Master of Architecture Thesis - University Of Cincinnati by Marco Pino-Yancovic

Thesis project M.ARCH

Architectural Experience : A design exploration for a New School for the Blind 25-05-10

University Of Cincinnati School of Architecture and Interior Design

Marco Pino Yancovic

Architectural Experience : A design exploration for a New School for the Blind Date A Thesis Submited to In Fulfillment of the Degree of In the Department of -

2010 - 05 - 25 The Graduate School of the University of Cincinnati Master of Architecture Architecture of The College of Design Art Architecture and Planning.

By - Marco Pino Yancovic Arquitecto, Universidad Tecnica Federico Santa Maria Valparaiso, Chile, Junio 2007

A Margarita por tus ideas, intuición y buen gusto. A Mauricio por tu inconmensurable entusiasmo por cada proyecto que emprendes y contagiosa energía. A Cristobal por tu sentido practico e inteligencia. A mis Padres por haber sido un continuo ejemplo en mi desarrollo como persona y permitirme emprender desafíos, no temer al cambio y ser tremendamente adaptable. Gracias además por enseñarme a distinguir las cosas importantes de las no tanto y a estar orgulloso de un trabajo bien hecho. Caroline, you help me grow as a person and as a designer. Your opinions and suggestions in almost every task I had were gratefully welcome. I very much appreciate your love, care, involvement with my interests and passion. Thank you also for having such high standards for a well done job and being a great listener during those many long walks.

Committee Chairs - George Thomas Bible - First Chair Elizabeth Riorden - Second Chair

Vision versus Sight ABSTRACT Architecture is largely considered and judged as a visual medium. As described by Architect and author Juhani Pallasmaa, the ocularcentrism paradigm of our current culture weakens the sense of materiality and the holistic architecture experience. Could architecture be as Meaningful and Engaging if we are to take sight away from it? This thesis investigates the possibilities of designing for the visually impaired, approaching this topic through material investigation, literary and original research. The course of the thesis is organized in the following points.

How by concentrating on designing for the Visually Impaired could contribute to the architectural experience of the sighted as well. 2. How, by exploring different methods of representation (non- conventional), this will increase awareness of non-sighted related experiences. 3. How these representations might inform and perhaps guide the design process. The outcome of this process will be a new design for the Ohio State School for the Blind. This facility will integrate stimuli for the senses, resulting in a built environment that is not only engaging and interesting to people with visual impairments, but also enriches the architectural experience of the sighted individual.

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Only a creature that has the visual faculty characteristic of a man can also vicariously "see" by touch. The level of form-perception at the command of a creature will be essentially the same for both senses, incommensurable as they are in terms of their proper sensible qualities. Blind men can "see" by means of their hands, not because they are devoid of eyes but because they are beings endowed with the general faculty of "vision" and only happen to be deprived of the primary organ of sight[i].

(Jonas, H., 1966:318)

Vision and sight are concepts that generally people use interchangeably and its important to draw a distinction between them as a way to begin this thesis . From the statement above we can infer important distinctions between vision and sight. Vision, on the one hand, is the cognitive capability to understand form within the mind (to visualize something). Sight, on the other hand, is the ability to receive information through our eyes.

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Chapters

1 2 3 4 5 6 7 8 0

TACTILE MAPS

SITE Contents Introduction

Architectural Experience

SOURCES

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Abstract

CONCLUTION

Contents

ARCHITECTURAL EXPERIENCE

DESIGN PROPOSAL

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INTRODUCTION

PRECEDENTS

INTRODUCTION

In his essay “Archetypal Experiences of Architecture,” architect Steven Holl shares his experience of The Zen Gardens of the Ryoan-ji Temple in Kyoto, Japan. Holl visited the temple on a cold January morning. After removing his shoes at the entrance of the Temple, Holl “realized how cold it was as [he] moved through the paperscreened walkway and felt the cold boards through [his] thin cotton socks[ii]”. The silence of the Temple was broken only by the vapor of his breath. His eyes soaked in the stark shapes of the spaces, cast softly in the light that permeated the paper screens. The fresh scent of tatami mats completed his full sensory experience of the garden.

Many people have shared an experience similar to Holl’s – a connection with a built space that profoundly pervades the mind and body. Holl’s experience of the Ryoan-ji Temple went beyond a mere appreciation of the space’s visual beauty. The space entered his body not only through Holl’s eyes, but also through his feet, his ears, and his nostrils. His understanding of the space was constructed through four senses, rather than through sight alone. This holistic relationship with the built environment represents the heart of the phenomenological approach to architecture.

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SUMMER

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[i] The Nobility of Sight: A Study in the Phenomenology of the Senses. 1966. 141. [ii] Steven Holl. “Archetypal Experiences of Architecture.” In Questions of Perception: Architecture and Urbanism.

(San Francisco: William Stout, 1994), 122.

PHENOMENOLOGY

What is a phenomenological approach to architecture? To answer this question, we must first consider the meaning of “phenomenology”. Phenomenology is a philosophical framework proposed by Martin Heidegger in his 1927 work Sein und Zeit (Being and Time)[i]. Phenomenology is largely a reaction to Cartesian philosophy, whose concepts had dominated philosophical thought since the seventeenth century. The French philosopher Rene Descartes eschewed the Aristotelian approach to understanding the world, which advocated observation through the senses. Descartes argued that the senses could not be trusted. Rather, he believed that only through scientific measurement and description could a thing be absolutely known. The sun, for example, does not move east to west as we perceive; the sun is static and the earth revolves around it. This perception is an illusion and, therefore, all human perception is illusory[ii].

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[i] “Phenomenology.” Encyclopedia Britannica. [ii] William A. Luijpen. Phenomenology and Humanism. (Pittsburgh: Duquesne University Press, 1966). [iii] Ibid.

Phenomenology, on the other hand, values the fact that we experience our world through our senses, and argues that there is inherent worth in our perceptions. William Luijpen explains the core concepts of Phenomenology by asking how we come to understand the meaning of landscape features, such as rivers and seas. Would we learn what a river or sea truly is by reading a geography text? While the Cartesian philosopher would say “yes”, the phenomenologist would say that we understand the concept of rivers and seas by seeing them, touching them, hearing them, and smelling them, and living with them in our ordinary everyday lives[iii]. Knowing that the Amazon River is the largest in the world does not compare with the sensation one feels when traveling down a river so immense, or with the already-deep knowledge of the river held by the people who have lived with it intimately for generations. Phenomenology shows us that this mode of “already existing with” things, including a full engagement via all the senses, memories, attachments, uses, and emotions, is in fact a more primordial kind of knowing than any of the constructs used by modern science to study “things”. Only through the spontaneous interaction with our world, the phenomenologist argues, can a person come to understand it.

PHENOMENOLOGY

As discussed earlier, the phenomenologists argue that our perception of our surroundings is not defined only by what we see, but also by the information provided by our ears, nose, and hands[i]. However, the supremacy of sight has dominated the other senses since ancient times, in Greek philosophy has been call in words of Hans Jonas “the most excellent of the senses.”[ii]. Plato talks about “eye of the soul” and of the “light of reason,” never the less according to Jonas, those Greek thinkers never explained by what credentials nor by comparing it to the “other senses” why sight ought to have such “high philosophical honors.”[iii]. What gives vision an overruling power above other senses? Why was sight so honored by renowned philosophers like Aristotle?[iv] In his essay “The Nobility of Sight: a Study in the Phenomenology of the Senses,” philosopher Hans Jonas approaches the problem by analyzing three properties of the senses of sight, hearing, and touch: simultaneity, neutralization and distance[v].

