not just look at architecture, we live in it. To design a space which stimulates multi-sensorial perception, it is important to understand how we perceive space and how we orient in space.

Cognitive key to multi-sensoriality any people think architecture is visual experiences, but architecture is more than that. Architecture is multi-sensorial. In his book ‘Experiencing Architecture’, Steen Eiler Rasmussen 1describes the multisensorial way of perceiving architecture: “Architecture is not produced simply by adding plans and sections to elevations. It is something else and something more. It is impossible to explain precisely what it is –its limits are by no means well-defined. On the whole, art should not be explained; it must be experienced.” All our senses contribute to our environmental perception: “Every touching experience of architecture is multi-sensory; qualities of space, matter and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle” 2

t is important to survey critically the role of vision in relation to the other senses in our understanding and Ihuman practice of the art of architecture. Architecture, as with all art is fundamentally confronted with questions of existence in space and time, it expresses and relates man’s being in the world. Architecture is deeply engaged in the metaphysical questions of the self and the world, interiority and exteriority, time and duration, life and death. 1 Steen Eiler Rasmussen, Experiencing Architecture ,1963 2 Juhani Pallasmaa ,The Eye of the Skin-Architecture and the Sences, 2005

“Aesthetic and cultural practices are peculiarly susceptible to the changing experience of space and time precisely because they entail the construction of spatial representations and artifacts out of the flow of human experience,” writes David Harvey. 3 Architecture is our primary instrument in relating human with space and time, and giving these dimension a human measure. The multi-sensorial experience of human should be addressed. Being ,instead of just seeing wing to the visually predominated practice of designers and planners, the city can be understood as the gradual loss of nature, blindness as the loss of the capacity of visual perception, leads to an experience of feeling lost in city spaces that are neither designed nor built for non-visual orientation and navigation. This result in common images for blind as sunglasses beggars singing while reading Braille text, and a person swiftly moving through the city with the aid of white cane. Yet, blind and the city seems not equip with each other. 4

he movement of a body in a space is a “dialogue with space”. The idea is to move into a momentary expansion Ttransformative of the horizon of possibility in which neither subject nor object is fixed but relational, and each is potentially of the other. The body and by extensions the senses are central in this effort of “becoming”. The

concept of “embodied space” 5 is introduced as model for understanding the creation of a space through spatial orientation, movement, and language. Designing by taking disabled person into account reminds us the possibility of considering tactility as the basis of all sensorial experience, and the intimate links between tactility and thought. 6The multi-sensorial city as a dialogic space, it appears to us through the tactile sense. Touching the building, we do with our hands and our feet, but also with our eyes and our ears. Touch is needed in any dialogue; it leads to a haptic experience, and esthetic appearance.

3 David Harvey, The Condition of Postmodernity, Blackwell (Cambridge),1997, p.327 4 Lloyd Justine, The World Between. Space & Culture 2004 7(1):6-8 5 Low Setha M., Embodied Space(s): Anothropological Theories of Body, Space, and Culture. 2003 Space and Culture 6(1): 9-18 6 Classen Constance, The Book of Touch. Oxford: Berg 2005

ling ravel

? / Sightseeing

“In Western culture, the “eye” and the “I”, seeing and being, have customarily been intimately united.” 1 1Constance Classen, Exploring Alternative Modes of Cross-Cultural Engagement

We use to

capture

what w e SEE in

“Seeing” without “being”

method

travel

“From the perspective of the sighted, it is very clear how much the blind are missing when they travel. It is less clear, or not realized at all, how much the sighted may be missing.”

The stereotypical view we expect is provided for us

Using all of our senses e are less aware of our senses than we should be. But actually the senses are essential to enrich our understanding and experience of a space. For example the text above describes what a person experienced, which might be resultant spatial images with or without vision.

Walking in the main pedestrian street f the city centre, rushing to catch the bus, I hear distant cars horns, and all “a favorite the mixed noises from people leaving work places, shopping, trying to sell things on the street. I pass in front of bakery, but have no time to stop. Just the smell of the fresh bread follows me for a short while. It is windy

part from a brief reference to the traffic light, the descriptions given above are non-visual, sources of A information from other senses indeed helps us to perceive the space and understand the complexity of specific situation. Stones can be perceived through their texture, and it is possible to guess that the green light is on from the sound of cars. Even if the person is actually seeing what is described, probably visual attributes are not the only significant sources of information for the understanding of this specific moment and situation. 1

Merleau-Ponty, Maurice 1945

using multi-sensory design careful study is needed so that the cognitive and psychophysical differences Ithatnbetween the senses are understood in relation to the persons for whom we are designing. In the same way we have to reconsider the anthropometrics of the average person, we will have to consider the variation in human senses and extend the range to include everyone.

Our senses and space o perceive a space does not only mean to locate the self in time and space, it also means to establish meaningful relations between this and other places, existent objects and human activities. We recognize the essence of things through the mutually supporting messages we get from many sense. We hear, we smell, we feel… The senses form the gateway between inner experience, personal to each one of us, and the outer world. Difference influences, both physical and mental, work upon us through difference senses.

he recipe for a rich experience lies in the amalgamation of the senses. As commonly understood the five Tclassifies senses are comprised of sight, sound, touch, smell and taste. Hochberg however, in terms of architecture the senses in the following ways: senses: SEEING and HEARING  Distance Skin sense: TOUCH (tactile), SMELL (olfactory) and THERMAL COMFORT  Deep Senses: POSITION and MOTION (kinesthesia)

follow-up

and cold, and I have too many books to carry. The stones of the pavement pass very fast and I have to be careful to avoid isolated areas where they are digging the underground light system. I cross the street in front of the main square, together with other pedestrians. The green light is on for us, and we avoid the cars that are almost stopped. Just two more squares and I will be at the bus stop ….” (marta 2000)

However often when planners design or revitalize a space, in the process of observing, analyzing, planning and designing, they tend to assume the spatial complexity can be reduced to what can be represented in visual terms. Thus the possibility of diversified spatial experience is often neglected.

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Relational Space e perceive space because we recognize “object” through our dialog with the space. We relate the elements in time and space and the understanding of meaning is always dependent to the context and the perceiver1 . Changes in context, as much as, the grade of attention, interest, physical and psychological capacities of the individual affect the very perception of the object. Forms, sizes, textures, colours, weight, sounds, smells, movements, are spatial elements’ attributes that constitute potential information. Different relations can occur between spatial elements and individuals in space.

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There is more to travelling than just seeing, but we have to be open for multisensorial experiences.

Space for all Senses

kin Senses: Touch (Tactile), Smell (Olfactory) and Thermal Comfort

The tactile or the sense of touch tells us a great deal about the fabric of the building. The choice of material largely determines the experience we will have.To understand things by touching them, we need to make effort by moving our hand. Touchable textures therefore, encourage us to become involved with them, untouchable ones induce a feeling of exclusion.

istance Senses: Seeing and Hearing

Many texture we “touch” only with eyes. Shapes and patterns invite us to follow them with eye movement. As our eyes travel from focus to focus, we begin to understand things from outside. External, conceptual knowledge is founded on vision, but unlike smell, warmth and touch, we learn little about the soul-being of what we are looking at. In additional to clarify and understanding, however, colours, shapes and their relationship works upon our feelings. Sight is highly developed senses and optic nerves are any times larger than those from other senses. Being predominately visually informed, appearance is of major importance in our culture. There is no other sense that can gather and process the same volume and richness of information as quickly as sight. The human species has evolved to rely principally on sight for movement and orientation. Estimates suggest that as much as 80 to 90 % of information is obtained through vision. Someone with normal vision can see about 180 degrees of his surroundings at a glance, he can see things small and large, near and far. He can see the self-to-object and the object-to-object spatial relationship among things. Vision is one complex sense, encompassing the ability to perceive detail (acuity), colour and contrast, and to distinguish objects. 1

Smells bring us into contact with the essence of things. Like sound, smells come to us without our choosing. We can smell things that we cannot see. Virtually everything, building materials included, smells, thereby conveying messages about itself and inducing responses. Every building has its own specific smell. Rooms smelling of woods, the essential plant oils of “natural” paints, flowers and natural fabrics, can uplift the spirit just as fungal or synthetic carpet smells oppress it. Interior with agreeable small gives positive appreciation. The odor of flowers, herbs and plants produce positive connotations Smell gives alarm signals. Put into odourless natural gas….unpleasant gas usually indicates something harmful. Warm is basic need. It forecasts relaxed well-being. Focal radiant heat, different temperature zones and outdoor chores give thermal stimulation. Temperature of environment affects the performance of people. In surveys of user satisfaction in buildings it has been found that having the ‘right temperature’ was one of the things people considered most important in a building. It is also found that ‘air freshness’ was an important requirement mentioned by the respondents of the surveys. Another important facet of the building is the flooring, and the material used for the process. Ideally the material should complement the air temperature as well as be easy on the feet to facilitate an overall comfortable experience.

eep Senses: Position and Motion (Kinesthesia)

Position and motion are significant because they enhance the other sense experiences. For instance, the Pompidou Center, by Piano and Rogers, uses escalators to provide a variety of perspectives that contrast the close-up view of the building with the distant city views in the background. From the above discussion it is clear that the ‘sense experience’ must not be considered in isolation of each sense, but rather as a combination of all senses. This combination of senses is analogous to the Gestalt (shape) psychology that is based on the belief that the whole is greater than the sum of the parts.

