A LIVING COMMUNITY FOR DEAFBLINDS
LATAKATA| BASISTHA| GUWAHATI A THESIS REPORT SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENT FOR THE DEGREE OF BACHELOR OF ARCHITECTURE
( GAUHATI UNIVERSITY ) BY MEGHA TAIWALA FINAL YEAR, B.ARCH ROLL NO- R-ARC/11/27 GU REGN NO- 076435 OF 2011-12
ROYAL SCHOOL OF ARCHITECTURE, GUWAHATI, ASSAM
A LIVING COMMUNITY FOR DEAF BLINDS
PROJECT PROPOSAL Prepared for: Deaf-blind, Adults Prepared by: Megha Taiwala, B.Arch Final Year 12 December 2015 Proposal number: 000-0000
CERTIFICATE
This is to certify that the Thesis Report Titled ‘A LIVING COMMUNITY FOR DEAF-BLINDS’ is the bonafide work of Ms. MEGHA TAIWALA Submitted to the faculty of ROYAL SCHOOL OF ARCHITECTURE For Thesis 9th Semester, B.Arch of Gauhati University During the Academic Year 2015-2016.
•
Ar. Neha Kaul Parasar
Ar. Ritick Hazarika
Ar. Anita P Yammiyavar
Thesis Guide
External Guide
HOD
Royal School of Architecture
Ritick Hazarika Architects
Royal School of Architecture
PREFACE
For something to be comprehended, ‘nothing’ is to be first understood. Nothingness of space and the senses: The Filled space vs. the Empty space! The idea is to design a space of nothingness, which means the absence of an expected figure that in way gives multiplicity to the space. Architecture is not just a mere metaphor of philosophy, in fact it is the means that makes philosophy visible. I, You, he, she, they, we, all can recognise the geometry of our surrounding environment. Our senses dictate the architecture of our environment. But, how significant is the space for people who are missing some of theirs?‘Hearing nothing’ and ‘seeing nothing’, are challenges to the space one lives in. The deaf listen too. With their eyes! They inhabit a highly visual world. The blind see too. With their ears! An empty space has the potential to mould itself to the demands of its user. When we think of our ideal house, we have our creative minds at play. Sight and hearing play a dominating role in the spatial perception of our house. But, The deaf demand empty spaces, for clear vision. The blind, for clear communication! Architecture for the senses: One of the most exciting auditory experiences in architecture is ‘silence’. Spaces can sound huge; they can also be made to sound small. In the design of a house for the blind, the empty space acts as a metaphor for nothingness. Seeing nothing, calls for hearing everything. Similarly, in a house for the deaf, there should be constant breathing of light and shadow. These interplay of filled and empty spaces, help them in experiencing the space around them. One must remember, that sound is painful for the ones with hearing impairment. Their architecture is not the making of walls and defining spaces but rather the design of empty spaces, the touch and the feel of spaces. The image of filled spaces come next, the empty spaces first. The walls come next and the empty spaces afore! This thesis is an attempt to make architecture cut through these spaces to the invisible, dark spaces of the Deaf-blind. Megha T
DECLARATION
1.
CANDIDATES’S DECLARATION
I, Megha Taiwala hereby certify that this thesis, has been written by me, and that it is the record of work carried out by me or principally by myself in collaboration with others as acknowledged. And that it has not been submitted in any previous application for any other purpose. I was admitted as a Undergraduate student in July, 2011 and as a candidate for the degree of Bachelors of Architecture ; in December, 2015; the higher study for which this is a record was carried out at Royal School of Architecture, Gauhati University between July and December, 2015.
Date: December___, 2015
Signature of Candidate Megha Taiwala
2. CO-ORDINATOR’S DECLARATION I hereby certify that the candidate has fulfilled the conditions of the resolutions and regulations appropriate for the Thesis in Bachelors of Architecture Programme and that the candidate is qualified to submit this thesis.
Date: December___, 2015
Signature of Co-ordinator Ar. Neha Kaul Parasar
ACKNOWLEDGEMENT
Wow, I appear to have submitted ! When I started this I was naive and ignorant, and now at this juncture I am less naive and ignorant. If there is one thing that this thesis has taught me is how little I imagine compared to the gargantuan inter web of imaginations that different people with different minds all around think and imagine; to perceive and live ! So, I first start off by thanking my teacher Ar. Sourish Das Gupta for all the mental hiccups he gave me for as long as he could ! The preparation of this thesis report for ‘A living Community for the Deafblinds’ involved the energy and synergy of my Guide Ar. Neha Parasar whose patience in fact kept me patient all through the while ! And the knowledgeable participation of Ar. Anita P Yammiyavar, HOD, Royal School of Architecture who require acknowledgement for her contributions. The discussion process was far reaching both within and outside the Design studio. This project would not have been possible without the guidance and insights from Prof. Pradeep Yammiyavar, Director, CET, IIT Guwahati ; Architect Ritick Hazarika who has guided me make most of my design moves ! And, Prof. Meghal Arya, FOA, CEPT University for making me step into the shoes of the deafblind. I would also like to extend my gratitude to Assistant professors of Royal School of Architecture Ar. Dhruba Sonowal for helping me resolve similar design issues during the design phases. I have taken efforts in this project. However, it would not have been possible without the kind support and help of the Jury who direct us to the right path. I am highly indebted to Ar. S Sandilya and Ar. Ritick Hazarika for judging me towards this goal. The wonderful Team at the ‘Blind Peoples Association’,Ahmedabad who let me in and allowed me to take the user survey on deafblinds and the two beautiful people who made me understand Deaf-blindness! The last one to the lady who made me. maa !
CONTENTS
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1. Introduction 2. PROJECT brief
2 8 11 15 18 21 27 33 38 48 53 62 63
3. DEAF BLINDNESS 4. EXAMPLE STUDIES 5. uSER STUDY AND ANALYSIS 6. LIVING COMMUNITY 7. ARCHITECTURE AND SENSES 8. HOW IMPORTANT IS IMAGE PERCEPTION ? 9. SITE 10. CONCEPT DEVELOPMENT 11. ANTHROPOMETRIC STANDARDS 12. ARCHITECTURAL DESIGN 13. CONCLUSION 14. APPENDIX I 14. BIBLIOGRAPHY
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1 in 10000 Indians suer from deafblindness
9%
91% Un-Reached
13%
24% 87% Housing data n/a
76% Dependent
HOUSING ?