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[i] Taste is ignored by many writers. We might infer that this sense is overlooked because it would be socially unacceptable in most cases to taste one’s surroundings. However, taste can conceivably contribute to one’s experience of place, as when sampling gelato in Italy or drinking a margarita in Mexico.. [ii] Hans Jonas. The Nobility of Sight: A Study in the Phenomenology of the Senses. 1966. 135.

In his discussion of simultaneity, Jonas compares the ability of three human senses, sight, hearing, and touch, to comprehend phenomena over time. Jonas argues that sight is unique among the senses in that within our field of vision we can comprehend multiple entities in an instant. We can choose to focus on an object, near or far, but continue to perceive a full field of vision. We can look over a landscape, for example, and in an instant perceive the presence of mountains, trees, and a lake. We do not need to focus on each entity individually to construct the image. With touch, on the other hand, such a scene could never be communicated all at once. In this manner, touch is sequential and time-bound, whereas vision is not. In this way, touch is a dynamic sense. In this manner, touch is sequential and time-bound, whereas vision is not. Not only is touch timebound, it requires dynamic interaction with the object. In this way, touch is a dynamic sense [iv].

[iii] Ibid. [iv] Ibid. [v] Hans Jonas. The Nobility of Sight: A Study in the Phenomenology of the Senses. 1966. 136.

PHENOMENOLOGY As with touch, Jonas contends that hearing is a dynamic, sequential sense. To illustrate the difference between vision’s static quality and hearing’s dynamic quality, Jonas asks us to consider how each sense alerts us to the presence of a dog. In the case of vision, the dog need not do anything to be noticed – the eye simply perceives its shape within the observer’s field of vision. But for the observer to hear the dog, the dog must actively make a sound that identifies it as a dog – it must bark, growl, whine, or pant. While it is possible for a person to perceive multiple sounds in an instant, Jonas argues that our minds make sense of these sounds through adding together their sequential perception. A melody, for example, is not understood if all of the notes are played at once. Each note must be heard and linked with the others to form the tune. This cognitive pattern is similar to the earlier example of how the mind would construct the configuration of the table set for dinner. By piecing together each stimulus, be it a “contact-sensation” or a sound, the human mind sequentially processes the input of touch and hearing to form a complete picture[i].

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[i] Hans Jonas. The Nobility of Sight: A Study in the Phenomenology of the Senses. 1966. 137. [ii] Ibid.

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We have discussed Jonas’ perspective on sight, touch, and hearing in terms of the senses’ relative dependence on time and dynamic interaction. The other important factor that Jonas discusses is these senses’ relationship with spatial distance. Sight, Jonas states, “is the ideal distance-sense… [it] is the only sense in which the advantage lies not in proximity but in distance. [ii]” Whereas a sound becomes less distinct the farther away the hearer is from the source, and as the sense of touch is useless if the object of interest is out of reach, in the case of vision distance can add depth, complexity, context, and perspective to a scene. As phenomenology has gained strength among philosophers through the twentieth century, phenomenological concepts have also influenced a number of architects and architectural theorists. Among the latter Juhani Pallasmaa is a prominent example of a thinker who espouses a phenomenological approach to architecture. Fortunately, in the twentieth century anti-ocularcentrism thinkers questioned and criticized the “regime of the eye”. These theorists argued that valuing sight over the other senses reduces and restricts the physical experience of the world.

ARCHITECTURAL EXPERIENCE

Informed by such philosophers as discussed previously, Juhani Pallasmaa “[sees] the task of architecture as the defense of the authenticity of human experience.”[i]. In his essay The Eyes of the Skin, Pallasmaa confronts architecture’s age-old preoccupation with the visual. Pallasmaa challenges users to be more than “spectators” of architecture; he encourages users to experience multi-sensory engagement with the built environment [ii]. He questions the type of architecture aimed to instantaneously strike the eye and forge a memorable visual image in one’s mind – the immediate impression, the sensual lines – and argues that those do nothing more than distance the user from the depth of reality. The ocularcentrism paradigm of Western culture, the proliferation of images and the flatness of today’s constructions, Pallasmaa argues, weaken the sense of materiality and the holistic architectonic experience [iii]. Pallasmaa contends that all senses must be engaged to understand the real quality of the spaces and to have a true architectural experience.

Pallasmaa focuses his argument by looking first at each sense from a general, everyday life perspective and then he relates that analysis with architectonic instances. For example, he discusses sound and refers to it as a trigger for our imagination, like how the sound of a distant train at night “makes us conscious of the entire sleeping city.”[iv] From a more architectonic perspective, he draws our attention to the way that when we walk on paved steps, the echo informs us of the scale of the space. He closes this observation stating that over all the auditory experiences shaped by architecture, tranquility is the most essential. “Architecture,” he states, “is the art of petrified silence.”[v]

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[i] Pallasmaa, Eyes of the Skin, 31. [ii] Ibid. [iii] Juhani Pallasmaa. The Eyes of the Skin: Architecture and the Senses. (Chichester, Great Britain: Wiley-Academy, 2005).

[iv] Steven Holl, Juhani Pallasmaa, Alberto Perez-Gomez. Questions of Perception: Architecture and Urbanism. (San Francisco: William Stout, 1994), 30. [v] Pallasmaa, Eyes of the Skin. [iv] Hans Jonas. The Nobility of Sight: A Study in the Phenomenology of the Senses. 1966. 136.

Reflections on architectural experience

ARCHITECTURAL EXPERIENCE Pallasmaa “proclaims a sensory architecture in opposition to the prevailing visual understanding of the art of building” [i]. He advocates a multi-sensory experience, a collaboration, a “polyphony of the senses”[ii]. Pallasmaa argues that the intensity of visual information does not increase as a receptive experience when one approaches the source; in this manner, as Jonas earlier observed, vision is static. Whereas “the distant and the near are experienced with the same intensity” though visual perception, the input to the other senses is magnified by the proximity of the source. [iii]. For example, the closer one is to a dripping faucet or a violinist playing his or her instrument, the more intensely one will hear it. Architecture should not only resolve programmatic and technical questions but as Pallasmaa had concisely summarized it “architecture should speak to the user through his or her many senses.” [iv].

[i] Pallasmaa, Eyes of the Skin. 39 [ii] Ibid. 41 [iii] Ibid. 42

How can these ideas be applied when considering architecture for the visually impaired? If we agree with Jonas’ interpretation of the relative qualities of sight, hearing, and touch, we discover that removing sight from the suite of a person’s principle perceptive senses creates two important and interrelated challenges: 1) the non-sighted individual cannot comprehend the space in an instant. 2) the non-sighted individual cannot build an understanding of the space from a distance. If the visually impaired user is to gain a sense of the space, he or she must have ample access to build a conception of the space from dynamic audio and haptic cues. That is, the individual must be able gather feedback from the way the space reflects (or does not reflect) the sounds the user generates (such as footfalls or vocalizations). He or she must be able to use his or her hands and body to understand the dimensions of the space, the textures of the walls, the composition of the flooring, the echo.

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Architecture, unlike other art forms, has an active, reciprocal relationship with its users. As Hans Van der Lann has stated, architecture has the properties to mediate between man and his surroundings. The body and the senses are the instruments with which man interacts with his surroundings. If we think about being in an architectural space that does not only respond to us by giving out its visual qualities but also manipulates other sensory aspects like sound, smell and touch, then the architecture becomes an extension of our existence. When we study how a visually impaired individual is influenced by non-visual stimuli in order to navigate a building, then those non-visual cues can define the individual’s understanding of the spatial organization of the entire building: For example, following the sound of water along a corridor or making turns when the aroma of a lime tree hits us. This architectonic school of integrating nature into the built environment to create atmospheres and a more holistic experience could be summarized as “phenomenological architecture”. Such an approach is well represented in the work of Alvar Aalto, Steven Holl, Tadao Ando, and Peter Zumthor, among others. The primary objective for phenomenological architects is to create architectural “events” for the user. The intention of this thesis will be to reflect on those architects and their work. In following chapters some of these architects will be discussed more thoroughly in the precedents section. [iv] Pallasmaa, Eyes of the Skin. 72

EXPLORING REPRESENTATION

The Raised Model

How by exploring different methods of representation, this will increase the awareness of non-sighted architectural experiences?