The sound of a building is as important as its sight. Sir Brazil felt that a cathedral should not just look like a cathedral but should sound like a cathedral but should sound like one as well. Choosing the cathedral at Durham as a model, he tested literally hundreds of samples of plaster until he found the one that had all the desired acoustic effects. 2 Recently in a particular house by Charles Moore, the floor finishes were designed to provide a variety of reverberation times. The result was a rich acoustic environment throughout the house 3

1 Gerlinde Bellefroid ´´Having a Visaul Impairment while Moving through Town´´,´´ Blind Blindness and the Multi-Sensorial City p.97´´ 2 Hochberg, Julian, Jrnst Hans Gombrich, and Max Black. 1972 :256-259 Art, Perception and Reality. Baltimore: Johns Hopkins University Press. 3 Hall, Edward T., 1990 The Hidden Dimensio(45-58). London, UK: Anchor.

Research suggests that every cell in our body is regulated by sensory experience, smell affecting bio-rhythms, sight: the endocrine system, sound: cellular electric changes. Though most designs are visual which more is about how it looks, the underlying spirit of places is communicated by all the senses. Hence no amount of visual improvements can overcome the effect of noise or smell.

Deprivation of senses

Sensory Deprivation ensory deprivation is a condition in which one’s senses are not fully stimulated Nowadays10% of the population are handicapped and his percentage will increase until 17% in 2030 because of the aging of population

hen vision, the primary channel for receiving information is blocked or defiW cient in some way, the act of perceiving the information represented by sensory stimuli becomes a critical aspect. The resulting conceptualization of space

part from the loss of visual acuity and contrast sensitivity there can also be an A impairment of size and shape of the visual field, which has specific and different functional implications. One has a normal visual field of 180 (horizontal axis). o

Individuals with impaired visual field, see only portions of this field. A defect of visual field can be central or peripheral. If the loss is central, one sees little when looking straight ahead but has quite normal peripheral vision. If the loss is peripheral, one has a fairly well defined tunnel that restricts central vision to a small visual angle. This angle is often in the range of 2 to 20 degrees and has night blindness as implication. The WHO defines “profound impairment of visual fields” when one has a field diameter of 10o or less. Besides central or peripheral loss a third group of people will only see normally at locations scattered throughout the visual field, as looking at a puzzle where some parts are missing. There can also be a combination of visual field defects. All of them result in difficulties seeing objects and potential obstacles such as steps, curbs, walls and street furniture because the visual image is incomplete. 1

combination

he World Health Organisation (WHO, 1976) defines profound blindness as the Tor partial inability to distinguish fingers at a distance of 3 meters or less. Severe low vision sight is defined as the inability to distinguish fingers at a distance of 6

meters or less. If visual acuity is restricted, the partially sighted person may have a distorted or blurred visual image and loss of detail vision. The low vision person usually has a high sensitivity to light and glare and there is a need for increased contrast. Some people function better in low light circumstances.

1 World Health Organization, 1976, International Classification of Impairments, Disabilities, and Handicaps. A Manual of Classification Relating to the Consequences of Disease. Geneva: World Heath Organization

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has a main influence on independent travel. Sight can diminish naturally with age, due to eye disease, general health conditions or injury. While most visual changes can be corrected by glasses, lenses, medical support or surgery, some caused by disease or injury can end up in permanent vision loss. If the loss is total, the result is blindness. If it is partial, the result is a vision impairment known as “low vision”.

field of vision

design

Visual Impairment There are 2.4 % of the population is visually impaired, 1 person out of 1000 is blind, 1 person out of 100 is weak sighted Because of variety of defective visions, most visually impaired people have specific orientation and mobility problems, and also specific information and communication problems.

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field of vision

method

sharpless of sight

Space for all Senses MOVING THROUGH SPACE:

PERCEPTION

ORIENTATION

perception Perceiving - obtaining information by looking, listening, touching and other forms of active, direct observation SEEING - 80-90% of information is obtained by vision

mOBILITY

ORIENTATION AND MOBILITY

ACCESSIBILITY

MOBILITY - movement based on the spatial orientation define by individual way with own strategies and tools, depends in large part on perceiving the properties of the immediate surroundings. ORINETATION – knowledge of moving in the space relative to things observed or remembered

LISTENING –to identify and locate themselves in surroundings by listening the refelction of sounds

TOUCHING – to discover immidiately surroundings, by feeling of pressure, vibration, temperature, pain, etc.

PROPRIOCEPTION – gives information through the relative positions and movements of the parts of the body

common tools for blinds WHITE CANE

TRAINED GUIDE DOG

GPS System

to noticed the obstacles or steps in time, perceive the material, the slope, and the elevation of the up coming walking surface, to locate and determine the dimension of an obstacle, a landmark, or an opening along the path

improve the walking speed and the confidence for blind or nearly blind pedestrians, guide dog negotiates obstacles, has the intelligence to learn and remember new and long routes, and indicates a crossing, a doorway or an entrance

can inform blind users of their location and relation to landmarks and coordinates, could be useful for the competent visually impaired travellers

erception and understanding of space is different when vision is absent, given that each perceptual system P picks-up information that differs in types and qualities. Visual impaired persons understand a space by relying on non-visual information. visually impaired person learns to identify and locate a thing by listening to the sound that the thing itself A emits, or to the sound that results when the listener interacts with it. Many things emit sounds that enable them to be identified, for example water fountain, people’s voices, cars engines, environmental sounds. Other

things do not emit sounds by themselves but can be identified when sounds are created by human exploratory actions, for example different surfaces can be identifiable by listening to someone’s steps or by the striking and sliding of the long cane on this surface. The localization of a sound source requires information about both its direction and its distance. Knowing the loudness of a particular sound source and knowing how this varies with distance makes it easier to judge the distance. In dynamic situations, the reflection of sounds by environmental features can help localizing those features. Auditory information is critical in travel situations. 1 eside audio, Visual handicapped people use mainly tangible (tactile) information to discover the properties B of the immediate surroundings. Touching can give information by feelings of pressure, vibration, temperature, pain, etc. Proprioception gives information through the relative positions and movements of the parts of the body. Walking itself is also a way of perceptual input by touch.

hite cane is usually used as mobility tool for the blind person to sense the environment. Characters of the W environment can be sensed from the touching and sounds produced from reacting with the cane. By progressively touching the outlines with their white cane they construct a ‘mental spatial representation’ of the

Gerlinde Bellefroid, Having a Visual Impairment while Moving through Town

Accessibility - to a built environment that is safe, accessible and usable Having information means having choices and the ability to make the correct choice the first time If the person with visual impairment has access to the same information as a person who has sight, he/she should be able to travel in the same way: INDEPENDENTLY, QUICKLY, EFFICIENTLY AND WITH FREEDOM OF CHOICE.

Perception with sensorial deprivation erceiving is obtaining information by looking, listening, touching and other forms of active, direct observation. All senses are used to establish one’s position and relationship to other significant objects in one’s environment.

space. Some visual handicapped people use a guide dog to assist.