Current Situation: Daily news reporting on the poor quality environments of the deafblind
orientation
isolation
WAY-FINDING
The Issue
communication
DEAF-BLINDNESS:
INTRODUCTION
It is said that it is Humans who make a space a place. A space is enhanced when humans can communicate to the elements in it. Communication, ever since the beginning of human history has often been understood as an aspect of language. In Architecture, a space is made to communicate to its perceiver. It is an exchange between the space and the image that the user develops as he moves through the space while experiencing through his senses. Image, the dialogue of the eye has been central to the spaces of human existence but for the Deafblinds this image is developed through the eyes of the skin. What if we expel the sense of vision from experiencing spaces? Will it still create images for the eye? Designing for the Deaf-blind puts forward similar such questions where the contribution of the remaining senses; touch and smell are put to test. Senses impart information of the surroundings, creating a space which is appropriate for buildings to narrate their presence with respect to that space. The nature of Architecture in a time where image has to be removed is required to be questioned and answered. The Deafblind eye is devoid of images and hence the Deafblind image of the space remains unbuilt, scattered much like the pieces of a jig-saw puzzle. Vision helps the sighted user to fit in those pieces and complete the image of space. The Deafblind user need to identify the pieces of architectural spaces each by experiencing through movement, touch and smell to complete this so called image of space ! Space perception is not just about experience, it is simplifying the space into tangible spaces. Architecture since long has created communities of such complex spaces producing images for the eye. On the contrary, a community for the Deafblind consists of complex spaces simplified into a logical whole where the elements of space making are defined as tangible spaces for human touch and imagination. Space recognition is another aspect of Architectural Design. How does one form image of spaces that one can simply touch and smell? The rudimentary role of those elements such as Floor, Column, Wall, Door and Window are used for logical sequencing of spaces for the Deafblinds to experience and recognise. This helps them understand the character of spaces; the scale of these spaces help them relate the smaller pieces to the larger whole.
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PROJECT BREIF
PROGRAM LOCATION PROJECT DESCRIPTION Very little research about “Deafblind space” is currently available. When it comes to identifying Deafblind spaces, the perception of the majority assumes that Deafblind spaces are the same as deaf space and blind centred spaces; following the same design strategies. The research that does exist offers very little understanding of “Deafblindness” and their understanding of spaces. This research will explore the design possibilities of “Deafblind spaces” within the Indian context. In a multicultural society, what actually identifies Disability design? How can a deaf blind live to fulfil his/her demands within society? And what are the negotiable and non-negotiable design factors in designing the same? It is worth doing the research because it will explore the design possibilities and also allow me to investigate the negotiable and non negotiable design features of ‘Deafblind spaces’ in the Indian context, particularly North-East which has been by far the most untouched part of this country when it comes to designing for the specially abled.
GUWAHATI | ASSAM | INDIA
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PROBLEM STATEMENT
 
User Group: Deafblind Adults Age group: 18 -35 Years Disability Population in North-East India: 21, 317 Problems Addressed: Housing Way- Finding C o m mu n i c a t i o n - U s e r Feedback from the BuiltEnvironment.
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A space that responds to the senses of the Deafblind i.e., touch, smell and movement in a built environment and explore their architectural vitality as tools of way-finding for the muted sense. 
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RESEARCH QUESTION How can Architecture be shaped as per the needs of the senses ? What role has vision and aesthetics to play in shaping communities that are to be felt and not seen, while at the same time fitting within its immediate urban context? LIST OF TERMS
Senses (sens) 1. any of the faculties, as sight, hearing, smell. taste, or touch, by which humans or animals perceive stimuli originating from outside or inside the body. 2. a feeling or perception produced through the organs of touch, taste, etc., resulting from a particular condition.
Aesthetics (es-thet-ik) pertaining to, involving, or concerned with pure emotion and sensation as opposed to pure intellectuality.
Context (kon-tekst) the set of circumstances that surround a particular event, situation. 
1. Senses
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PURPOSE OF THE PROJECT
Deafness and blindness are disabilities which have today somehow managed to crawl its way through the society of the common man. But, deafness combined with blindness blurs that fine line of their existence.Deaf-blindness has affected 5 lakh* individuals in India, who still dare to live! But.. The question still remains, how and where? Under what conditions and with whom? The study aims to see these individuals from a perspective which they can call theirs and come up with a space which adapts itself to the needs of Deaf-blindness. The thesis aims at making the deaf blind individual an independent space survivor in which the space speaks to him and enables him for free movement and easy recognition of his boundaries.
The purpose of this research project is to explore what are fundamentally the most important elements of Deaf-blind design, those elements which must be present and those which are less important to the sense of the “Deaf-blinds.” • To assist in the practical application of any designer seeking to make
* Data as provided by SENSE International India
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OBJECTIVES
architecture for the deaf-blinds in North East India by giving them an insight into Deaf-blindness. • To develop a solution to cater to their needs of movement through different types of spaces i.e., free, obstructed, unobstructed etc. • To understand the character of these spaces and analyse them within the frame of deafness combined with blindness. • To understand the role of architecture in shaping a space free from the dominance of vision. • To make the differently abled a part of the independent society.
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DEAFBLINDNESS
INTRODUCTION
DEAFBLINDNESS
This chapter gives a brief introduction to deaf-blindness in India. It will explain the differences between deaf, deaf blind and blinds. Before understanding deaf-blind spaces, it is vital for us to trace the history of deaf-blindness, and the people who have become a victim to it in order to understand the requirements of these individuals. This will enhance the focus on the strategies developed for each set of individuals.
Deafblindness is a unique disability – a combination of both vision and hearing loss. For many people it is difficult to imagine what it must be like to be blind or deaf; it is almost beyond our comprehension to imagine what it is like to be both deaf and blind. Yet throughout the world there are hundreds of thousands of deafblind people – children and adults.
Patiala
Ahemdabad
Mumbai
Until 1997, there was only one school in India providing services to 23 deafblind children. (See figure)
WHO ARE DEAFBLIND PEOPLE ? Persons are regarded as Deafblind if they have a degree of combined visual and auditory impairment resulting in problems of communication, information and mobility.The exact nature, cause and level of sensory loss varies among people; however the feature common to individuals who are Deafblind is that they have some significant deprivation in the use of the distance senses. The population includes: 1.
No. of Deafblind Institutions with living facilities,India
People with congenital Deafblindness (ie those who are born or become Deafblind before they could learn to speak). For individuals born Deafblind, awareness of the world around is often limited to touch.
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•
People born blind,who develop a hearing loss later in life.
•
People who acquire both hearing loss and sight loss later in life.
This study deals predominately with groups 1 and 2, whose communication choice is sign language, possibly adapted to include gestural and physical means of communication (touch and smell). As a crude estimate, this group may be roughly 100 in North-east India in the range of 18-50 years.
However Barnett (2002) found that Deafblind people do have a unique experience involving a number of different factors and which appear to be common among individual Deafblind people - such as ways of perceiving and making sense of the world through touch and imagination.
USE OF SENSES
However, there is not a good base of statistics for this group.
Deafblind people use touch in a number of ways: for receiving information about their environment, for communication and also as a feature of general behaviour.