Several types of modeling exercises were conducted: raised models, conceptual models, models of architectural precedents, the physical representation of a Soundscape, the tactile modeling of an existing place and the modeling of a proposed design. The purpose of each modeling exercise was to explore how architectural experience could most effectively be communicated in a tactile manner.

his modeling typology was learned while working at the firm Steed Hammond Paul (SHP Leading Design) in Cincinnati, Ohio. This firm had been commissioned to design the New School for the Blind in Columbus, Ohio. As part of their proposal package they built a raised model. Its main purpose was to tactilely communicate to the clients the overall floor plan of the building. 03.03

The raised model is an excellent tool for quickly conveying a general understanding of the complete layout of the facility. It also offers tactile cues to orient the user in the building and aids in navigation, allowing for easy visualization of doorways and hallways. Interior walls are thinner than exterior walls, thereby distinguishing interior and exterior space. Essential information for each room, such as square footage, descriptions of the intended use, and room number, is provided in Braille in a legend to the side of the floor plan itself. This type of model, while useful, limits the amount of information that can be presented. Beyond the spatial boundaries, wall thickness, and room descriptions, it does not communicate in any way the quality of each space, the textures of the walls and floor, the acoustics, or the light. Except for their size, each room seems practically identical to the other. The user of the model must be engaged in conversation with the presenter in order to conceptualize the real qualities of that space.

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EXPLORING REPRESENTATION Conceptual Models There are two conceptual models that stand over other failed experiments. Both of these models, the “Box” and the “Arrow”, emerged as 3-D diagrams at an early stage of this thesis, even before any major investigation of the topic had begun. One could say that more than anything they are product of pure intuition. The first one, the Box, expresses the idea that when a visually impaired individual enters a building, he or she is only aware of the path taken and the target space. His or her understanding of the environment is limited to where they are at a particular moment and the path taken to get there. They cannot scan their surroundings to determine what other facilities the building may hold, and so may be unaware of potential connections between different spaces. In this model, the frame represents the built environment. The red squares signify the target spaces and the red matrices are the paths the user might follow. Note the square labeled “A” and the square labeled “B” and imagine that these are two rooms in a large building. While these rooms are spatially close to one another, the paths taken to arrive at each are not at all shared. The sighted individual, standing in room A, might be able to see room B (though windows or hallways or the like) and deduce their proximity to one another. The blind individual, on the other hand, may not be able to recognize the two rooms’ spatial relationship. Because the path taken to reach room A is so distinct from that taken to reach room B, the blind user may believe the two rooms to be spatially far from one another.

Conceptual Models

B A

The Box

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The Arrow Head was intended to be understood by touch. The model explores the idea that without being able to visually scan his or her environment, the blind user frequently experiences unanticipated “events”. This event might be a change in flooring, or arrival at a target space. Here, the thin basswood rod signifies a path and the goal space or event is represented by a node composed of smaller pieces of wood. The frame in this case, unlike in the Box model, works only as a support for the diagram and not as part of it. Both the Box and the Arrow Head models were praised by Dede Ackerman and Kristen Warvel as very good representations of the experience of the visually impaired in navigating their environments [i].

Arrow Head

[i] Dede Ackerman; Orientation and mobility Instructor and Kristen A. Warvel; Teacher of the Visually Impaired Cincinnati Public Schools, interview by author, February 26, 2010.

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EXPLORING REPRESENTATION

Tactile Modeling of a Precedent

Tactile Modeling of a Precedent The project selected for this experiment was Borobudur, a temple located in Central Java which I had the opportunity to visit years ago. This building was selected because for the user to fully understand its purpose, he or she must experience it by ascending to the top through its narrow corridors. The five kilometer path which takes the visitor from the bottom to the top of the pyramid structure is lined with detailed sculptural reliefs. The models produced for this precedent intended to convey the interactions of the space with its users, from both dynamic and static points of view. Also, the experience was modeled from both a non-sighted and a sighted perspective. The sighted experience in both stages, dynamic and static, reveals the hallways and the wall reliefs all at once. While the sighted user might stop his peregrination to the top in order to have a closer look to the magnificent carvings, there is little difference between gazing upon the reliefs at a stop and looking the carvings up ahead while walking. As Pallasmaa argues in his influential essay The Eyes of the Skin, the intensity of visual information does not increase as a receptive experience when one approaches the source (unlike a scent or a sound). On the other hand, if we are to analyze the same experience from the perspective of a visually impaired individual, the dynamic and static stages are completely different. If the non-sighted individual stops his or her journey up the temple, the appreciation of the reliefs on the stone will always be isolated unless the entire five kilometers of wall are touched top to bottom. On the same page, this individual will only be aware of the surface that his feet and hands are touching. The visually impaired visitor may have a sense of the narrowness of the corridor and the homogeneity of its mass, but will not likely be able to build a comprehension of the complexity and interrelatedness of the carvings. 17

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Modeling The Invisible: The SoundScape of the Site chosen

EXPLORING REPRESENTATION

This model intends to communicate audio information in a visual format. In this case, the objective was to analyze the site chosen in terms of its sound characteristics. To do this, sounds were recorded at several locations on the OSSB Campus with the purpose of understanding how distinctive the soundscape can be even within relatively small areas. The OSSB campus was divided into four zones (labeled A, B, C, and D). Each zone was defined by natural and/or manmade features (such as a bank of trees, the perimeter of the athletic fields, or the border of the property). For every zone the sound profile was different: in some areas birds are louder, in others the sound of cars passing cars is dominant. Zone A was selected for in-depth study of the soundscape, as more â&#x20AC;&#x153;naturalâ&#x20AC;? sounds such as the babbling brook, rustling leaves, and singing birds were present. The strategy to visually map these sounds was to break the soundscape into the individual sounds that compose it. In zone A, four distinct sound types were identified: birds, plane, stream, and highway. Then every elementâ&#x20AC;&#x2122;s sound wave was projected onto the particular site location in which it could be heard. The model was successful in that it transmitted the sounds of the space into visual waves. Like the previous models this one was tested by students as well as experts in the topic of non-sighted navigation. However, these users concluded that this model was more successful in visually representing the soundscape than tactilely transmitting the same information.

Tactile Modeling of a Precedent In the static posture, the frame acts only as a support for the 3-D diagrams, the rectangular surface wrapped with string signifies the activation of the surface when the non-sighted user is feeling the wall of the temple; the two tilted blocks represent what the feet are sensing. In this case, the user is as fully engaged with the space as his or her reach will allow him or her to be. The dynamic stage is much less specific. The model only shows a series of vertical sticks that symbolize the idea of a person touching the wall and walking at the same time, much like when a child extend his hands when walking next to a fence, rapping a stick along the pickets. The details of the wall are minimal to the point of only being ridges and bumps. The activation of the floor surface shows as a non-regular sequential series.

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EXPLORING REPRESENTATION

Modeling of a Proposed Space

The first Design Study Model comes from the opportunity to redesign a poorly-maintained “sensory garden” located on the grounds of the Ohio School for the Blind. This model is meant to test new ways to express design schemes for a visually impaired audience. When the current sensory garden was developed, its main objective was to create an appealing and engaging outdoor environment for the visually impaired. The users were meant to find their way around it through the fragrance and textures of various plantings. Some of the plant materials chosen included fringe trees, scented geraniums, magnolias, various herbs, annuals and perennials. The designers of this “symphony for the senses” took into consideration the changes of the seasons as well as the textures and scents of the selected plantings. [i] However good the intentions of the original sensory garden may have been, the site was not maintained. Today, the kiosk at the center of the space, from which a recorded voice describing the various plantings used to play, has fallen into disrepair. Faded photographs are flaking and crumbling in the dirty display case mounted on the side of the kiosk. This failed experiment begged reconsideration.