ACCESSIBILITY

sense of being in a space

26 method

Spatial Mental Representation and Orientation (extracted and modified from a doctorial thesis Â´The Non-Careful Sight, Designing for all senseÂ´by Marta Dischinger,)

Orientating rientation in space can take different forms: walking straight ahead, controlling the senses of direction and distances, searching and recognizing significant elements in space, planning/executing/recalling and changing of routes, interpreting maps and verbal information, recalling and imagining different places.

learning - To interpret/relate/ add the local new information with previous mental representations (spatial recognition) - To define/ change/adapt action strategies depending on the situation - To feel safe and be able to perform defined strategies

ith a defective vision both the number and quality of spatial information are altered and there is a sigW nificant reduction of usable accessible information. People with sensory deprivation might mean different process of construction of spatial concept. In this case the problem to solve is not only of providing spatial infor-

mation through non-visual sources for orientation, but also of considering which spatial elements can increase spatial experience and understanding of the spatial structure.

s normal sighted persons, visually impaired persons construct mental spatial representations. Mental A spatial representations of places connecting different sequential pieces of information through interrelated processes of perception, cognition, action and memorization. The lack of vision information though, changes

significantly the quality and amount of information can be obtained, especially to distant elements. For example, a seeing person can form the pictures below, directly relating to the pathway, people, walls of buildings, traffic lines. It is possible to see and foresee, the changing relation between these elements regarding their forms, colours, positions, directions, dimensions, and the movements and activities. or blind persons to construct a mental representation of the same street, they have to relate the tactile inforFcanter mation provided while walking on the pathway pavement of one side of the street (touching the pathway or the bordering vertical walls with a white cane), with the reflected sound produced by the cane and the bordering walls, the physical contact with other pedestrians and the sound produced by the street human activities (people talking, cars moving, etc.). To have an idea of the changing relations between all spatial elements is much more complex than just seeing, and depend on a more objective, alert and conscious mode of attention.

follow-up

Studying Spaces in an Inclusive Way he focus is placed on supporting with knowledge environmental design actions, bearing in mind that impediments and implication at individual and social levels have to be considered to effectively attain inclusion (design for ALL). In the following sections, a basic concept of spatial perception based on a non-visual analysis is proposed. It intends to extend the classifying of spatial elements, with a focus on their perception by all senses. It is hoped that this approach can help to increase the understanding on how we all perceive space. Further on, it might help for the realization of the importance of discriminating evident and discreet spatial attributes, which are usually forgotten in design practice and their value for the design of spaces, for all persons, and for all senses.

Spatial Perception and Construction of Spatial Mental Representations lements in the environment co-exist and relate to each other. Perceptions of these elements and their relations constitute the basis for the understanding of spatial identity and modes of organization. Spatial perception depends on the individualâ&#x20AC;&#x2122;s conditions and abilities, cultural knowledge and experience. In spite of the existences of individual perception and understanding of space, some spatial elements can be identified as more relevant than others for the recognition of spatial identity, structure and meaning. These spatial elements constitute spatial references through which the individuals can relate to the environment.

design

involve the following process: To- -Toorient obtain meaningful information from object space and relate to oneself spatial perception To possess spatial representation concepts conquered through previous experience and/or cultural

study

Space for all Senses

MARTA DISCHINGER

Map of Boston by Kevin Lynch

Roles of landmark ome psychologists assert the individual spatial knowledge is progressing through successive stages of recognition of landmarks, routes, and ´mini-maps´ and then evolving to an understanding of environment. Others argue that environmental spatial knowledge does not necessarily have fixed stages. And that it can be based on the memory of a continuous sequence of environmental scenes. According to Hart & Moore (1973) when people represent spaces in “mental maps” there are two differing principles of structuring mental spatial representations, in a sequential or spatial mode. Sequential maps are organized according the individual movements in space in a linear time sequence. It requires the memorization of a sequence of events which occurred relating to the space. In spatial maps, the environment is understood through the recognition of organizational principle, which is in dependent on movement and time, such as the geometrical attributes of places, implying in the comprehension of spatial relations of the physical environment.

evin Lynch 1 in his book “The images of the city” reported that users understood their surroundings in consistent and predictable ways, forming mental maps with five elements : paths, the streets, sidewalks, trails, and other channels in which people travel;

its identification and/or recognition. Examples of dynamic landmarks might be vehicular traffic, sound events, sun and wind, and human activities. The usually clear-cut relationship between the degree of importance and reliability for orientation, and the degree of permanency of the landmark, is altered when visual information is absent. Even if dynamic landmarks are less reliable than permanent elements in the recognition of a place, they might be crucial in defining a place’s character and identity, and should therefore be taken into consideration. In a commercial street, for instance, the presence of a temporary stand selling flowers during summer can constitute a landmark that distinguishes this street from others, even if the stand will be gone in the autumn. Buses and local trains can also constitute dynamic landmarks, in spite of the EiffelofTower, a classical landmark, is referred irregularities traffic duringexample the dayofand the night. A blind person can feel safer as spatial reference for tourists while keeping physical contact with, and following the sounds of movement of other persons crossing the street, even if he/she cannot always rely on their presence to cross a street. Dynamic events can also hinder the access to useful references though. The wind, for instance, can help blind persons to locate their position when reaching an open place, but it can also mask other sounds that are positive spatial references. When a dynamic element changes constantly its posiclassical example Tower in Paris. are not orienting guides travelers, landmarks can tionisinEiffel space it can turn Landmarks into a barrier for only orientation since it isforimpossible to be more individualized, Depending on the persons’ interest, attentions and perceptual possibilities different memorise its location along a route. feature may be become landmarks. To improve orientation possibilities of visually impaired persons it is imporandmarks can distinguished permanent accomplish or dynamic spatial referencesSome depending tantbetofurther distinguish the rolesas landmarks in orientation. land- upon their constancy in time and space. In general permanent landmarks are those physical elements (natural or manmarks act as local references being responsible to situate the individual in space, made) that have been in a location for a relatively long time, which relates as identification and recognition of a furnishing information aboutand/or whereartificial the person is. elements Others are responsible for the short time place. Dynamic landmarks include natural spatial that are for a relatively (periodically oridentification not) in a given Their presenceand might affect the featureswhat and characteristics oflocation. the place character identity, informing is going on. of a place and allows, or hinder, its identification and/or recognition. Examples of dynamic landmarks might be vehicular Structural landmarks are responsible for the comprehension of geometrical propertraffic, sound events, sun and wind, and human activities. Though dynamic landmarks are less reliable than perties inand functional urban environment. Ofcharacter course these manent elements recognition of aspatial space, relations they mightinbethe crucial in defining a place’s and identity. For instances, buses, trains pedestrians dynamic In landmarks, in spite of irregularities of traffic during roles canand be combined in constitute a same landmark. the analysis of urban spaces acces-

the day and night. A person (especially visually impaired) feels safer to keep physical contact with the sound of traffic and other persons crossing the street, even he/she cannot always rely on their presences.

edges, perceived boundaries such as walls, buildings, and shorelines; districts, relatively large sections of the city distinguished by some identity or character;

nodes, focal points, intersections or loci; and

landmarks, readily identifiable objects which serve as reference points

e defines the classic meaning of landmark in architecture as “an external physical object that due to its singularity detaches from other objects and can act as a reference for orientation.” There is no need of really reaching the spatial element that constitutes a landmark, which can also be a visual symbol of the place. One 1

Kevin Lynch, The Image of the City (1960)

A street7. corner is a common landmark, a traditional meeting point helps for the identificaFigure A street corner local is a common local landmark, a traditional meeting point helps for tion of the street social atmosphere, the fig tree is a visual symbol of the central square and also the identification of the street social atmosphere, the fig tree is a visual symbol of mark the heart of the city centre helping in the understanding of the city structure. the central square and also mark the very heart of the city centre helping in the understanding of the city structure.

PETER HOWELL AND JULIA IONIDES MULTI-SENSORY DESIGN IN THE HISTORIC ENVIRONMENT PETER HOWELL AND JULIA IONIDES

Tactile Maps help people understand the relations of routes and how the spaces structures

28 method

It is more than just providing way-finding tactile paths

6. Bronze tactile model of the centre of the City of York. Example of a black and white tactile silk screen-printed plan of a town. Picturewooden 9. The wooden modelof of Glasgow Cathedral Precinct, adapted from the original bronze tactile model of the centre of example of a black and white tactile Picture model Glasgow Cathedral Preinct Architect’s model for the redevelopment of the area. The infra-transmitter can be silk screen-printed plan of a town 127 130the City of York seen on the right.