EXPERIENCES OF THE DEAFBLIND
LIFESTYLE
There has been very little attempt to understand the world which a Deafblind person inhabits. The case of ‘Helen Keller’ remains possibly the only detailed account which allows us to understand the way in which a Deafblind person experiences the world around. From the few studies, we can project a world view which relies on touch and taste and imagination but into which we have not been prepared to venture further. A study conducted by ‘Barnett’(2002), found no established community or specific culture among Deafblind people.
•
The ideal Deafblind environment is reported to be where the sense of touch is most stimulated.
•
The use of imagination is an essential part of the Deafblind experience. Deafblind people use information obtained through the senses and from past experience to make sense of their environment and to provide a context into which they place themselves.
Barnett (2002) also described the deaf blind experience as being in the present tense, without knowledge of the sequence of events.
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Further to this, Barnett (2002) proposed the idea of the Deafblind person as an island - both the physical isolation which many Deafblind people experience and the social isolation resulting from limited contact with other people. These factors are significant because these become the fundamental conditions for community development –
shared
experience and interaction. Lack in hearing and sight creates a void in information content. This removes the basis for social interaction. While many of us, the hearing-sighted people claim to have had an experience of isolation, we can seldom imagine the continued lack of contact which is the daily life of the Deafblind person.
DEAF PEOPLE People who suffer hearing loss either congenial or as a result of an accident later in life are termed as Deaf. Deaf people form a dynamic community based on use of sign language – a language which can be traced back at least 400 years. Deaf people are said to establish their primary ties at school and develop their community affiliation through social contact in Deaf clubs and other meeting places. Since Deaf people see and experience other people everyday, they do not face the problems of community isolation unlike Deafblinds.
BLIND PEOPLE On the contrary, blind people have an isolation from objects and not people. Blind people are more closely integrated into the hearing community, are more visible to hearing people and have experiences to which hearing people can relate. Blind people unlike Deafblinds are united with hearing people, usually through a shared common spoken language.
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EXAMPLE STUDIES
EXAMPLE STUDY 1
Type: Educational
ORGANISATION OF BUILT-FORM
PROJECT DESCRIPTION The Blind People’s Association (B.P.A.) is a large multi-faceted agency which provides a wide gamut of services – from prevention, education, counselling, rehabilitation, employment and advocacy to all categories of disabled people.
Relation among functions
SITE- ITS CONTEXT
BPA
Residences
IIM, New
BPA Site/ Functions
ARCHITECTURAL PROGRAMME The camus of B. P. A. consists of linear building forms, enveloping a huge courtyard, which occupies functions such as a landscaped garden, a ramp, and parking facilities.
BLIND PEOPLES ASSOCIATION, AHEMDABAD
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ARCHITECTURAL ELEMENTS THE STRUCTURE-WITH RELATION TO THE PERCEPTIONS OF THE DEAF-BLIND 1.
SPACE PERCEPTION AND THE USE OF ‘SENSES’
At entrance, the big courtyard which is a free space, gives no direction for navigation.
2. The ramp, the parking and the gardens further add to the complexity of the navigation. 3. The dining hall is circular and has no corners. provides security during rush hours. 4. The manual printing room is a large space leading to the complication in their movement. 5. The hostel room has bunk beds, allowing insufficient space to move.
USE OF LIGHT 1.
making the person feel the direction of light
2. Interplay of direct and diffused daylighting helps them orient themselves in space. USE OF TOUCH 1.
The sense of touching is within the anthropometric limits of the deaf-blind/ blind.
2. Low-heighten walls along provide for the tactile need for the deaf-blind/blind USE OF SMELL 1. The campus is planted with trees which provides a landmark character to spaces.
1.Ramps & Parking
2. Dining
3.Printing Loom
4. Courtyard
5. Central Garden & Play Area
6. Handloom
BLIND PEOPLES ASSOCIATION, AHEMDABAD
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EXAMPLE STUDY 2
Firm Alan Dunlop Architects Ltd Type Educational Residential Area 2660 Sq.M 150 Sq.M
PROJECT DESCRIPTION Hazelwood School is specially designed for children who are DEAF AND blind. Preaching’s since childhood make these blind children confident to face the journey of life by exploring and experiencing. Intended to be usable and easily navigated by anyone, Hazelwood provides accommodation for a maximum of 60 pupils, aged 3-18 years.
SITE-ITS CONTEXT
PROGRAMME The school contains eleven (11) classrooms in a single story structure and a separate residential unit, the three bedroom “Life Skills House,” is used to teach the children basic life skills b u t a l s o p r ov i d e s r e s p i t e
THE STRUCTURE • The entrance area Is designed as a loop system to allow vehicles to rack up in a dedicated drop off area • Storage space integrated within spine wall-navigating tool.
• Individually shaped sections of sensory spine wall-helps in orienting the length of circulation space. • Minimum number of columns.
HALEWOOD SCHOOL, GLASGOW
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BUILT FORM and space perception
MATERIAL USE
THE USE OF SENSES
• The curved form allows the building to be broken down both internally and externally into manageable spaces.
1.
THE 7TH SENSE: PROPRIOCEPTION
Function 2 : Spine wall Storage space
Function 1 : Classroom space
Function 3 : Circulation
2. 3.
Roofing slates define particular areas outside Timber is used on the internal walls. Each area is defined by separate finishes, which feel different under foot.
•
The transition between the ‘street’ and classrooms areas is designed to inform children of their location
•
The roof over the street pitches to the north and clerestory glazing is incorporated. This is mirrored with glazing to the south, which floods the area with natural light. ( fig-6, people with visual impairment can identify the differences in lighting conditions )
•
Th e s t r u c t u ra l g l u l a m * timber frame casts shadows within the building to establish a clear pattern along the internal street of the school.
THE SENSE OF SMELL •
The street forming the navigation •
The structural beams in the interiors provide a distinct smell which helps students distinguish between environments. Outside, the grass bears its own smell.
• The building is developed as a series of space groupings which provides for simple orientation.
External factors influencing built-
SOUTH ELEVATION HALEWOOD SCHOOL, GLASGOW
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BEHAVIOUR ANALYSIS
USER GROUP - deaf ,blind and deaf-blinds AGE GROUP - 14-25 years
STUDY BRIEF Blind Peoples Association is a graduating for dual sensory impaired children and young adults where I undertook a small survey to understand the psychology of the differently abled in their perceptions of space through two different simulated exercises.
SIMULATED EXERCISE 1:
16%
40%
48%
26%
17%
52%
4 individuals were made to perform 4 different tasks and the time duration for each WERE plotted. Considering that all of them perform 4 different tasks. An interactive chart is prepared to understand the character of each specially abled individual and the quality of space that needs to be designed for them. ( Way finding involved walking from point A to B )
4% 8% 38%
50%
Normal people make use of sight by 40%
Deaf-blinds carry out 52% of their works by touch
Amount of time a deaf-blind spends is maximum for vocational activities
BLIND PEOPLES ASSOCIATION, AHEMDABAD
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RESPONSES TO SPATIAL FEATURES
SIMULATED EXERCISE 2: •
Taking 2 individuals, one normal and another deaf-blind, their responses to various senses in performing various activities were noted.