The first Design Study Model shown here proposes The New Sensory Garden for the school. It was to be located in the previously analyzed zone A of the campus. In an early stage the scheme proposed to lead the students from the built environment into the exploration of nature, introducing natural textures, scents, and sounds as well as enhancing the students’ navigation skills. This proposal begins with a texturally recognizable straight path, to assist in navigation and to provide a consistent reference point. Once on the main path the possibilities are either returning to the school building or going to the boardwalk near the stream at the end of the path.

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[i] Michael Leach. “Symphony for the Senses: A Garden for the Blind Takes Shape.” Columbus Dispatch. 23 February 1992.

EXPLORING REPRESENTATION

Modeling of a Proposed Space

This proposal for the New Sensory Garden has been tested on two occasions. In both tests, the individual had no visual or tactile interaction with the model, not was he or she briefed on what he or she would encounter. The model was first tested by a Master of Architecture student at the University of Cincinnati and the second time by two experts in the topic of visual impairment in children (all of them sighted individuals).

Modeling of a Proposed Space

The second part of this design experiment was to develop a model that would be understood by a non-sighted individual. The technique chosen was to first focus on â&#x20AC;&#x153;showingâ&#x20AC;? the key elements of the proposed design in a very general scheme using a scale of 1:8. The existing topography was replicated in a uniform cardboard surface. There was also a codification of the various textures used in the form of a legend. The individual would first feel the legend to perceive the numbers and variety of textures before touching the design proposal in order to map in his or her mind the textures that will be encountered on the scaled model. The three rows of textures on the legend are organized as described in the image.

The intention of the models being tested was mainly to corroborate or challenge the features used to communicate the ideas of the space, namely: the textures, the straight main path, the legend, the amount of information, the scale, the warnings signs along the path, and the lateral curved paths. From both experiences the suggestions were to texturally enhance the contrast of the main path from everything else by using in example a very identifiable texture sand paper alike. Although the straightness of the main path was helpful, the lateral curved paths were hard to follow mainly because when being navigated using one or two fingers, the person is tempted to continue navigating in a straight line. Moreover, having the curved path starting and finishing at very close proximity was stressful to understand if in a given time the user was at the beginning or end of path. It was successful to have a starting point and not an entire model to explore without an identifiable guideline and objective.

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EXPLORING REPRESENTATION Modeling of an Existing Space Modeling of an Existing Space

If the previous representation exercise was about generating a physical model of a proposed idea, in this case a Sensory Garden, here the challenge was to create a representation of an existing place. Would this model be helpful to the user prior to navigating the existing place? And, furthermore, could such a model convey the experience of being in that place? Most of the modeling techniques learned from the previous model informed the construction of this one. Variety of textures, the legend and concentrating on modeling the key elements of the location in order to get across the overall character of it. The site studied was the Alumni Garden on University of Cincinnati main campus. The strategy was first to visit the location several times and extract those key architectonic elements that create the essence of the place. In this case, the space was defined by a curved wall, a path following the curved wall down into a small courtyard, and elements such as benches, the fountain and plantings.

Although this model might need to be tested with more individuals and especially with non-sighted ones on site, some of the lessons learn were: the legend should be more organized, even though it was an improvement over other previous experiments to have it on the same model. The scale of the model, which was exaggerated for some elements in order to draw attention to them, was misleading in terms of the real scale. For example, the volunteer expected the curved wall to be much taller than it was reality; if the scale of the model was not to be consistent, a few scale figures could have reinforced the scales represented in different areas. Two important lessons were learned here. Firstly, elements in a model that extend from flat surfaces are easy to remember and reinforce the orientation within the site, for example the windows frame on the storefront of an existing building. Secondly, scale is important to the user in making a mental map of a space; therefore, points of reference regarding scale should be provided.

The model was tested with a sighted individual who had no previous knowledge or experience with the site. This person was blindfolded first and then given access to the tactile map. After ten minutes of exploring the model with her hands, having been directed on the model as to where the experience would begin, the volunteer was guided (still blindfolded) to the starting point of the experience. Once here she was on her own, without access to the model now, with the only task of navigating the full scale space as she first did on the model. 03.18

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EXPLORING REPRESENTATION SoundScape

Arrowhead

Red balsa wood signifies the path, with the intention that by following this strip of wood, at some point a sudden change will occur, an event a goal space, or a destination in oneâ&#x20AC;&#x2122;s journey.

Arrowhead

Precedent

The purpose was visually demonstrating the distinctive sounds identified within the site.

Raised Model

The target space or event in The raised model is a fanthis model is symbolized by a tastic tool to quickly form in the userâ&#x20AC;&#x2122;s mind a general textually rich node. understanding of the complete layout of the facility.

5 Texture Experiment Imbedded on walls along the corridors.

Precedent Borobudur, a temple located in Central Java.

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School Section

Used to communicate to a blind individual a design proposal and perhaps locate the user of the model within an imaginary space.

Existing Space

Models produced here The site studied was the were mainly trying to com- Alumni Garden on the UC municate the interaction main campus. of the users with the architecture.

Conceptual Models

The box expresses the idea of a visually impaired individual navigating an unfamiliar building.

Precedent

The experience was modeled from both a non-sighted and a sighted perspective.

Texture Experiment

A railing design based on various textures.

8 Legend The intention of the legend was to identify the different elements of the model.

School Section

Raised Model

Sensory Garden

The model was well received by several focus groups.

Its main purpose is to tactually communicate to the future user the overall floor plan of the building.

The users would find their way around it through fragrance and textures of various plantings.

14 Texture Experiment

Raised Model

A focus group of 2 individuals with complete blindness approved and praised this model for its clarity in expressing the design intent.

This model was CNC routed from a digital surface model.

This type of model, while useful, limits the amount of information that is presented.

School Section

School Section This textual model appears to suggest a series of straight patterns that might not serve any other particular purpose than to the eye.

20 28

Ohio School for the Blind

Where in the TriState area are the facilities that support visually impaired individuals? The location analysis shows that all the facilities are First: located in polpulated areas and Second: that they are withinn a distance range of no more than 10 miles from Downtown of the correspondant urban area. This could be interpreted as being conected with public transportation services for its users.

04.03

SITE

04.01

SITE Proposed

ZONE-A

Current location Ohio State School for the Blind - 5220 N. High Street Columbus, Ohio 43214

ZONE-A 04.02

OSSB Site Analysis OSSB - Site Analysis Zones of activity near the Site

SITE ANALYSIS

North High St

Located 7.4 miles from downtown Columbus, the site is located between two main corridors, North 71 and North High St, the site analyzed is surrounded by three Zones: A - B – C. Each Zone has singular activities that define them. A = Education B = Commerce C = Residential

North High St

315 315

B B

C C

7171

A Morse Rd Morse Rd Indanola Ave.

Indanola Ave.

The borders that define the site of study are both natural to the south, with trees, a stream and changes in the topography. To the north edge of the site is a row of private residences some of which are currently use by number of students during the school week. One of the particularities of the site is that even though is located in an urban area, the surface of developed area is lower compared to pristine land. This condition adds to the site the quality of park-like appearance, that offers more exterior opportunities to engage the users with the environment. 33

Scenarios Scenarios

Actors & Agents Zones Target Public T & Agents A - Education Actors Zones Cars Target PublicMunicipality T Cars Bank Pedestrians Municipality Bank Building Department Students Pedestrians OSSB Building Department Local Businesses Students OSSBPizza Place Local Restaurant Businesses Pizza Ohio PlaceDepartment of Education American Council of the Blind Restaurant OAKS Ohio Department of Education American Council of the Blind OAKS

B A

1’ 1’

135’ 135’

1 1

B B A

- Comerce A - BEducation - Residential B - CComerce C - Residential

145’ 145’

165’ 165’

185’ 185’

1’ 1’ 04.04

04.05

The site analysis began by dividing the OSSB Campus into 4 distinct zones. Each zone is limited by either topographic changes, natural elements or man-made constructions.