Picture 4.

images: Blind Blindness and the Multi-Sensorial City

or rhythm, of the landmarks, related to their own movements in space (that are usually described as kinetic memory). recognition of single routes does not suffice towards an understanding of the spatial relations between Ttivehedifferent spatial elements, and space. We have to be able to relate this route with others and to locate its relaposition in a bigger space through the use of multi-sensorial spatial references.

hen vision is restricted, the feeling of distance depends highly on the recollection of ones own movements, and on the sequence of stops in space and time. It also depends on the physical attributes of the route path and the existence of accessible local references along the route. Along a route if there is no variation in texture, sound attribute from the starting point to the end, and other means of external information is cannot be obtained, the individual has to rely only on the perception of its own movement. Such situation doesn’t need to long to bring feeling of disorientation. For a blind person, 50meters with no accessible information can be very stressing since it is difficult to avoid veering.

134

landmarks. So a person walking in a street can be aware of the presence of a public park to his/her left side, thus relating direction between the individual and an external landmark. While he/she can also relate the direction of the park with the street direction in terms of two external spatial references. The knowledge of relative positions between routes depends mainly on the perception of the fixed relationship of their intersections (perpendicular, oblique, etc.) the knowledge of owns direction in relation to the environment is always changing. With the reduction or lack of visual information, feeling of direction will depend mostly on the individual’s propriocentric frames of reference (orientating and haptic senses), and the possibilities of recognizing external landmarks. Dynamic references such as sounds will constitute important extero-centric sources of information, followed by smell in much lesser degree. In any case the access to additional information, reproducing urban spatial configurations, in the form of tactile maps or models, is fundamental to increase the possibilities of orientation of visually impaired (and also for all people) and for understanding of how space is structured. Comprehending Spatial Structure he spatial representation of routes and landmarks can depend more directly on the organization of the sequential information while moving in space. However it is necessary to relate the sensorial information directly obtained in space through cognitive processes. When individual are in unfamiliar areas, he/ she tends to related the previous experience in other spaces to assist in understanding the spatial structure. It is necessary to have certain range of spatial concepts, understanding for instance how different relations between spaces.

t is important to remind that to furnish additional useful information for blind persons is never a question of Istanding. “translating information into other means, but to select what can be used to support perception and underAdditional information should help to stress the place’s structure comprehension and some basic questions have to be answered.

hich are the existent spatial elements that can structure the place grammar? Can they be directly perceived W through their multi-sensorial attributes? How they relate to basic formal urban patterns how the place physical organization affects orientation strategies?

follow-up

Distance and Directions o be able to orient along a route, correctly locating the self in relation to existent references, it is necessary for the individual to perceive, recall and control the directions and distances of his movement in space. We perceive distances basically on our body movements and frontal visualization of space in close consort with time perception. A short route filled with interesting events for instance might seem longer than an actually longer, but uninteresting route.

eeling of directions is bounded to the perception of the Fdepends visual perception of objects and places in relation to other objects in places. Orientation in the environment mostly on the possibilities of establishing relationships between routes and between external

design

to the concept of route is the intentionality of movement in space. A route has always a starting point Ethessential and a final end. It has three central space-time dimensions of direction, distance and duration between point of departure and that of arrival at a desired goal. They also have to memorize the temporal sequence,

study

Concept of Routes ne of the most difficult problems for blind and low-vision persons is to orient in urban environments. Most often, initially they have to experience and learn a rout to arrive a desired place with the help of others. To orientate independently they have to rely on the memorization of spatial relations in the route such as distance and directions between leant landmarks.

The experience of the Trust has led us to look closely at the design and development of interactive systems and specifically to connect tactile forms with binaural stereo sound sources. We would like to develop more complex interactive systems and special forms of sensing, as part of a tactile display; these could also be part of the environment but remote from the display. We hope to set up a project that would apply the principles already developed and move towards designing an intelligent environment. If an environment can identify the position and implied needs of people, it could express this using all the senses and special facilities for the in relation to the environment, asdesign. well as peoplebody with perceptual impairments could be incorporated into the

Space for all Senses

ACCESSIBILITY OF RIONE MONTI IN ROME TUBE ENTRANCE Handrail for the children

Realization of “informational modules” or tactile maps in tube station, bus stop, public building, etc.

Contrast helps define steps

transparency, openness and visual connections assist deaf

Handrail for the children people to understand space

OF RIONE MONTI IN ROME

Realization of “informational modules” or tactile maps in tube station, bus stop, public building, etc.

Handrail for the children

Contrast helps define steps

Realization of “informational modules” or tactile maps in tube station, bus stop, public building, etc.

Designing for all senses

Contrast helps define steps

improve spaces’ accessibility for visually impaired persons, the first design action is to develop means to Tandorelate the knowledge about how person who suffered from visual impaired persons can perceive, orient mentally represent space, with the identification of spatial elements that constitute sources of accessible information.

For Visually Impaired or blind persons to construct a mental representation of a street, they relates to tactile and sound information. The directly perceived information, like the pavement texture and the pathway width, the time expended to walk along each block, the changing shades produced by the buildings, the sounds produced by fixed activities, have to be constantly memorized, as much as the reflected surrounding sounds that can bring a notion of street width and of the sequence of human activities (like known shops, bars, etc.). To have an idea of the street as a whole it will be necessary to effectively walk on its both sides, and to find spatial references that can connect the experiences of walking in each side. The resultant mental spatial representation of the street will depend in a higher grade on sequential propriocentric information while moving in space, combined with the exterocentric perception of the street dynamic attributes. The number of people in the pathway, the intensity of vehicular traffic, the hour and day of the week, and the very conditions of the travel can affect in different degrees the resultant perceptions of blind and seeing persons. blind person can recognize this street among others, identifying its functions and identity, to orient in it independently, and to construct its mental representation using other references than visual ones.

A space is more than just a visual space, the accessibility for visual impaired should not be restricted to just a A way-finding problem. In additional to paving guidelines and Braille information, Multi-sensorial elements for instance scent of plants, water feature which create sounds, different material for interior can assist the

spatial understanding and memorization of people. Orientation aids such as models and maps can greatly facilitate the learning of spatial concepts and the understanding of complex or extensive spatial layouts.

designing environment, good lighting and avoid of glare and reflection is essential for visual impaired IThenpersons, people who are 60 years of age also need approximately twice as much light as those who are 40. use of good colour contrast and sharp edges, improves the functioning of most people with visual impairment.

For Deaf hough construction the spatial mental representation of deaf persons is pretty similar to “healthy people”, the missing of sound perception however results in incompetence of spatial information and thus spatial understanding of an environment. As deaf people rely highly on visual information, transparency, openness, and visual connections are important aspects to assist deaf persons to understand the spatial relations. Similar to designing for visually impaired persons, good light, good colour contrast helps deaf persons.

concepts and ideas are further developed and applied to a realistic project –Solbacka Academy in order Tfor hetonewcreate a ideal environment in where everybody is able to live independently and creates opportunities experiences, learning and social interaction.

30 The topics are extracted or written with reference to the following articles:

design

3. Dialog with Architecture Cognitive key to multi-sensoriality - Juhani Pallasmaa ,The Eye of the Skin-Architecture and the Sences, 2005 Dialog with architecture -Patrick J. Devlieger and Hubert Froyen ´´Blindness/City: A Disability Dialectic´´,´´ Blind Blindness and the Multi-Sensorial City p.23 ´´ Relational Space -Marta Dischinger, Designing for all sense p.62 (2000) Using all of our senses -Marta Dischinger, Designing for all sense p.62 (2000) Our sense and space -Steema Malik ´´More Than meets The Eyes´´,´´ Blind Blindness and the Multi-Sensorial City p.180-181´´ Christopher Day, Spirit &Spacep.214-216 , (2002)

study

2. Concept of Designing for All (senses) Enabled by Design -Universal design Handbook p. 4.3 -Roger Coleman, ´´Designing for our future selves´´, Royal College of Art, London, United Kingdom Human centered design is a Global social trend From Design for disability… -Ronal L Mace, Graeme J.Hardie, Jaine P. Place ´´Accessible Environment toward Universal Design´´, -´´ Design Intervention towards a More Humane Architecture p.156 ´´ To design for all -Universal design Handbook p. 16.2 -Shauna Mallory-Hill, Brian Everton ‘Accessibility Standards and Universal Design Developments in Canada´´, Technical University of Eindhoven, The Netherlands. Product ABILITY Consulting, Winnipeg, Manitoba, Canada Sustainable and economical -Ronal L Mace, Graeme J.Hardie, Jaine P. Place ´´Accessible Environment toward Universal Design´´, ´´ Design Intervention towards a More Humane Architecture p.156 ´´ How to achieve ´´human centered design´´? -Universal design Handbook p. 16.2

method

1. Disabling Architecture? Our visual dominating culture -Juhani Pallasmaa ‘The Eyes of the Skin : Architecture and the Senses’ Designing for all (senses) -Universal design Handbook Disabled by Design -Universal design Handbook p. 4.1 -Roger Coleman, ´´Designing for our future selves´´, Royal College of Art, London, United Kingdom Impairment/disability/handicap? -Marta Dischinger, Designing for all sense p.21 (2000)