•
These responses were then averaged out to evaluate the program requirement for the deaf-blinds.
•
The tool used is ‘the 5-sense Graph’ which takes the five senses along the x-axis and the intensity on a scale from 1 to 10 on the y-axis.
SIZE • Too large spaces-overly demanding in travel distance and communicating. SHAPE (PROPORTION) • Proportional distortion is accepted on a short term basis. • depend on constant proportions of right-angled corners • Periodic projections are confusing which can imply that they have reached a turning point. ILLUMINATION • For the Deafblinds, vision is limited to light perception-a light source can act as a navigational clue. • However, too bright a space leaves them overly exposed making them confused. • Interplay of light and dark spaces are appreciated.
FOR A NORMAL
Intensity of a particular experience in each sense
FOR A DEAFBLIND PERSON
10 8 6 4 2 0 10 8 6 4 2 0
Sight
Sight
Touch
Touch
Smell
Smell
Sound
Sound
10 8 6 4 2 0 Taste Sight 10 8 6 4 2 0 Taste Sight
WALKING
Touch
Touch
Smell
Smell
EATING
Sound
Sound
Taste
Taste
10 8 6 4 2 0 10 8 6 4 2 0
10 8 6 4 2
Sight
Sight
Touch
Touch
Smell
Smell
BATHING
Sound
Sound
Taste
Taste
0
10 8 6 4 2 0
Sight
Touch
Smell
Sound
Taste
Sight
Touch
Smell
Sound
Taste
COOKING
BLIND PEOPLES ASSOCIATION, AHEMDABAD
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ANTHROPOMETRIC LIMITATIONS Arm’s Reach
At b.p.a , the following data were simulated on the basis of the responses generated by the Deafblinds in different spaces. •
At the end of these simulated experiments, the following observations were made:
0.3
< 5m
1.2 - 3.6 m
0.45 - 1.2 m
0.15 - 0.45 m Personal Social Intimate
Personal
Social
Public
Intimate
Personal
Social
0.45 m
1.2 m
1.8 m
BLIND PEOPLES ASSOCIATION, AHEMDABAD
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LIVING COMMUNITY
Amidst all the questions and all the answers that had been given, the one question that still remains un-answered is:
How can Deafblinds achieve human dignity through living, working and playing in the homes, jobs and neighbourhoods of their choice?
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COMMUNITY A community can mean a group of people living in the same place or having a particular characteristic in common but this definition of a community is not enough to define the community of deafblinds. The community for them would mean a place of stay where they all exist in a platter without the immediate awareness of the presence of one another but are striving towards the same goal and objectives, i.e., independent and free living devoid of isolation.Such a community provides each deafblind individual to live in his own personal zone without letting go of his dignity while still living within a community of similar individuals. This brings down â&#x20AC;&#x2DC;The community of Deafblindsâ&#x20AC;&#x2122; for each individual into a personal home !
HOUSING All people with disabilities have a right to live in communities of their choosing and be fully included with people who do not have disabilities. Adults should control where and with whom they live, with increasing opportunities to rent or buy their own homes.
TRANSPORTATION People with intellectual and/or developmental disabilities must have access to both public and private transportation to lead full, independent lives.
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DEAFBLIND COMMUNITY Understanding the community for deafblinds entails understanding it in a number of ways. Whether or not the community is defined geographically, it still has a geographic context - a setting that it exists in, because this it what forms the basis for designing and utilising the environment as per their conveniences. At the same time, it's important to understand the specific community we're concerned with. We need to know its people - their culture, their concerns, and relationships - and to develop their relationships with among themselves. Apart from the disability, a deafblind community in India is mostly defined by its population rather than its physical properties. Where they live, where they gather, the places that are important to them. Their self-image, many of their attitudes, and their aspirations are seldom reflected in the places where they choose - or are forced by circumstance or discrimination - to live, work, gather, and play. This thesis attempts at defining a living community that reflects on those physical properties as mentioned above and defining architecture that can designed for the senses.
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ARCHITECTURE AND THE SENSES
“ I had simply become increasingly concerned about the dominance of vision and the suppression of other senses in the
way architecture was taught, conceived and critiqued, and the consequent disappearance of sensory and sensual qualities from architecture.” Juhani Pallasma In ‘The Eyes Of the Skin’
Sense of Touch
JOURNEY THROUGH SENSES A work of architecture can take us on a journey, like a story influencing our experiences in different ways along the path.
Sense of Sound
Space has more than three dimensions. In addition to length, breadth and height, space also has dimensions like movement and density. Our sense of space is generated by movement. It speaks much beyond aesthetics on an individual’s mind.
INDIAN TEMPLES-THE ROLE OF SENSES Sense of Touch
A Hindu temple can be cited as the best architectural example that invokes and incites almost all of the human senses, where the entry is made barefoot much to give the devotee an experience of the tactile flooring below—to—awakening of the olfactory senses by the incense sticks—to—the ringing of bells that invoke the aural sense and the echoes of the chants that the huge volume of these temples intensify and lastly the sense of taste that is invoked by the
Sense of Smell
‘Prasadam’. This journey touches all the senses of human body creating an architecture for the senses. But, this has been for long ruled by the dominance of vision, for the sighted it is an ambiance for the deafblinds, it would be exploring and challenging their senses.
Sense of Taste
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HISTORY AND SENSES Traditional Architecture has also concerned itself with the human senses rather than simply relying on vision. In Greek times, vision occupied third position after sound and smell while experiencing buildings. This period preferred hearing and smelling over sight. Many of the Greek theatre designs where 1. Greek Amphitheatre
centred on the sense of hearing and the acoustical qualities have etched themselves on the pages of history. (See figure 1) During Renaissance ,the five senses are considered in hierarchical form to understand a building from vision to touch; vision for fire and light, hearing to air, vapour to smell, taste to water and touch to earth. Baroque* architecture too concentrated on other sensory modes like touch and the textural quality rather than being simply ocular. (See figure 2)
2. Baroque Arcades- play of light & shadow, volume & mass
* Baroque Architecture lays emphasis on bold massing, colonnades, light and shade and the bold play of volume and void as stated in en.wikipedia.org as of December 12, 2015
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MEASURING SENSES 1. Five Senses Sight
Eyes
Hearing
Ears
Touch
Smell
Taste
Hands|Feet|Skin
Nose
Mouth|Tongue
NATURAL ELEMENTS
Earth, water, fire and air all relate to the human senses. These elements connect to our senses in order to pass information about our surroundings or in other words human bodies are designed to extract information from these elements. Earth (soil) invokes our sense of touch, smell and taste; fire invokes the sense of touch and smell. Air enriches sense of touch, smell and sound while water exalts our sense of touch, sound and taste.