SITE ANALYSIS

04.06

ZONE-A

A - + Of the 4 Zones, A is the one that is richest in terms of audio stimuli and topographical interest. Though underdeveloped and potentially less safe for individuals with limited or no sight, the site elements such as the trees and the stream offer an engaging and interesting Soundscape. After analyzing every Zone, A was chosen for the facility proposed. 04.05

SITE ANALYSIS

04.07

ZONE-B

B Located near to the main entrance of the campus, Zone B offers long views and a rather flat topography. Near North High Street the sounds of cars and busses are very present and might pollute any facility proposed to be build here. 04.05

SITE ANALYSIS

04.08

ZONE-C

Very similar to B in terms of its topography, the main feature of Zone C is that is limited on two edges by existing private houses; however, its rather flat in terms of sensorial aspects. 04.05

SITE ANALYSIS

D 04.09

ZONE-D Zone D is mainly used for after school activities, such as band rehearsals and sports.

04.05

With the objective of addressing those non-visual aspects of each zone and a way to capture the Soundscape of the site, various sounds were recorded on each zone. The result was a series of waveforms from site elements such as birds, the sound of the stream, the humming of the highway among others. Here we see the waveform of Zone A with all its particular sounds.

04.10

04.11

SITE ANALYSIS SoundScape

SOUND_SCAPE Zone - A

Sounds were recorded at several locations on the OSSB Campus with the purpose of understanding how distinctive the soundscape can be even within relatively small areas. The strategy to visually map these sounds was to break the soundscape into the individual sounds that compose it. In zone A, four distinct sound types were identified: Blue jay, a plane, stream, and the humming highway. Then every elementâ&#x20AC;&#x2122;s sound wave was projected onto the particular site location in which it could be heard and later touch in the physical model.

04.12

PRECEDENTS ANALYSIS Could architecture be as meaningful and engaging if we are to take sight away from the experience ?

This Thesis will investigate the challenges and opportunities when designing for the visually impaired. In order to do so, relevant precedents will be analyzed from the sighted and the blind perspective. Each precedent was selected according to six categories; Program, Materials, Site, Experience, Image and Research. Once the project had been selected, it was analyzed considering several methods of analysis. The list of precedents ranges from projects with a Program that relates to Schools for the Blind, Center for the Blind and in a more Experiential Architecture to Zumthorâ&#x20AC;&#x2122;s Vals Baths. Each of the precedents analyzed should produce diagrams and/ or physical models that in one way or the other communicates ideas with a sighted audience as well to a visually impaired one.

5 D

F G Material C

D E G

E F

Program

Image

Research

A G E Experience C H D Site

A Thesis project Marco Pino Yancovic

PRECEDENTS ANALYSIS

Termas de Puritama, Atacama Desert, Chile

German Del Sol,

German Del Sol (P0-1) These baths are located in a hidden valley, about 30 kilometers d Pedro de Atacama, one of Chile’s most visited from the north of inSan l B touristic destination. The site consists of 8 natural thermal baths (P0-1) (30° e h C) and two t buildings with dressing rooms, bathroom and sauna. d This rformerly n o i sector, visited by Inca natives, is located in the way towards El l f B r Tatio e te Geysers, at 2,443 meters height (8,015 feet). www.germandelsol.cl

(P0-1) Th r The site is a perfect blend of the naturalfoand the built environen ol the existing conditions ment. German del Sol was very careful to o respect r hThe architecture consists ild and propose an almost seamless design. c h Sthe ground that follows the way C mainly of a wooden corridor lifted from o d i n h of the river and two basic buildings li O made with local materials. B (P0-1) r e l o f p This precedent informed the thesis design proposal in several r e emBlind, consists of natexways. Puritama, like the proposed School for the T e and periential sequence. There is one main path Cway, urand pools along its d r (site-experience) uregulating the visitor’s the path juggles among existing shrubs, o speed in b h o c walking from pool to pool. One could experir say that the architectural a n o A m B natural baths and also articulated by ence in Puritama is framed by the a the path. The path at Puritama strongly influenced the boardwalk in my rit u P

n Ce

Sauna 05.01

design proposal.

Puritama

TERRAIN SECTION 53

Termas de Puritama, Atacama Desert, Chile German Del Sol,

05.02

PRECEDENTS ANALYSIS

(P0-1)

r l oIndonesia Borobudur Temple, Central Java h l t pe o o m h u Cha c Z â&#x20AC;&#x153;The Temple is believed er usbuilt on 8th Century the Base of Temple d S Buddhist cosmology, (P0-1) to represent t o is 1200 m2. Itsareliefs alongothe galleries extendefor 5aKm and It is believed that the square shape l utilized to reach deep meditation stages lwMandala; a processPor Kimage mrelates tozethe of the temple a (P0-1) t r a to unconsciousness.â&#x20AC;? http://www.unesco.org/ in order rtoi gain access e (P0-1) H d Pu u d lin to encompass the "whole" eview. Walking forward encourages a perspective Brview which attempts n The B r - the reliefs givesesequential understanding that tries tactile trail of moving one's hand across to d "focus" l h i s T h an overload on detail. The sequential experience because there is quickly h fails to be comprehendible r C t o of information, there does not dthe tactile "images". l f or narrative that organizes Baseem to be a structure nturns i o l The visual perspective helps create a sense of order, but it is thworted by many and stairs. The o s B h l r temple is a spatial experience not a purely linear one, which (Experience) the eye can capture, spatial experience Scor fo of the Va r o e can only be perceived through the haptic kinesthetic systems. The height the temple correlates i l e h p t to the ache of the climber's muscles spiral. The integration creO and the vertigoemof the ever tightening n (P0-1) e C ates the sense of this place; the lack of integration as each sense system is tightened to is limits gives ritTsuccessful ormanipulates all of the senseslintodkeep the u the sense of other-worldliness about the place. h d c B u viewer/toucher/walker out of plumb, off-balance. n b e A o h r t r Bo o Comments from f First Chair - Tom Bible r te n Ce (P0-1)

Borobudur Temple, Central Java Indonesia 800 ac.

05.17

Mandala

05.18

Aerial view of Temple

Stupa Buddha Opening

05.19

5Km of Reliefs

05.20

The architectural experience at Borobudur consists of a Progression, an understanding of the religious message not through contemplation but rather by walking through its galleries and touching the hidden Buddhas inside the stupas.

PRECEDENTS ANALYSIS

Borobudur Temple, Central Java Indonesia 800 ac.

Borobudur Temple, Central Java Indonesia

Relief Activation by Touch 01.01

Surfce Activation by Touch 05.24

Blind Individual

05.21

05.22

Blind Individual Dynamic Stage

Static Stage The narrow corridors at Borobudur allow two types of Interactions between the user and what is built: the act of progression (moving) on the one hand and its pauses on the other. When static, the blind individual extends his hands to reach the reliefs on the wall; at the same moment only fragments of the floor are activated by the userâ&#x20AC;&#x2122;s feet (red). 59

05.25

In the act of walking fast through the corridors of the Temple, a blind person, by using his cane or tips of fingers, could interpret that the wall presents intricate patterns of voids and reliefs (see model top right).