4. Sensory Deprivation Visual Impairment -Karin Samson Presentation, Designing in the Dark Workshop 2006 Perception with sensorial deprivation -Gerlinde Bellefroid ´´Having a Visaul Impairment while Moving through Town´´,´´ Blind Blindness and the Multi-Sensorial City p.97-103´´ -Marta Dischinger, The Non-Careful Sight, Designing for all sense p.62 (2000)

follow-up

5. Spatial Mental Representation and Orientation -Extracted from Marta Dischinger, The Non-Careful Sight, Designing for all sense p.62 (2000)

Design solbacka academy centre for development and edcation within leadership and health

method

study follow-up

32 To learn and understand the balance between mankind, the environment and tachonology. To acquire knowledge and put it into practice in your way of leading

method

Learn, Understand, Practise

study

Body, Soul, Spirit

health and well-being is achieved through mental and physical balance

design follow-up

Balance bewtween the parts maintains the harmony of the whole

GÖTEBORG

Space for all Senses

THE CITY OF SUNNE of Solbacka Academy Building is chosen to develop and illustrate the concept of designing COPENHAGEN Tforhe project all senses. Because of the following reason: - - -

MALMÖ

the vision of the city and Solback Academy set by the Sunne Kommun the future society structure in the coming 20 years the context of the surroundings favor the enriched multi-sensorial experiences

car route

the city unne is a municipality 300 km North from Gothenburg with 13,000 inhabitants. It is a historical area with its fabulous local culture and tradition. Thanks to its proximity to Norway and the big city Karlstad, Sunne plays a role as an important regional meeting centre.

new bridge

unne is a popular tourist spot. It has the largest ski resort in Sral Värmland and the only water park in Sweden, the beautiful natuenvironment of Sunne attracts many visitors every year. Also,

housing

city centre

walking route solbacka academy

solbacka academi

sunne

Sunne is also known for its exclusive spa named Selma SPA +, which the beautiful views of the lake Middle Fryken. The HSW-industry (Health-Spa-Wellness) is the most flourishing industry in Sunne, according to the development proposal ofthe municipality, Sunne has the vision to be a centre for training, international research collaborations and conference for HSW industry before 2022.

THE PLACE

train

he Solbacka Academy will serve as a global meeting point with focus on health, leadership and entrepreneurial learning for mixed culture and age

access to the Solbacka Adcademy

vehicle road

The Solbacka Academy is located on a gentle hill east to the city ce Lake Fryken, an orientation and structure that provide maximum t

HE PLACE

The Academy is easily map of Sunne city centreaccessed by train or car or even by boat, a ne connect the Solbacka Academy to the city centre and train station, cars will go through the existing bridge and roads to the Academy

Solbacka Academy will serves as a meeting point for different cultu health and welfare. The neighboring great piece of green will be de organic cultivation and outdoor activities areas. Also, the northern as housing for mixed age and culture. The Place he Solbacka Academy is located on a gentle hill east to the city centre, with the slope down against Lake Fryken, an orientation and structure that provide maximum transparency and view to the south. The Academy is easily accessed by train or car or even by boat, a new walking bridge will be built to connect the Solbacka Academy to the city centre and train station, while most visitors who travel by cars will go through the existing bridge and roads to the Academy.

Academy will serves as a meeting point for different culture and age for Sbe olbacka the same interest in health and welfare. The neighboring great piece of green will developed as park, botanical garden, organic cultivation and outdoor activities areas. Also, the northern part of the area will be developed as housing for mixed age and culture.

SOLBACKA

34 method study

Here, in Solbacka Academy, we look for balance and harmony between human and nature 17

Designing for all senses he project of Solbacka Academy Building is chosen to develop and illustrate the concept of designing for all senses. Because of the following reason:

1. the vision of the city and Solback Academy set by the Sunne Kommun

2. The same report analyzed the society structure of Sunne in 20 years. (refer to figure on the right) The majority group of aged 40-60 will reach their retirement age in 2022, in additional to the expected net out-migration of another major group aged 18-29. The aging population will be the main issue in 2022. Developing health/ spa/ wellness industry which serve the aged population as well as visitors brings net working force to the city is the vision for 2022. The future Solbacka Adcademy Building will be meeting point for all aged and culture. The universal design approach which emphasizes balancing between everybody would benefits the Academy as well as the city.

100

150

100

150

Sunne 2022 100+ år 90 år 80 år 70 år 60 år 50 år 40 år 30 år 20 år 10 år 0 år 150

100

Källa: Bearbetade från municipality SCB Population in data Sunne divided

into age and gender in 2006 and 2022 (under Av 2006 projection). års befolkningspyramid framgår att Sunnes befolkning är ojämnt fördelad över åldrarna. Tonåringar, övre medelålders och pensionärer är överrepresenterade, medan unga vuxna och småbarn å andra sidan i hög grad lyser med sin frånvaro. Till vissa delar är detta en återspegling av den svenska befolkningens generella fördelning på åldrar. Den mycket upp-

follow-up

3. The Solbacka Academy will be situating on a gentle green slope against the Lake Fryken, and the neighboring great piece of green will be developed as park, botanical garden, organic cultivation and outdoor activities areas. The natural context and the programme of the building provides diversified and difference layers multi-sensorial experience.

150

design

The feasibility study report “Future scenario for Solbacka Academy in Sunne” (Ett framtidsscenario för Solbacka Akademi i Sunne) issued in 2007 suggested that Solbacka Academy will serves as a meeting point for different culture and age for the same interest in health and welfare. The´designing for ALL´ approach which match this vision perfectly.

Sunne 2006 100+ år 90 år 80 år 70 år 60 år 50 år 40 år 30 år 20 år 10 år 0 år

Water The city of Sunne is welknown for spa and water activities. With the close relationship to Lake Fryken and as a spa /health school, Water is the main feature of the Solbacka Academy and the surrounding. Water, the most important and basic element for life. It brings life and nutrients to life, as well as architecture. Flowing water actitivates creatures, the movement of water brings life and multisensorial experience.

Nature

thin and narrow form allows maximum contact with surroundings (light,views.....)

Situated on a great piece of green, the natural landscape brings life and soul to the Solbacka Adcademy. In additional to highlighting the relationship of the building with the natural environment. The natural elements merge with and fuse into the building, to enrich the multi-sensorial experience of visitors.

possible forms

rotation brings different angles of views

36 different quality of spaces: various volumes, roof-terraces, semi-outdoor space, and central communication

Bring nature to the building

inter-locking volumes variation in volumes, spaces react with each other while having its own characters

interaction with the nature brings water and green to the building the water as a gesture of turning the Â´boxesÂ´

water runs in the building from the top down to the ground, relates to the flow of circulation of visitors

Space for all Senses

Three ´boxes´ rotated and interlocking, sitting on the landscape

water connect the three boxes, running from the top to the bottom

Design Three long and narrow ´boxes´ sitting on the gentle hill, facing the lake. The three boxes are interlocking and crossing each others by 90o and 45o. The ´intersecting´ surfaces of the boxes are use as central communication space, it´s a space where visitors gather, move and enjoy. It´s a space with dynamic movement of people and activities happening around (sitting out, movies, exhibition, information...etc) Spaces are interlocking with each other, it provides multi-sensorial transparency through the whole building.

relationships with the landscape - the building merges to the landscape, existing greenery is kept undisturbed - space under/ roof terraces/ surroundings encourage visitors to contact with the nature

central communication space, dynamic and filled with activities

flow of water interact with the flow of people, multi-sensorial experience of ROUTE

the belt run through the building, outdoor and indoor, guides visitors and links up the building and nature.

green belts and water belts enrich multilayers of sensorial experience, and give guides and features for the different functions of the building.