2. TOUCH Through touch one can directly feel the surrounding. Tactile sense plays a very important role in the sensory experience of a person. Materials used in the surrounding not only give the texture difference but also temperature difference. Our body can get information regarding texture, weight, density and temperature of things. Elements of building like Jali pattern in corridors, curved shape for parapet wall and columns help in orientation as well as it creates the journey interesting. Different patterns on the floor help deafblind people in navigation. Sense of touch transfers information directly and precise. This sense creates a direct relationship with the perceiver. It also gives information regarding size, volume and consistency of environment. Volume & sound
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Different types of places have their own distinctive smell.
MEASURING SENSES 3. SMELL If space can create imprints on a perceiver that is through smell. A
Old Theatre
particular smell in the surrounding connect a particular space with a particular feeling imbibing in it a distinct memory. This special feeling directly associates a particular hypothesis of a place and develops image of the surrounding.
Fish Market
The smell of a dusty room has its own scent while the smell of a dry fish market is very precise. Enclosed areas like caves have their specific smell. The finishing of a particular material can also impart smell. The scent can leave memories and assist deafblinds in directions by its intensity in a particular place. Every dwelling can have its own unique smell.
Finishing on Materials
Dusty Room
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Mobility through Smell
MOBILITY AND SENSES Mobility is not just aided by vision. Tactile markings on floor and walls can help a Deafblind individuals use their sense of touch in an efficient way to travel from one place to another. Smell of different flowers can help navigate through gardens and similar places. The smell of different types of Vegetables can guide people with vision loss from one part of a market to another.
Mobility through Touch
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HOW IMPORTANT IS IMAGE PERCEPTION ?
ARCHITECTURAL DOGMATISM: VISION & IMAGE
SIX BLIND MEN AND THE ELEPHANT
It was six men of Indostan To learning much inclined, Who went to see the Elephant (Though all of them were blind), That each by observation Might satisfy his mind. The First approached the Elephant, And happening to fall Against his broad and sturdy side, At once began to bawl: "God bless me! but the Elephant Is very like a wall!" The Second, feeling of the tusk Cried, "Ho! what have we here, So very round and smooth and sharp? To me 'tis mighty clear This wonder of an Elephant Is very like a spear!" The Third approached the animal, And happening to take The squirming trunk within his hands, Thus boldly up he spake:
"I see," quoth he, "the Elephant Is very like a snake!" The Fourth reached out an eager hand, And felt about the knee: "What most this wondrous beast is like Is mighty plain," quoth he; "'Tis clear enough the Elephant Is very like a tree!" The Fifth, who chanced to touch the ear, Said: "E'en the blindest man Can tell what this resembles most; Deny the fact who can, This marvel of an Elephant Is very like a fan!" The Sixth no sooner had begun About the beast to grope, Than, seizing on the swinging tail That fell within his scope. "I see," quoth he, "the Elephant Is very like a rope!" And so these men of Indostan Disputed loud and long, Each in his own opinion Exceeding stiff and strong, Though each was partly in the right, And all were in the wrong!
27
Moral: So oft in theologic wars, The disputants, I ween, Rail on in utter ignorance Of what each other mean, And prate about an Elephant Not one of them has seen. by John Godfrey Saxe (1816-1887)
28
PERCEPTION WITHOUT AN IMAGE This old Indian parable was used by the 19th century Hindu Saint Sri Ramakrishna Paramahamsa to describe the ill-effects of dogmatism. Architecture too has been trapped in this age old dogma. the dogma of a singular perspective i.e., views and vision; faces and facades. But, people access the world through their own differences in perspectives, carrying narratives and baggage they do and do not see. â&#x20AC;&#x2DC;A part of being yourself is being an individual. And part of being an individual is having a perspective. And part of having a perspective is admitting that there are things you don't seeâ&#x20AC;&#x2122;* The whole point of this is to say that one perceives an image only when one has an image set in his mind. The elephant here is beyond image perception, the six blind men fail to form an image of the elephant. Architecture is a combined picture of various images that the sighted see and perceive but in the absence of sight, the architectural image (scale, mass and volume )become perception less. Impossible Cube by M C Escher * FC, Faisal Hoque,
29
LIVING WITHOUT AN IMAGE Insecurity is one aspect that the deafblinds feel while being a part of the visual world. Hence, they make themselves secure by using their sense of touch. Mobility also involves a sense of touch, where the deafblind judge the nature of the pathway with the help of the person he is holding on to or the tactile qualities of the surfaces he walks upon. Here we are talking about a personal touch (and not via a stick). A large space does not allow a channelized circulation to the deafblinds. Hence, for proper navigation, the sense of touching has to be within the reach of the anthropometric limits of the user. This brings them in their comfort zone and they feel a belonging to the place and hence the space becomes understandable. The next thing that help make a space a place for the deafblinds would be to make them live as a part of the independent society. But, how does this happen without an image? What we need, then, is to have people around us that have their hands on other parts of the unseen elephant. A deafblind becomes independent when he lives in an introverted society brimming on the edge of the society of the seen, full of images and it is then the duty of architecture to shape an imageless society for them.
30
A LIVING COMMUNITY FOR DEAFBLINDS
The problems that the Deafblind face in a vision dominated world are many-fold. Out of the many, there are very few instances, people and places which help them live on their own. There have been Institutions and centres that prepare them to understand the visual world and get used to it, but it does not provide them with more opportunities of exploring their own selves. Further, these training centres do not assure a secure future for the ones living on the edge of a rather unknown world. Architecture has always been appreciated visually. But how can architecture be experienced? We remember experiences in architecture like stories which involve a journey. These narratives in space may be non- visual and can be invoked when the remaining senses are involved along with directionality or movement. In a community, that is designed for the Deafblind, it brings the Deafblind to the forefront and makes them the for-runners of a new society, that is structured to have experiential spaces and is shaped by the senses and not by the noise of vision. One of the purposes of the project was to work with the image of the city, the contradictions and absurdities of the city and make it a part of the Deafblind community. A community is often assumed to be a selectively permeable entity in the society restricted to the dedicated users of that space still thriving amidst neighbourhoods and managing various experiences of space and place.
31
The Living Community is thus intended to provide various experiences through movement in a community which can be memorised as sequential narrative of various spaces. At the same time, it also allows the non sighted to construct their own mental spaces and collaborate with the sighted world. The project also aims at sensitising the issue of space requirements for normal living. While there is definitely a thing for spacious ness, the space requirements for people who explore their with touch do teach us how important it is to understand the space-to-man relationship that exists but is seldom understood. It is also aimed at playing with the minds of the people on the street, bringing them in and creating an interface for a dialogue between the sighted and non-sighted and non-hearing worlds. Finally, the following were the formulations made during the study, on which the design was to be based upon. 1. Spaces have forms. These forms can be perceived either through touch/movement. The forms can not be separated from space but can be made to interact with the user through movement, touch, memory or sound. 2. The space for the Deafblinds must have volumetric experiences and must be guided through movement planning. 3. It must be flexible in terms of imparting experiences and it must leave imprints on memory.