05.23

05.26

PRECEDENTS ANALYSIS (P0-1) Ohio State School for l the Blind, Columbus, Ohio

Outcalt - Guenther Associates - Architects oo

o th

e ap

Z States,Chthe school okind build in the United “The first school of its o d r n e w li in 1837, opened its doors Columbus, el and it was located et in downtown B (P0-1) z us of the P a e 1900s, a Ohio. In thehearly the Ohio Institution for the Education Blind l H t K becamer known as the Ohio State School for the Blind, andnthe Deo of Education assumed control of the eschool. i d theOhio r l f partment In 1953, school B d er ten miles north of its original location e u moved to its present location. In t h (P0-1) n2005, 126 students enrolled in the Ohio T BrState School e for the Blind. Stur C - twenty-one n dents as young as three and as old as l fo years of age attended e s o r h the school. Students receive their through t entireceducation—kindergarten ho ild a h high school—at the institution. In addition, the Ohio State School for the B S C o students.” d i Blind offers vocational training forhits http://www.ossb.oh.gov s n l li O B (P0-1) Va This project was one of the main precedents for le this thesis, due itsfor p program and being located in the site chosen form the design proposal.er e t Toccasions, both forenfocus The site and the school was visited on three r Canalysis, group research and site analysis. Moreduthan a architectural r u (Program) this precedent offered a practical view b of how a schoolcfor ho the blind is o r nopportunities exregularly used by the students, and o the challenges and A B perienced by its users. SB

05.03

OSSB Campus, Columbus, Ohio

05.04

PRECEDENTS ANALYSIS Ohio State School for the Blind, Columbus, Ohio Outcalt - Guenther Associates - Architects

OSSB - North High Street, Columbus, Ohio http://www.ossb.oh.gov/

05.06

05.05

05.07

05.08

Along the corridors of the School, it is common to find elements like the ones shown above that serve as tactile cues to the students. The one on the left is currently used as a â&#x20AC;&#x153;warningâ&#x20AC;? sign that prepares the individual for a busy intersection. At this location, three corridors, the main entrance, and a set of stairs converge into one space. The image on the right also helps the student orient his or herself in the building; in this case, a spoon marks the location of the dining rooms. Rather than just rely on physical elements, the thesis design proposal should incorporate orientation elements that are less functional and more holistic, such as the heat of the windows generated by the sun, the sound of water going down a water feature or the scent of certain flowers. 63

OSSB

PRECEDENTS ANALYSIS Ohio State School for the Blind, Columbus, Ohio Outcalt - Guenther Associates - Architects

05.09

05.10

05.11

05.12

One of the main obstacles that the students encounter when moving from classroom to classroom is the sudden block of the main corridors either by bags or other students. A new school should consider not only this fact but also the levels of sound contamination generated in the hallways that could interfere with oneâ&#x20AC;&#x2122;s navigation or interrupt the lectures in the classrooms.

OSSB

PRECEDENTS ANALYSIS Ohio State School for the Blind, Columbus, Ohio SHP Leading Design, Cincinnati, Ohio

05.13

New OSSB

PRECEDENTS ANALYSIS Ohio State School for the Blind, Columbus, Ohio SHP Leading Design, Cincinnati, Ohio

SHP Leading Design was commissioned to design and build the New School for the Blind. Their proposal was to consider solutions such as the use of high contrast colors for the floor patterns to help orient the student and aid him or her in reaching his or her destination (see image 5.15). Another important consideration was to organize the building on a Cartesian Grid, mainly because the visually impaired individual usually moves in straight lines; having 90 degree turns either to the left or right also contributes to less stressful navigation. Finally, another consideration that will be used for this thesis proposal is to utilize lighting to help orient the user. Given the fact that the level of blindness varies along the student population, for those who can still distinguish light changes, having apertures to the exterior in consistent locations can also reinforce the sense of orientation for these students.

05.14

New OSSB

PRECEDENTS ANALYSIS Ohio State School for the Blind, Columbus, Ohio SHP Leading Design, Cincinnati, Ohio

SHP

Borobudur

On the image to the left is clear how the contrast of floor patterns was intentionally used to prepare the student before making the turn into his or her classroom. 05.15

Rendering of the main entrance of the School by SHP. Features like the existing fountain and bell tower were maintained in their proposal. The sound of these elements also help the student to find the main entrance before the classes begin.

New OSSB

05.16

PRECEDENTS ANALYSIS

Anchor Center for Blind Children, Denver, Co.

(P0-1) Anchor Center for BLind Children, Denver, Co.

Davis Partnership Architects, 2007

o th

e ap

(P0-1) Z visually h imThe Anchor Centerdfor Blind Children in Denver prepares r C n e li living their lives to the fullest.et paired childrenBfor s (P0-1)

e th

a Kl

d to be In orderr to give the architects an understanding of what it’snlike o i r l f visually B their vision. r impaired, they wore cardboard glasseseto obstruct

e nt

e h T a Sensory r Garden. This garCe The exterior of the Anchor Center hosts o f den includes water features and fragrant flowers l to engage the user, s othe h o whether sighted or visually impaired. Within building, textures and t h c a acoustics help to orient andBengage non-sighted users. S o i s h l O a (P0-1) V e l p m Te r du u ob r Bo u Br

m ita

e ldr

h C d

l rB

o rf

t en

C r o

c An

(P0-1)

(Program) 05.27

This project showed me some of the possibilities when designing for the visually impaired. While most of the design element are responses to specific “problems,” this school integrates them seamlessly with the rest of the facility. For example, the imbedded trailing wall is a single surface material that changes its textures when the student approaches the door the classroom.

05.28

05.29

DESIGN PROPOSAL SITE ENGAGEMENT

6 75

DESIGN PROPOSAL

6 77

DESIGN PROPOSAL

SMELL+LEARN+PLAY

Sensory Garden

Space planning

The North and South facing classrooms where planed as a way to gradually take the student from a busy main corridor to a more quiet learning space. Each classroom is divided by three areas: Lockers (green), Learning area (blue) and a Break area (brown) where students can play or hear stories from their tutors. The program is arranged based on the idea of creating several transitions from the corridor to the exterior instead of a sudden change (diagram on left). 79

Left

To gain a better understanding of a new space without the benefit of sight, I arranged to be taken (blindfolded) to an environment I had never visited before. As I explored my new surroundings, everything I touched seemed to exist in total isolation. I could not get a sense of how these distinct objects (bench, petrified log, bush, etc.) were connected in space. The sense of vision, it occurred to me, allows a person to take in the general qualities of an entire space - its dimensions, its component parts and their spatial relationship to one another - in an instant. Sightless, I experienced each new feature on a continuum, yielding a linear mental image of the space.

HEAR+FEEL

Classroom Boardwalk

The raised boardwalk offers a safe way to interact with natural phenomena such as the sounds of the stream, birds and rustling leaves. Space is also available for outdoor classes. 83

The change in floor texture helps the student orient and prepare to turn into the room. The lockers have also been located inside the classroom to avoid high traffic in the main corridor. 84

NAVIGATE

Corridor

Other than just relying on tactile cues, the students find their way into the classrooms sensing the heat of the windows and the change of floor textures.

North to South Classroom Area Section

Conclusion How can design, which considers the needs of the visually impaired contribute to the Architectural Experience of the sighted as well? Engagement with site: More opportunities for engagement with the environment. Transition Spaces: Create conditions to avoid sudden spatial changes, especially interior versus exterior. Design Elements: Texture, Heat, Sound, Scents. Inside Out: Begin design in the usersâ&#x20AC;&#x2122; most significant spaces, in this case the Classroom Spaces. Sensory Garden: Design intended not so much to accomodate childrenâ&#x20AC;&#x2122;s disability but rather on activating their stronger senses, hopefully creating a less sterile environment in which to learn.