flow of water flow of movement green belt (scent belt)

concept

taste

hear feel

healthtouch

nature

senses taste

experience

see smell

water

Space for all Senses

ENTRANCE unit amount entrance hall 1 reception (office) 1 office for application 1 HWC 1 toilet 2 storage 1 waiting zones incl. communication 1 communication (elevator/stairs) - total

area 50 20 20 5 3 15 15 20 148 m2

ADMINISTRATION unit amount headmaster office 1 ofe 2 copy room and storage 1 waiting zones incl. communication 1 total

area 20 35 20 75 m2

Student service unit amount nurse 1 personal advisor 1 SYV (ventilation) 1 relax room 1 HWC 1 storage 1 waiting zones incl. communication 1 total

area 50 20 20 10 5 15 15 165 m2

Library unit amount library- book and info. 1 music 1 computer room 1 total

area 100 25 25 150 m2

Cuture (drama,music,dance,design, graphic,form,etc.) unit amount auditorium hall (350 pl./1m2/place) 1 stage 1 storage, technical 1 instrument/playroom/conference 1 dressing space (WC,shower) 2 total resturant unit amount restaurant (abt. 1m2/pers) 1 kitchen (preparing) 1 dressing space (WC,shower) 2 kitchen (training) 1 kitchen (education) 1 dressing space for students 2 total LEARNING ZONE unit amount lecture halls (90m2X2,60m2X2) studio (90m2X2,60m2X2) group room 8 discussion room 20 toilet 20 cleaning 4 storage 4 2 teachers zone (6m /pers,36 pers) 7-10 pl./unit total

The total area of development is 8250 m2

spa/health care unit amount reception 1 dressing space (WC,shower) 2 halls (for yoga,meditation) 2 big halls (for yoga,meditation) 2 treatment rooms 15 bath treatments 4 sauna 2 laundary, storage - sand pavilion with relax room,sauna - storage, beach house - total

area 350 150 100 40 100 740 m2 area 175 175 35 75 75 25 540 m2

area 600 600 120 120 24 8 80 216 1848 m2 area 20 80 120 200 150 100 25 55 40 15 805 m2

Programme Requested by the client: Solbacka Academy and Sunne Kommun The Solbacka Academy building includes:

SPA & HEALTH

LEARNING

RESTARURANT restaurant

halls

kitchen

studios

method

reception

lecture halls dressing,staďŹ&#x20AC; treatments meeting rooms

kitchen,training kitchen,education

bath treatments

dressing , students

teachersâ&#x20AC;&#x2122; rooms

study

group rooms

sauna storage

dressing

CULTURE

hall

sand pavilion

design

storage laundary

rest/sitting out

beach house

OFFICES

storage

student services dressing

adminstration conference conference

follow-up

LIBRARY

BIG VOLUME

Breaking down the programme

imilarity in the programme of the two main features

+ SITTING OUT SPACE (OPEN)

learning

studios

Big vOluMe OPen, PUBLiC, lecture halls

+ CUTTING OUT SHARP CORNERS =CENTRAL COMMUNICATION SPACE + ORGANIC FLOW OF CIRCULATION + CONTACT WITH SURROUNDINGS

SMall rOOMS PRiVATe

meeting rooms group rooms

OPen SPace MAnY!

rest/sitting out

SMALL ROOMS

+ARRANGE IN GROUPS

SPa & healTh halls

treatments

+ CUTTING OUT SHARP CORNERS

+arrange in cluster + SITTING OUT SPACE (OPEN)

bath treatments

rest/sitting out reception

=CENTRAL COMMUNICATION SPACE + ORGANIC FLOW OF CIRCULATION + CONTACT WITH SURROUNDINGS

Space for all Senses

possible arrangement of floor plans

combination of big volumes, sitting out space, SMALL ROOMS and organic flow of communication+contact with surroundigs

designed for all - this floor arrangement avoid sharp corners and allows smooth movement of visitors, especially favorable for wheel chair users - the angles react with the rotation of floor plan, so the direction of movement is the same as the interlocking floor. The rotation is always 45o or 90o - the arrangement provide high level of visual connection, transparency and openness in the route as well as the surrounding, visitors are thus easily orient themselves, which is especially important for deaf persons who rely much on visual information.

the central communication Combination of ramp, steps and seats located in the central of the building, to create a centralize urban dynamic space in the heart of the building for gathering and communication, with handrail on both sides, it is accessible for ALL. Water is running right next to the steps, to enrich the multisensorial information for the route.

Space for all Senses

we SEE...

three boxes....?!?

Close your eyes visitor: ´´After parking my car , I heard sound of water fall. To the direction of the water, I found stone paving. I walked along the path, i recognized the scent of lavender, the scent seems following the path, leading me towards the building. The sound of water and flower scents getting stronger and stronger. Finally, i felt I was under shade. I reached the building!``

It´s more than we see!

prespective from the way to entrance

Space for all Senses

prespective from the way to entrance

Visitor (blindfolded): ´´After entering the building, I could feel it´s a big space as I heard the echoes, and the sound of different activities of people remind me that´s a public space. I walked....I felt the vibration of floor, seemed I was walking on metal flooring. The vibration varied when I moved, some parts I felt solid, some parts I felt more vibration. I follow the solid path, I reached information centre. In there the staff showed me tactile models and maps, so I understood the spatial arrangement ``

I heard the sound of running water. Walking towards the water source, I found handrail, then I climbed up the stairs with the handrail. In the mean time I smelled the scents of lavender again! Seemed it´s leading me to somewhere! ´´

perspective from the entrance hall

we..... not only see...... we also feel.....we touch....we smell....we taste

but our sense of vision usually dominates our perception, we use to judge by the appearance. Products look good are always more welcomed than those function well. So as architecture? Do visually ¨exciting¨ buildings mean good architecture? Our visually predominating make us ¨forget¨ other means of experience. Try to open our ¨eyes¨, there are more than we SEE!

To experience from another perspective!

taste

smell

hear

smell smell

hear taste smell

feel

taste

touch

EYE I see

feel

smell

touch

hear

touch

taste

feel

In Solbacka Academy, we.....

södervända glaspartierna kunna fö solceller, tekniken är på frammarsc förutsättningar att bli lönsam. I sluttningarna ner mot Fryken och i

Water

Water connects the Solbacka Adcademy, both in nature and manUTSIKT made water features. Different forms of water features give different textures to the space (different sounds, different smells, different forms of activities....etc.)

running water ´´water belt´´ is incorporated with the ´´central communicaition´´ the flow of water indicates the flow of people. By recognizing the sound of ´´running water down steps´´ visitors finds the main circulation path easily.

ﬁnns goda förutsättninga hearväxthuset ... odling. ekologisk Den närproducera

kan spara stora mängder energi oc del av helhetssynen.

Stora rum

Hjärtvägg med installationer mm.

Gång

Vi kan genom arkitekturen och utem väg för nya beteenden, som bidrar miljö. Dessutom medverkar närhete och vattnet, tillvaratagandet av da varierande sinnesintryck till att skap som människor mår bra i – en mäns miljö.

Smårum kontor mm.

´´fountain´´ Featured by the special sound, the start of the water belt is indicated by a little fountain on the top floor.

motto: ba

waterpark at the opposite side of the lake

LAKE FRYKEN outdoor pool in the lake

indoor swimming pool

outdoor bath

the main entrance is highlighted by water feature, people from outside can easily find the entrance by following the water sound

underground water canal the water belt continue from the top to the bottom, it goes underground when it ´crash´ to the circulation, and eventually ends in the pond on the spa floor (-1/F)

spa/bath treatment pond the water belt ends in a pond on the -1 floor, to indicate the floor for spa and water treatment

outdoor spa

Space for all Senses

Green belt

The green belts are ribbon structure running throughout the building (as well as the outdoor space), they are semi-fixed structure for partition space and supporting plants. They act as visual and olfactory guides and give character to the space.

However practically, many scent belts running through the space may cause Â´information pollutionÂ´, having too many information may cause confusion to users and scents may mix together may not be able to work as a guide. The indoor belt is therefore simplified as one main belt and some scattering sitting devices. (further description on p.62)

The origional idea was having many scent belts in the space, with distinguishing scenting elements and colours. By recognizing specific scent and colour, visitiors are directed to specific destination.

examples of elements on scent belts

flowers perspective from main entrance: by following the multi-sensorial information of scent belts, (eg. colours, scents, sounds......) visitors reach different parts of the building.

model showing how the scent belts ruuning through the space

fruits and vegetables

artifical smells

smell...