32
SITE
Basistha Road
NH-31
LOCATION GUWAHATI, being the gateway to North-East has the potential to provide the right exposure to the muted sense. Sprawling along the four cardinal directions, Guwahati attracts people from all quarters of North-East to find the means of survival of their own choices, and , the same can be said of the specially-abled. These group of people want the right life saving skills to become independant, to learn and to live. The site provides the necessary density for the insertion of the programme in the city and allows for the contrast required for independent living without the need for an image. Walking along the Basistha Road towards, the current site of Guwahati Blind High School, the lane seems to be caught up in the silence of nature. where a slight turn of the shoulder takes
33 BASISITHA | GUWAHATI
one into the nothingness of woods. It is a relief to see, a small stream cutting through the site just as one enters and there I found my reason to choose the site.
151 Base Hospital
The smell of woods above and the stream below guides one through this place when maps fail memory ! The site provides the following opportunities:
Residences
1. Security 2. Identity Guwahati Blind High School
3. Closeness To Nature 4. Independence 5. Community
Temple Baistha Grant Ware House
LATAKATA, BASISTHA | GUWAHATI | ASSAM
MAX-38 ℃ | MIN-23℃
HUMIDITY: 94% SUMMER: S-W TO N-E WINTER: N-E TO S-W Summer Winds
Medium Intensity Traffic
Low Relief Hills Prevent Cold Winter Winds
Medium Intensity Traffic
PROJECT REQUIREMENTS REQUIRED SITE AREA Expansion Capabilities
5 ACRES
SITE INFORMATION
Can be expanded with 2.5 acres on site Has fewer chances to expand beyond site
Location Preferences Area Boundaries Adjacencies
East-166 M | West-88 M | North-228 M | South-259 M 151 base army hospital towards west,residential properties towards east and north public and religious buildings towards south and south-east
Site Coverage (EXISTING) Circulation and Open Space Security Requirements
Circulation Space-2.6% | Open Space-93%
Setbacks
Abutts the basistha road (West)
Alternative Transit Habitat Preservation
none | has the potential to develop solutions for pedestrians different species of oak trees and monkeys
Neighbourhood
mostly residential
Public Transit/Walkability Bus/auto Service Access
South road
Technical Factors Physical Elements Topography
undulating
Hydrology Physical Features
Along River basistha | medium ground water potential zone (deep) Guwahati Blind High School
vegetation
11% of the site is covered with evergreen trees and shrubs
environmental hazards
none
seismic condition
falls within lineaments
land use
vacant land
water supply
tube well
electricity
a.s.e.b
36
Break-Up Area Statement | No. Of People- 60 | User Group- Deafblind Adults | Age Group- 18-35 Sl. No.
functions
No. of Units
No. of People
Area/ Unit (sq.m)
Total Area (sq.m)
1
Studio apartment
30
30
48
1440
2
Shared Apartment
15
30
65
975
3
Indoor Play Junction
1
100
Social Hall/gymnasium
1
100
126
126
Yoga Room
1
66
92
92
Shower/dressing room
2
21.6
43.2
Club room
1
25
25
Craft Room
1
95
95
Office
2
14
28
Lobby-Lounge
1
55
55
Storage
1
76.8
76.8
1.44 sq.m/person; 1 instructor/10 db person
•A
living community for the deaf-blind- each resident has a private studio apartment or one bedroom apartment, with a kitchenette and bathroom. •A
541 4
5
136.5
136.5
100yards (91 m) , 8 laps; lane width- 3m
30
42
42
1.44 sq.m/person
1
30
42
42
Production Area
1
100
45
45
Receiving Dock
1
8.64
8.64
Storage
1
36
36
Serving Area
1
37.8
37.8
Dishwashing & pot sink Area
1
36
36
Toilets
2
21.6
Out door Running track
1
75
Public Cafe
1
100
Indoor Dining Area
1
Outdoor Dining Area
THE PROGRAMME
Remarks
1/2 of dining area
mock-drill station (Bus-stop) which would incorporate spaces for live experiences faced by the deaf-blinds in the locality on a larger context. Other outdoor recreational spaces which includes gymnasium, craft club, a social hall and a health centre. •
•
A public cafe as an interface between the sighted and unsighted.
40% of dining area
43.2 290.64
6
Bus stop
1
30
40
40 3286.64
37 1
CONCEPT DEVELOPMENT
DERIVING THE SPINE •
•
The idea of the spine springs from the Basistha Road
Public people’s park
The spine helps in connecting all the major activities on the site into a single whole
•
Movement is capitalised which helps in easy navigation of the Deafblinds
•
The spine caters to the aspect of way-finding with tactile and olfactory navigation tools such as different kinds of shrubs and textures
THE SPINE
1 BHK units
Existing Bus Stop
2 BHK units Recreation
Shared Homes
Bus-stop Re-located School Single User Homes
Recreation zone
Circulation around the site
Circulation from Basistha Chariali to Basistha Temple
New Bus Stop
Cafeteria
Possible locations where the Deafblinds can commute- Locality Zoning plan Police Station
Existing and Proposed Bus- Routes Basistha Road
Chariali
NH-31
Medical Residential Garbhanga Forest
Latakata Road Warehouse
Military Farmland
Church
ExistingBus Stop
Basistha Temple NewBus Stop
BASISITHA | GUWAHATI
New Bus Stop
The new bus stop is proposed to open up more commuting options for the deaf blinds as well as shape the urban fabric of the locality by opening up the locality to a new transit facility thereby making the larger local community aware of the Deafblind community in its vicinity.
SITE DEVELOPMENT
EXPLORATION 1 : MASTER PLAN
Boundary
Movement
Buffer/Spine
Connection
Experience
The first exploration was based on the site. The site characteristics, helped in developing many key design features and applying the same to the overall layout while limiting some possibilities but also at the same time exploring their design potential. The overall site planning was based around how to utilise maximum environmental and site features and dividing spaces such as community spaces and living spaces into zones. These series of spaces formulate zones such as public to private, indoor to outdoor, urban to local. Therefore, I developed a range of keywords which developed an architectural response to the site.
Threshold
3. Response 2
2. Response 1
ine Sp
ns tio c n Fu
Grouping different functions around one axis route based on a hierarchical relationship. Public zone
Semi-Public zone
Private zone
Response 1 relationships showed a weak connection between various functions and movement to and from one activity space to another was leading to unnecessary confusion ( keeping the deaf blind perception in mind).
Response 2 f o c u s e d o n c lo s e d proximity of recreational zone to the housing units. This led to intrusion of semipublic spaces into the site.