List of Illustrations

01.01 The Incredulity of Saint Thomas, Caravaggio, 1601-1602 http://www.artstor.org 01.02 Kyoto: Ryoanji Temple view Stone Garden, 14th-16th C. (Muramachi) http://www.artstor.org. 01.03 Kyoto: Ryoanji Temple view Stone Garden in the snow, 14th-16th C. (Muramachi) http://www.artstor.org. 01.04 Kyoto: Ryoan-ji Temple: Ext.: Stone Garden Wall, 14th-16th C. (Muramachi) http://www.artstor.org. 01.05 Pencil with leaves in water glass, Martin Takigawa, http://www.gettyimages.com. Creative image #: 80122438 01.06 Blind Girl with Globe, Scott T. Baxter, http://www.gettyimages.com. Creative image #: ED000939. 01.07 Process of visual perception ,Rene Decartes, 1664 , http://www.artstor.org. 01.08 Camino a el Tatio; Atacama, Chile , Marco Pino Yancovic, 2007 01.08â&#x20AC;&#x2122; Ref.: Score of Lord Melbourne: War Song (1939), Grainger, Percy, 1882-1961 http://www.artstor.org. 01.09 The False Mirror (1928), RenĂŠ Magritte, Belgian, 1898-1967 http://www.artstor.org.

2 3

02.01 Girl at the pool, Helene Binet, Peter Zumthor Therme Vals, Verlag Scheidegger and Spiess (March 15, 2007) 02.02 Process of visual perception ,Rene Decartes, 1664 , http://www.artstor.org. 02.03 The Chapel of St. Ignatius; Blessed Sacrament Chapel; detail , Steven Holl Architects, 1997 http://www.artstor.org. 03.01 Series of images of exploratory models, Marco Pino Yancovic, 2009-2010. further explanation of each. page 25 03.02 SoundScape; laser cut model of topography and sounds of the site, Marco Pino Yancovic, 2009. 03.03 Blind Individual experiences SHP Raised model, Marco Pino Yancovic, 2009. 03.04 The Box Model; an interpretation of a blind man going to a new building, Marco Pino Yancovic, 2010. 03.05 The Arrow Head Model; an event or goal space in once everyday experience. Marco Pino Yancovic, 2009. 03.06 Borobudur; a model of an existing temple in Indonesia. Marco Pino Yancovic, 2009. 03.07 Ibid. 03.08 Ibid. 03.09 Ibid. 03.10 Borobudur; a model a Dynamic stage of experiencing architecture. Marco Pino Yancovic, 2009.

03.11 SoundScape; laser cut model of topography and sounds of the site, Marco Pino Yancovic, 2009.

03.12 Sensory Garden OSSB; current stage of inelegance upon the existing sensory garden , Richrad K Ansley, 1992. photograph by Marco Pino Yancovic

03.13 Sensory Garden OSSB; detail of the texture of some plantings , Richrad K Ansley, 1992. photograph by Marco Pino Yancovic 03.14 Model of Proposed New Sensory garden , Marco Pino Yancovic, 2009. 03.15 Model of Proposed New Sensory garden; various textures applied , Marco Pino Yancovic, 2009. 03.16 Model of Proposed New Sensory garden; various textures applied , Marco Pino Yancovic, 2009. 03.17 Model of Key Map; the codification of each texture was offer in Braille as well Marco Pino Yancovic, 2010. 03.18 Model of Proposed New Sensory garden; various textures applied , Marco Pino Yancovic, 2009. 03.19 Model of Alumni Plaza, UC ; the detailed image shows part of a curved wall modeled using sand paper to represent the bricks. Marco Pino Yancovic, 2010. 03.20 Jennifer [Visually Impaired] is experiencing the tactile model at CABVI Cincinnati, Ohio, Marco Pino Yancovic, 2009.

04.01 Site; Ohio School for the Blind, ,Google earth.

04.02 Site; Zone-A, looking from East to West. photograph by Marco Pino Yancovic 04.03 Site Analysis; where are the center for the blind? Marco Pino Yancovic, 2009. 04.04 Site Analysis; Activities that define adjacent zones to the site chosen. Marco Pino Yancovic, 2009. . 04.05 Site Analysis; possible locations within the site. Google earth. Marco Pino Yancovic, 2009. 04.06 Site Analysis; Zone-A, image looking North. Marco Pino Yancovic, 2009. 04.07 Site Analysis; Zone-B, image looking East. Marco Pino Yancovic, 2009. 04.08 Site Analysis; Zone-C, image looking South-East. Marco Pino Yancovic, 2009. 04.09 Site Analysis; Zone-D, image of field tracks looking East. Marco Pino Yancovic, 2009. 04.10 Image looking South-West and sound wave of Zone-A, Marco Pino Yancovic, 2009. 04.11 Series of images and wave form of sounds elements in or near Zone-A, Marco Pino Yancovic, 2009. 04.12 SoundScape; a projection of the sound waves into Zone-A, Marco Pino Yancovic, 2009.

List of Illustrations 05.01 Puritama, Termas de Puritama, German del Sol, http://www.germandelsol.cl , Proyectos, Puritama.

05.02 Puritama, Termas de Puritama; Site Plan, German del Sol, http://www.germandelsol.cl , Proyectos, Puritama. 05.03 OSSB Site, Google Hearth Images. 05.04 OSSB Close up of School, Google Hearth Images 05.05 Main entrance for the School for the Blind. Marco Pino Yancovic, 2009. 05.06 OSSB Corridor, Marco Pino Yancovic, 2009. 05.07 OSSB Warning tactile sign, Marco Pino Yancovic, 2009 05.08 OSSB Corridor outside dinning area, Marco Pino Yancovic, 2009 05.09 OSSB Outside a teachers classroom, Marco Pino Yancovic, 2009 05.10 OSSB Corridor with students; notice the bulky school bags and how this blocks the traffic. Marco Pino Yancovic, 2010 05.11 Ibid.

05.20 Detail of the carved friezed dating from 8th century. Bruno Barbier, http://www.gettyimages.com. Creative image #:89187811 05.21 Detail of the carved friezed dating from 8th century. Bruno Barbier, http://www.gettyimages.com. Creative image #:89187811 05.22 Sketch showing the of surface activation by touch. Marco Pino Yancovic, 2009 05.23 Conceptual model of surface activation in a Static stage for a blind individual, Marco Pino Yancovic, 2009 05.24 Corridor at the Borobudur Temple, http://www.gettyimages.com. 05.25 Sketch showing the of surface activation by touch in a Dynamic Stage, Marco Pino Yancovic, 2009 05.26 Conceptual model of surface activation in a Static stage for a blind individual. Marco Pino Yancovic, 2009 05.27 Exterior Anchor Center for the Blind.Ron Pollard photograhy. Contract Magazine N2, Feb 2008, Page 59 05.28 Ibid, Page 61 05.29 Rendering of imbedded hand rail on wall, Anchr Center for Blind Children, Revit Architecture, Marco Pino Yancovic, 2010

05.12 A student going to class, OSSB, Marco Pino Yancovic 2010. 05.13 Landscape and building proposal for the New School for the Blind, SHP, 2009 05.14 Floor Plan Scheme propose by SHP fot the New OSSB, SHP, 2009 05.15 Rendering of a clasroom hallway; the contrasting colors are used to help guide navigation ,SHP, 2009. 05.16 Exterior rendering of the New School fo the Blind, SHP. 2009. 05.17 Site and Top view of the temple, Unknown,http://whc.unesco.org/ 05.18 Mandala, use by Tibetans monks to encounter deep meditation, 05.19 Indonesia, java, Borobudur Temple, aerial view. Philippe Bourseiller, http://www.gettyimages.com. Creative image #:sb10068596gp-001

BIBLIOGRAPHY

Internet Sources www.lighthouse.org Lighthouse International is the most well know resource for research, rehabilitation and education for the visually impaired. www.gdba.org.uk Guide Dogs for the blind association, provides practical living skills and training in issues such as mobility, reading and writing. www.afb.org American Foundation for the Blind provides useful information about accessibility, visual impairments among others. www.ada.gov/ American with Disabilities Act home page. www.dpesign.ncsu.edu A research center that provides and promotes universal design in housing, commercial and public facilities. www.diesign-for-all.org Design and Disability website that includes reports and cases on visually accessible products. www.ode.state.oh.us/ossb Ohio School for the Blind Web site

Book Sources

Book Sources Evamy, Michael. and Roberts, Lucienne. In sight, a guide to design with low vision in mind. Mies Switzerland: Roto Vision SA. 2004. Holl, Steven, Juhani Pallasmaa, Alberto Perez-Gomez. Questions of Perception. Architecture and Ubanism. July 1994.