The belts go up and down and function as sitting devices and partition

elevations 1:750

B1 C2

Space for all Senses

view from the hill down to the academy and the lake

56 gardens

g path

organic farm

drivin

playground

parking

pat

summer deck

wa lk

ing

outdoor activities

swimming/bath

beach house, sand pavilion, sauna

coast promennade

The Solbacka Academy situates on a gentle hill, with the slope against the Lake Fryken. It is accessed from the city centre by the new pedestrian bridge, by main driving roads or by boat. The coast is developed for outdoor activities and the natural landscape is used as park, botanical garden and organic cultivation. Several spots (eg. outdoor spa, summer deck, roof terrace) of the building provide direct contact with the surroundings.

boat storage

boat parking

new

bri

e to

city

barbecue

Sunne city centre

Site plan 1:1500(A3)

Materials speak Walking on floors and touching walls is the most direct contact between human and buildings. The interaction between human and space provide information of self-existence in space and spatial perception. The tactile source of information provides guides for users. Different material materials give totally different tactile (and also visual and acoustic) feeling to a space. It affects people´s spatial perception and recognition. For instance, in a house with same layout and furniture, people feel more relaxing with carpet floor and wooden wall, but feel stressed and cold if they are made of metal. People relate specific materials with specific space unconsciously (mostly because they relate from their common experience). For example, tiles remind bathing and toilet, metals remind temporary construction or industry.

feel...

In Solbacka Academy, different materials of floorings are used in different zones to provide totally different tactile experience to visitors. Five totally different materials are chosen for different functions:

TILE - spa and health area Because of tiles´ smooth, shinny and waterproofing nature, tiles are commonly used in bathroom. It is common for people to relate tiles immediately with bath. So tiles are used as flooring for spa area because of this common ´sense´ and it gives cozy feeling to the space

WOOD - classrooms area Wood is a common material for flooring, it is natural and give special tactile feeling when people is walking on. Thus it is used on the classroom floors

Space for all Senses

Interacting with floor, the invisible guide The entrance hall and the central communication parts are covered with metal flooring. In between the concrete slab and metal flooring plate, wooden bars are placed. Space with bars is solid while the other parts are hollow. Walking on the metal plate with bars underneath gives totally different feeling from hollow, the hollow space vibrate more vigorously than the solid space. The bigger the spacing of bars, the more vibration is felt. By arranging location of bars, it gives invisible information to the space. Especially when it reacts with people walking on, (eg. jumping, hitting with white cane/umbrella) it gives distinguishing different sound of resonance Big wooden bars are put under the main route path and important spots (eg. elevators, information centre), while the others are placed with small bars. The Â´solidÂ´ paths act as a invisible guide leading people to various points. The interactive atmosphere created by the floors imply its vibrate character of the communication space.

the ground floor is covered by different materials: metal: central communication vegetation: green house concrete: restaurant carpet: auditorium tiles: spa

metal plate wooden bars concrete slab

stops

path

vibration

floor section 1:150

Tactile information The ground floor is the space where visitors first get contact with, and it is the heart of the building which connect to different functions. It is very important to give enough information for visitors about the spatial arrangement of the building to avoid getting lost. Beside the scent and water guide mentioned before, the flooring gives visitors information.

office

admistration

The Ground Floor

head office

The ground floor is located at level +72, same level as the carpark. After parking car, visitors follow the stone paving and the sound of water towards the building. The entrance hall is interlocking with various public space of the building, it is a space filled with activities and dynamic movement. The interlocking platforms with the central communication (the big steps combined with seats and ramps), form an open and public square (or theatre) for open activities, a big screen is located on the top of the entrance so as to be ´seen´ in the whole building. This central space is contacting with every parts of the building visually and in all senses. Reception and information offices locate right next to the entrance while administration office is on the left. Visitors go directly to upper floors (the learning areas) by following the running water sound and going straight ahead up the stairs (/ramp). Smells of food and coffee indicate the location of restaurant. Elevators are right next to the entrance of restaurant. By following the scent of plants in green house, visitors reach the two ramps, one is going up to the green house and library, and the other one is going down to the auditorium hall and spa & health areas (highlighted with waterfall, swimming pool and smell of chloride from the pool)

copy room/ storage

ventilation

student service nurse personal advisor

work space

staff dressing room

entrance hall

conference meeting room

reception staff relax room

information application

cloakroom

chefs‘ changing room

kitchen

kitchen for training

serving counters

library computer

music

green house

kitchen for education

restaurant

books

students’ changing rooms

outdoor dining

organic farm for restaurant

spa & health

auditorium hall

Ground Floor Plan (+72) 1:400 (A3)

visual guide In addition to the ´hidden guides´, pattern in different colour is painted on the ´metal´ floor and to direct people to the receptions and also for asethetic.

Echoes Reflection of sound varies in different volumes, we have idea about a volume (eg. floor height, width) by listening the echoes.

the bigger the volume, the bigger the echoes (eg. in cathedral) In Solbacka Academy, the variation of volumes (and also different combination of materials) make variation in echoes. Especially, the central communication space is featured with its big echo. Visitors can easily recognize the space by hearing echoes. m

+78.4

roof terrace

central communication +74.7

auditorium hall +71

+72

entrance

office

+69.0

section A-A 1:500 m section B-B 1:500

Space for all Senses

water echoes vibration activities voice/sound

water vibration

water

Route tactile

Non visual information on G/F

tactile- change of materials

Dynamic landmark / sound &movement activities, movement of people ,water movement, echoes can be refered as spatial reference

62 green belt

plants

food

water vibration activities voice/sound

water

pool

vibration

Smell smell from the green belts act as guide for paths smells from green house, restaurant and swimming pool as spatial reference

plants

water

Multi-sensory experience

food

Space for all Senses

Green belt The red ribbon shows the main green belt A specie of scenting element (eg. mint/herb) is planted on it, its distinguishing scent and colour direct people from the main entrance towards the lecture hall area, and eventually merge with the floor as partitioning and sitting devices Placing green belt mainly in this zone because it is one of the most frequently used and public area, while it is lack of its specific smell (spa, restaurant, green house have smells) In other parts in the building, the belts act mainly as partitioning/sitting devices to avoid conflict between scents However there is possibility to add/ mofidy the number of scent belt after the building is used

64 The First Floor (top floor) Following the running water and the green belt, visitors walk up the steps and arrive the first floor. The central communication space which is interlocking with the entrance hall is open for activity, exhibition, relaxing and gathering. As contiuation of the ground floor, the floor is covered with metal, by following the ´hidden guide´, visitors reach the teachers´office, lecture halls or dining area.

teachers’ office

central steps

The green belts define the path and also space.

activity

sitting out/ dining area

indoor garden

learning zone lecture halls

First Floor Plan (+74.7)1:400 (A3)

65 Carpet cover the learning zone. Walking from hard, vibrant metal surface to soft, quiet floor, visitors are reminded they entered a quiet learning space, people are therefore react according to respect the nature of space.

Tactile guide Same as the ground floor, the metal floorings are hidden with invisible guides, while the other floorings are covered with carpets and different patterns of guides.

lecture halls +74.7

+70

+64

indoor pool

spa- activity halls

garden

+77.4

central communication entrance hall

teachersÂ´room staff office

+74.7 +72

section B-B m

Space for all Senses

Non visual information on 1/F

vibration

activities voice/sound

water

Visitor (blindfolded): Â´Â´I followed the scent from the stair, oj! I stepped on something soft! It seems carpet! I found myself now in another space, the quiet atmosphere drove me react quietly. Eventually, I heard voice of teaching; this must be lecture room area!

perspective in the first floor (lecture area)

sound

activities from the central communication space

smell

tactile

scent from green belt gives specfic scent for this floor

change of materials from metal to carpet in lecture area, from metal to concrete in dining area

67 Visitors can sit on the central steps and watch information showed on the screen (on the top of the entrance) or participate in different activities

perspective from the second floor to the central space

Space for all Senses

Non visual information on 2/F

wood as the flooring material for this 2/F

activities voice/sound

water

activities voice/sound

warmth breeze

Tactile guide Same as the other floors, different patterns are used for path guidesrubber surfaces are used for entrance

activities from the central communication space & roof terrace

sound

smell C

tactile

scent from greenery,wood

change of materials from metal to wood

others

classrooms

warmth and breeze from the roof terrace

group room

+77.4

library

green house

central communication

restaurant

+74.7

+73

bath treatment

+72

+70

section C-C m

69 The Second Floor (top floor) Continuously following the running water, walking up the steps, visitors reach the start of the water flow (featured by a little fountain) indicating itÂ´s the start (/end) of circulation. The end of the big steps is glazed by full height window, Walking up the steps is like walking towards the beautiful Fake Fryken and the warmth of sunshine. Visitors reach the roof terraces by walking straight, here people enjoy the magnificent contact of nature. This floor is more private studentsÂ´ learning and working space. The floor is thus covered by wood to give a home-like friendly atmosphere. Students go to their study place by turning left or right.