1. Range of Words
40
4. Response 3 Response 3 pushes the public and semi-public zones on the two edges of the site at the start and end of the spine forming a one connection line all along the site with the housing units. A series of transitional spaces viz. Public, Private and SemiPublic are created whose edges touches one single axis that forms the origin of the spine.
5. Series of zones through the site
Existing Bus Stop MASTER PLAN
ZONE 1 Public Zone: Cafeteria
Main axis route along the site
THE FINAL MASTER PLAN ZONE 2
By lanes leading to different units
Private Zone: Housing Units
Re-located School
ZONE 3
The final layout includes a hierarchy of zones, from extrovert to introvert spaces. It opens with the cafeteria as an interface for communal interaction among the sighted and the unsighted; and ends in the Recreation zone as a more humane interface for community activities. Between the zones, this option provides series of continual outdoor and indoor spaces.
Semi- Public Zone: Recreation Gymnasium Craft Club Health Centre Proposed Bus Stop
42
EXPLORATION II : TRESS Apart from their strong sense of smell, tress can become prominent movement guides. During the site selection process it became apparent that finding a place that could be recognised by the deafblinds was more important than other locational aspects. The second exploration was to investigate how to use the large tree cover existing on the site and bring it to use in planning. These trees
then became the main
architectural challenge which added another layer to this project, and evolved into the most important driver of master plan development. OUTCOME OF EXPLORATION II Spine Length The site has a dense tree cover and the exploration was based upon identifying their olfactory potential to guide the deaf blinds across the site. The outcome of it was reflected in the way the spine was developed circling around tress and leading each deafblind to his destined location of choice. This also helped in determining the appropriate length of the circulation route i.e., the spine length.
1. Spaces developed around the existing tree cover on site
43
Shared Homes Tress have a universal character of acceptance. They form distinct sheds under their foliage and hence are inviting to people. In the Indian context, it is often seen that people form their own little communities around a tree. For Deafblinds it turned out to be an added advantage. They could use the tree as a tool where touch and smell become the central Community spaces 1. 2 BHK units
The larger the space dimensions, more difficult is mobility for the deafblinds. The trees helped in defining the boundaries of the community spaces in the scheme.
2. Outdoor seating in Cafeteria
44
EXPLORATION III : WALL Walls are not just elements that provide enclosure and define territory rather they can be explored with their tactile and permeable qualities. OUTCOME OF EXPLORATION III Curves The curves walls of the shared homes served two purposes. One was invoking the sense of touch and other giving privacy to the sharing partners. These curves force one to come back to the same point where one begins if one were to trace the lines of the curve. Wall Extensions in Space These extensions became a part of the design while exploring landmarks for the deafblinds. How do they know they have a certain point?
1. Privacy
2. Direction in curved walls
3. Extended Wall functions as a tactile signage
45
EXPLORATION IV : LIGHT “Light doesn't just allow us to see, it tells the brain whether it's night or day which in-turn ensures that our physiology, metabolism and behaviour are synchronised with environmental time.” * Light itself can be considered, and even manipulated, as a material in architectural design. the possibility that daylight can be handled as a creative medium—that its flow could be deftly caught from the sky and then projected or reflected, focused or diffused to bring a place to its very existence was another aspect that I was looking into while planning the units for the Deafblind eye. OUTCOME OF EXPLORATION IV Semi-Permeable Walls (Columns & Jaalis) Rhythmic placement of columns served two functions on site. First, it gave a sense of direction to the one moving along them and second, it presented a self play of light and shade that was inclusive and exclusive to that particular activity in one point in time. The deaf blinds could touch and get going to the next activity in the series. Jaalis have always been used as an element to bring in diffused light. These walls were used to create patterns of light and hence a space definer for the deafblinds. * Université de Montréal. "Study with totally blind people shows how light helps activate the brain." ScienceDaily. ScienceDaily, 28 October 2013.
46
EXPLORATION V : MATERIALS â&#x20AC;&#x153;There are certainly many other things which are considered architectural, and yet not nearly so intimately and essentially a part of architecture, as a consideration of material.â&#x20AC;? ~William Morris OUTCOME OF EXPLORATION V Walls In considering the materials for the housing units, I began by considering the walls. I divided the materials for the building of a wall into three types; Stone for the cafeteria, Brick for the houses and lastly Concrete for the Recreation . Floors Each material feels different under feet, slate floors which catch the warmth of the sun are used in spaces which receive sunshine but gets shade often. Permeable pavers were used where community spaces where developed, in courtyards, and spine. Living Wall | Sensory club These had to mostly with natural textures and smell , of the leaves and herbs. And were used on the extension walls before each housing unit.
47
ANTHROPOMETRIC STANDARDS
â&#x20AC;&#x153;Of all things the measure is Man, of the things that are, that they are, and of the things that are not, that they are notâ&#x20AC;? Protagoras, Abdera (ca. 490 - ca. 420 BCE)
48
INTRODUCTION The world, and the people struggling to live in it are driven by one common phenomena and that is change. The world functions due to the adaptive nature of man. Under such conditions, human comfort becomes questionable. What are the parameters that can lead to efficient outcome of this adaptive trait of men? “Man with his structural, physiological and behavioural limitations should be considered when designing.” * No doubt there has been significant research and data available on the ‘Designs for the dis-abled’ but Deafblindness is not a disability, it is rather a challenge for the architects to find layout patterns within a legitimate space which lies within the reach and touch of the Deafblind hands. To achieve the required dimensions of space, ergonomic principles can play a major role. Ergonomics by its very essence establishes an optimum interaction between man and the useable environment around him. The dimensions which are obtained are based on the contexts of physical, physiological and psycho-sociological capabilities of people and hence can be considered as an essential tool to understand space relations when it comes to designing for the Deaf blinds.
49
PARAMETERS
DEFINITIONS (Brief)
46 - 51
Standing in erect posture, forward comfortable
Parameters 46
arm reaches from back and heights from floor. 47
48
49
50
51
Min
Max
Mean
Male
390
940
632
Female
350
880
618
Combined
350
940
628
Male
1575
2220
1874
Female
1290
2060
1747
Combined
1290
2220
1848
Male
589
1050
847
Female
600
980
803
Combined
589
1050
837
Male
1090
1841
1363
Female
1070
1540
1278
Combined
1070
1841
1345
Male
340
1030
597
Female
495
850
644
Combined
340
1030
607
Male
510
1100
788
Female
560
950
703
Combined
510
1100
731
50
Parameters 67
68
69
70
71
Min
Max
Mean
Male
260
980
621
Female
280
870
565
Combined
260
980
610
Male
1100
2180
1863
Female
1470
1970
1760
Combined
1100
2180
1842
Male
650
1100
851
Female
640
970
787
Combined
640
1100
839
Male
1030
1590
1362
Female
930
1600
1273
Combined
930
1600
1344
Male
270
930
590
Female
370
890
597
Combined
270
930
591
PARAMETER
DEFINITIONS (Brief)
67 - 71
Standing in erect posture, sideways comfortable arm reaches from spine and heights from floor.