classroom for 30 students

classroom for 45 students

learning zone classrooms

central steps

discussion room/ group room

roof terrace

Second Floor Plan (+77.4) 1:400 (A3)

perspective on the second floor

Visitor (blindfolded): ´´I left the lecture, running water sound reminded me the route to walk. I climbed up another stair, refreshed by breeze and feeling the warmth of sun, I guessed roof terrace is near-by. This floor smelled like wood, it reminded me my home. I heard the voice of discussion of students, I guessed this is the ´home´ of students – studio (classroom).´´

Space for all Senses

Non visual information on -1/F

plants

water

The spa and health unit is featured with tiles and water

treatment rooms (VIP)

sauna

laundary

storage

water fall & pond treatment rooms bath treatment

method

spa & health reception

outdoor spa

changing room

activity hall

study

activity hall

auditorium hall

yoga hall

dressing rooms

design

storage

conference

terrace

follow-up

-1/F plan (+70) 1:400 m

Space for all Senses

Levels are interlocking with each others, the interlocking arrangement gives not only visual connection and openess to the space, but also in multi-sensorial Visitors can refer to the multi-sensorial spatial references in different levels to assist orienting. The perspective shows the inter-connection of the central communication, green house (Â˝/F) , lecture hall (1/F), spa unit (-1/F) and auditorium.

perspective from the auditorium (ground floor)

from here

74 The -2 Floor (bottom floor) The Swimming pool is at the bottom of the hill, directly connect to the beach house and the lake, and also with the out door spa. It can be accessed from indoor through the health and spa unit. The space under the building is preserved as natural, sitting devices (the green belts) continuously run to the space for visitors to enjoy the nature.

swimming pool

summer deck

-2/F plan (+64) 1:400 m

Space for all Senses

restaurant

green house

auditorium

lecture

lecture green house library

entrance

auditorium restaurant

The grouns and second floor - the interlocking of different leveling

green belt

2/F group rooms

central communication

activities

View from entrance to the central communication space - garden and water feature at the entrance - scent belt guiding visitors - arrangment of the central space - different flooring materials

76 green house

spa & health

auditorium restaurant

The ground floor

green house

auditorium

green belt spa & health

spa & health library

auditorium

restaurant outdoor spa

lecture

The bottom floor spa and health unit

View to the first floor - green belt run through the space, guiding from entrance to lecture areas - interlocking space with green house, lecture area, auditorium, central communication ...

Space for all Senses

Communicating in all senses Multi-sensorial communication tools Drawings and power point presentations are common tools for architects to communicate ideas. However, the mono-sensorial communication (mainly focus on visual) makes designers less aware of the multi-sensorial qualities of the space. In the presentation of the thesis, a blind lady Stina Hรถrberg was invited as consultant for the project. As visual means of communication was not possible, communication of idea in other senses was necessary.

Presentation to teachers and blind accessibility consultant

1.Verbal descriptions

2.Tactile communication touching the models and different materials assist understaning of the multi-sensorial quality in the space

78 Tactile communication -models Different kinds models convey different messages

tactile map (access route model) - simplified maps to provide the most important imformation (eg. locationf of information centre, entrances, stairs, ramps, elevators and also simplified representation of levellings, voumes...etc) to users to by tactile means.

volume model (site model) - to provide information about the building volume, form, relationship with the site in three-dimensional way.

tactile model (model in bigger scale) - to provide information about the detailed spatial arrangements, materials, volumes of the building

Space for all Senses

Volume model (1:400)

Tactile maps (1:400)

(to be placed at the main entrance or information centre) - simplified maps to provide the most important imformation (eg. locationf of information centre, entrances, stairs, ramps, elevators and also simplified representation of levellings, voumes...etc) to users to by tactile means. - different materials, patterns and levellings represent different spatial references/arrangements - braille text for visual imparied persons - good colour contrasts , can be easily understood even for sighted persons

different materials give tactile information about the spatial characters

Tactile model (1:200) metal

- the model is decomposable to different Â´3-dimensional floorsÂ´ for visitor to touch and feel the spatial arrangement

carpet

wood

tile

water

concrete green belt rubber guided floor

Space for all Senses

Appendix Visitor guides The Solbacka Academy is located on a gentle hill east to the city centre, with the slope down against Lake Fryken. The building is made up of three long n transparent boxes, which are rotated by 45 degree and interlocking with each others. It looks like a cross with a 45 degree crossing from the top and is 4-storey high. In the building, multi-sensorial guides assist you to orient and enjoy the space Follow the water Sound of water indicate the important spots Outdoor water feature: main entrance Central communication space: running water Spa and health unit: pond Feel the floor The floor is made of different materials which bring characters to different functions.

Metal - main central communication space, mainly on the G/F,1/F

Carpet - lecture and theater areas

Wood - the student classroom and study /discussion rooms

Tile- spa and health care area

Concrete- administration and restaurant areas

Rubber floor guilds- indication of information, entrances

Recognize the Scent belts Ribbon like scent belt runs through the whole building, it leads you to the lecture halls

-visitor guides

(to be placed at the main entrance or information centre

together with the tactile models)

Follow-up post occupancy evaluation,

managing the relationship between building and people

study method

design

Space for all Senses

Post Occupancy Evaluation

ost Occupancy Evaluation (POE) involves systematic evaluation of opinion about buildings in use, from the perspective of the people who use them. It assesses how well buildings match users’ needs, and identifies ways to improve building design, performance and fitness for purpose. ´´Key features of Post Occupancy Evaluation: - ‘Building users’ are all people with an interest in a building - including staff, managers, customers or clients, visitors, owners, design and maintenance teams, and particular interest groups such as the disabled. - Post Occupancy Evaluation differs significantly from conventional surveys and market research. It uses the direct, unmediated experiences of building users as the basis for evaluating how a building works for its intended use. - Post Occupancy Evaluation can be used for many purposes, including fine tuning new buildings, developing new facilities and managing ‘problem’ buildings. Organisations also find it valuable when establishing maintenance, replacement, purchasing or supply policies; preparing for refurbishment; or selecting accommodation for purchase or rent. ´´ 1

POE on ´´space for all senses´´ his thesis is an experimental project aims at enriching multi sensory spatial experience so as the built environment is accessible by everyone. In order to achieve human centered design, post occupancy evaluation plays an important role. Conducting interviews and analyzing the feedbacks from users helps improve the performance of building. By progressive POE and according adjustments, the ideal of ‘Space for All Senses’ in Solbacka Academy would be achieved.

eside ‘mainstreams’ of building users (visitors, students, staffs,owners...etc), feedbacks from particular interest groups such as wheel-chair users, visually impaired and deaf people are valuable to improve the ‘space for all senses’. As the approach for the building is experimental, various multisensorial elements are inputted into the project and the outcome of the combination of the ‘multisensorial experiences’ are controversial and to be tested. Suggested items to evaluate: - Noise control - Scents - materials

http://www.postoccupancyevaluation.com/

Suggested items to evaluate: Noise control he various sound elements might be interfering each other and thus reduce the effects in the whole.

gREEN BELTS imilar with sound, smells affect each other and reduce the effects in the whole. Also, the intensity and choice of scent has to be tested and evaluated with users (be reminded that some scents can be annoying or allergic to certain people) in order to archieve the maximum effect.

method

The entrance hall is a public space with high traffic circulation and mixture of difference activities, in addition to the sound sptial references (water, metal floor, screen,echo... etc)

Also, the number of green belts (both indoor and outdoor) should be adjusted after evaluation for the best effects.

study

example of scenting elements: natural elemants bring periodic variety to the space, however the scents are difficult to control. flowers

fruits and vegetables

sound absorbing materials might be installed to control the noise

design

materials he effects of different material should be tested, modified for the best effect. Maintainence of materials (especially carpet floors) is important.

artifical smells

follow-up

Space for all Senses

â&#x20AC;&#x153;My world is not black and hopeless. It sparkled as it did before, but now with sounds, odors, shapes and textures.â&#x20AC;? G. J. Vermeij