51
Parameters 115
116
117
118
119
128
Min
Max
Mean
Parameters
Male
341
600
422
130
Female
231
448
Combined
231
Male
Min
Max
Mean
Male
685
1210
926
367
Female
660
1086
852
600
412
Combined
660
1210
910
112
335
215
Male
870
1350
1088
Female
102
290
195
Female
865
1230
1005
Combined
102
335
211
Combined
865
1350
1071
Male
103
327
189
Male
157
425
215
Female
136
287
207
Female
158
333
217
Combined
103
327
192
Combined
157
425
215
Male
65
220
129
Male
102
518
224
Female
73
212
114
Female
144
395
201
Combined
65
220
125
Combined
102
518
221
Male
438
612
520
Female
412
578
483
Combined
412
612
511
Male
639
780
699
Female
539
760
651
Combined
539
760
664
131
144
146
52
ARCHITECTURAL DESIGN
SITE PLAN
Project Information User Group Deafblind Adults Age Group 35 Yrs
18 -
No.Of People 50
48 -
Area Statement 1 Bhk 1020 Sq.M 2 Bhk 975 Sq.M Social Hall/Gymnasium 541 Sq.M Indoor Running Track 137 Sq.M Cafeteria 290 Sq.M Bus Stop 40 Sq.M Total 3003 Sq.M
53
SINGLE USER HOMES
L i v i n g wa l l s y s t e m i n t e g r at e d w i t h i n t h e extension wall system. Each wall with a different smell helps in distinguishing the units.
The window frames can be reached easily when supported on pivots. a slight touch of the finger can bring it back to its location. whereas reaching out to frames opened outside becomes difficult for deaf blinds.
pivot windows instead of normal frame windows
SHARED HOMES
CAFETERIA
RECREATION
RUNNING TRACK
SPINE
HEALTH CENTER
SENSORY CLUB
61
CONCLUSION
In the absence of the senses, architecture becomes mundane. The whole essence of this thesis is based on the experiences that the built environment invokes while laying out the criteria for design. The principles of architectural design that so govern our outlook towards design and planning changes the moment we close our eyes and ears to them. Form, scale and mass become mere objects of irrelevance. Scale has a role to play in the Deafblind world. The scale of the built- environment shrinks down to their finger tips and for this Anthropometry has to be deeply studied for the further exploration of Architecture into these worlds of the Deafblind. Form and mass come to life through light perception which is true for every object that exists, natural or man-made. Tracing our footsteps back to this basics of architecture, forces one to sense light through perception. Under such critieria, Light perceptions and colour temperature can become the new principles of designing â&#x20AC;&#x2DC;Deafblind Spacesâ&#x20AC;&#x2122;. When all senses are combined Architecture becomes beautiful, but when some of the senses are missing, it becomes the duty of an architect to make architecture sensible. To conclude, I have to tried to make the Deafblinds aware of their surroundings to become independent survivors in a visually dominated world. If a design challenges the cognitive and mapping capabilities of these individuals, by exploring their sense of touch, smell and light perception, it not only makes them independent but rather it makes them a part of the larger society in context. What they are missing on is two of their senses, but what we are missing on is the context of the context.
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BIBLIOGRAPHY
WORKS CITED
Burke, Jason. "Deafblind People: Unheard and Unseen." Deafblind People: Unheard and Unseen | World News | The Guardian. N.p., 14 Dec. 2012. <http://www.theguardian.com/world/2012/dec/14/deafblind-people-sense-international>. "Deaf Blindness." <http://www.rehabcouncil.nic.in/writereaddata/deafblind.pdf>. "Design Stack." Design Stack: Architectural Drawings of Historic Buildings. <http://www.designstack.co/2015/03/architectural-drawings-of-historic.html>. "Education of Children with Deaf Blindness and Additional Disabilities.” <http://nimhindia.gov.in/Education%20of%20children%20with%20deafblindness.pdf>. "Explore Your Non-visual Senses – Embrace the Dialogue to Overcome Darkness." Dialogue in the Dark. <http://www.dialogue-in-the-dark.com>. "India." <https://www.senseinternational.org.uk/our-work/india>. "Materials and Textures." Materials and Textures - AMELIA BAXTER INTERIOR ARCHITECT. <http://ameliabaxterinteriorarchitect.weebly.com/materials-and-textures.html>. “Light and texture” <http://arch121.cankaya.edu.tr/uploads/files/Week%2010-lecture%20notes-26-nov-2012.pdf>.
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"New Interventions for the Deafblind." India Together: New Interventions for the Deafblind: Freny Manecksha - 10 July 2010. <http://indiatogether.org/deafblind-health>. “Ganga Aarti” Parelkar, Sachin, Parimala Devi Namasivayam, Sonali Gangane, Jyoti Vats, Tanuja Chopra, Sandeep Kumar Sahota, Pallavi Walunj, Carol Cavalaris, Prabhu Dhok, Xafira Mendonsa, Sangeeta Chopra, Hidemi Tada, Michal Shimoni, and Sai Shyamala Ramanand. "Ganga Aarti." Ganga Aarti by Sachin Parelkar. <http://fineartamerica.com/featured/ganga-aarti-sachin-parelkar.html>. "Promoting and Protecting Rights of Deafblind People in India." Promoting and Protecting Rights of Deafblind People in India European Commission. <https://ec.europa.eu/europeaid/case-studies/promoting-and-protecting-rights-deafblind-people-india_en>. Sense India • Annual Report. <http://www.senseintindia.org/resources/annual-report>. Sense India • Publications. <http://www.senseintindia.org/resources/publications/index/5>. "THE SENSES - A PRIMER." The Senses - A Primer. N.p., n.d. Web. 3 Jan. 2016. <http://udel.edu/~spfefer/art307/project3/index.html>. "The Shape of Empty Space." <http://ceur-ws.org/Vol-1007/paper2.pdf>.
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"The Significance of Outdoor Environments for Dual Sensory Impaired Persons." Kala Ade. "Six Blind Men & the Elephant." <http://hinduism.about.com/od/hinduismforkids/a/blindmen.htm>. "Tactile The World." Tactile The World | Journey into the Deaf-Blind World. <https://tactiletheworld.wordpress.com>.
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BOOKS REFERRED
Keller, Hellen. “The Story of my Life”. Pallasma, Juhani. “The Eyes of the Skin”. De Botton, Alain. “ The Architecture of Happiness”. Rand, Ayn. “ The Fountainhead”. Panda, Yatin. “Elements of Space Making” Vast Shilpa Foundation Chakrabarti, Debkumar “ Indian Anthropometric Dimensions, For Ergonomic Design Practice” National Institute of Design Ching, Francis D.K. “Architecture;Form, space and Order”
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