Langer, Monika. Merleau-Ponty’s Phenomenology of Perception: A Guide and Commentary. Tallahassee, Florida: The Florida State University Press. 1989. Norberg-Schulz. Genius Loci. New York : Rizzoli International Publications, INC. 1980. Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Chichester, Great Britain: Wiley-Academy, 2005. Pallasmaa, Juhani. Encounters: Architectural Essays. Rakennustieto Oy , Karisto Oy, Hameenlinna, 2005 Jonas, Hans, and Lawrence Vogel. The Phenomenon of Life toward a Philosophical Biology. Evanston, Ill.: Northwestern UP, 2001. Print Sabato, Ernesto. Informe Sobre Ciegos. Buenos Aires: Planeta Bolsillo. 1995. Saramago, José. Ensayo Sobre la Ceguera. Traducción de Basilio Losada. Spain: Grupo Santillana de Ediciones S.A. 1998. T.T. Moore and E. Zube (Eds.). Advances in Environment, Behavior, and Design. New York: Plenum, 1987. Seamon, David. “Phenomenology and Environment—Behavior Research.” Ed. G.T. Moore and E. Tuan, Yi-Fu. Space and Place. Saint Paul: University of Minnesota Press. 1977. Thesis Projects Hunter, John A. Housing for the visually impaired: research-+based design. Milwaukee: school of Architecture & Urban Planning, University of Wisconsin-Milwaukee,1981. Fulmer, Tracy. Blind Aesthetics: thesis research-based design. Oxford, Ohio: Department of Fine Arts, Miami University, 2001.

BIBLIOGRAPHY Thesis Projects Fortkamp, Sarah. Body, Emotion, Architecture. A phenomenological Reinterpretation. Cincinnati, Ohio: School of Architecture and Interior Design, University of Cincinnati, March 2005. Crabtree, Benjamin Steven. Corporeal Narratives: Architecture of Experience. Cincinnati, Ohio: School of Architecture and Interior Design, University of Cincinnati, May 2006. Krivanka, Sarah. Sensitive Material. Cincinnati, Ohio: School of Architecture and Interior Design, University of Cincinnati, May 2007. Godoy, Angel. El Cuerpo y la Percepción como fundamento de arquitectura. Valparaiso, Chile: UTFSM, Diciembre 2005. Articles Lemay, Line. 2005. Helping designers meet the visually impaireds’ needs: Partners get together to promote accessibility. International Congress Series 1282:1031-1033. Albert Postma, et al. 2008. Haptic orientation perception benefits from visual experience: Evidence from early-blind, late-blind, and sighted people. Perception & Psychophysics 70, no. 7:1197-1206. Pearson, Clifford A. 1996. The Training Resource and Assistive Technology Center. Architectural Record 184, no. 11:110-111 Blasch, B.B. and S.J LaGrow. 1996. Three aspects of coverage provided by the long cane: Object, surface, and foot-placement preview. Journal of Visual Impairment & Blindness 90, no. 4:295-301 Blasch, B.B. and K.A Suckey. 1995. Accessibility and mobility of persons who are visually impaired: A historical analysis. Journal of Visual Impairment & Blindness 89, no. 5:417-422 Flanagan, Barbara. “Deep design: the next frontier: targeting our senses to reach our emotions.” Metropolis 22, no. 1 (Aug.-Sept. 2002): 68,70. Phillips, Rhys. “School Design : Learning to see without sight” Architectural Record, December 01, 1995. Sokol, David. “Extra sensory perception: New special-needs schools demonstrate careful consideration for the touch, feel, and sound of architecture.” Architectural Record, January 2009. (PG 24-29)

Hello!! YOU are invited to participate in a Design Research Focus Group. A Master of Architecture student from UC would appreciate your insight regarding Navigation and Experience of Architectural Space. Food and beverages will be provided !!! *Space is Limited Saturday, March 6 UC-DAAP 10am-12pm

Wednesday, March 10 CABVI 2pm-4pm

Please contact Marco Pino at pinoyama@mail.uc.edu to confirm your participation. For additional information also ask Ginny Backscheider, Dir. Program Services, CABVI.

SoundScape

CONCEPTUAL

Arrowhead

Red balsa wood signifies the path, with the intention that by following this strip of wood, at some point a sudden change will occur, an event a goal space, or a destination in one’s journey.

2 CONCEPTUAL

3 6 School Section Used to communicate to a blind individual a design proposal and perhaps locate the user of the model within an imaginary space.

10 5

CONCEPTUAL MODELS(1-3) SOUNDSCAPE (2) EXISTING PLACE (4) PROPOSED (5-8) TEXTURES (6-7) 13 14 Texture Experiment A railing design based on various textures. This model was CNC routed from a digital surface model.

03.01serie

The Box

The box expresses the idea of a visually impaired individual navigating an unfamiliar building.

5 1

9 5

2 3

3 7

Existing Space

Raised Model

Red balsa wood signifies the path, with the intention that by following this strip of wood, at some point a sudden change will occur, an event a goal space, or a destination in one’s journey.

Arrowhead

The site studied was the Alumni Garden on the UC main campus, the place was modeled using various textures and larger vertical scale .

5 Texture Experiment Imbedded on walls along the corridors.

Precedent Borobudur, a temple located in Central Java.

7 Raised Model Developed by SHP Leading Design this type of model, while useful, limits the amount of information that is presented.

7 19

Precedent

The purpose was visually demonstrating the distinctive sounds identified within the site.

Raised Model

The target space or event in The raised model is a fanthis model is symbolized by a tastic tool to quickly form in the user’s mind a general textually rich node. understanding of the complete layout of the facility.

8 4

EXPLORING REPRESENTATION 11

SoundScape

Arrowhead

The purpose was visually demonstrating the distinctive sounds identified within the site.

School Section

Used to communicate to a blind individual a design proposal and perhaps locate the user of the model within an imaginary space.

The box expresses the idea of a visually impaired individual navigating an unfamiliar building.

Precedent

The experience was modeled from both a non-sighted and a sighted perspective.

Raised Model

The model was well received by several focus groups.

Its main purpose is to tactually communicate to the future user the overall floor plan of the building.

School Section

Texture Experiment

The users would find their way around it through fragrance and textures of various plantings.

A focus group of 2 individuals with complete blindness approved and praised this model for its clarity in expressing the design intent.

This model was CNC routed from a digital surface model.

Conceptual Models

School Section

Sensory Garden

Existing Space

Models produced here The site studied was the were mainly trying to com- Alumni Garden on the UC municate the interaction main campus. of the users with the architecture.

Texture Experiment

A railing design based on various textures.

8 Legend The intention of the legend was to identify the different elements of the model.

Sensory Garden

15 School Section This type of model, while useful, limits the amount of information that is presented.

This textual model appears to suggest a series of straight patterns that might not serve any other particular purpose than to the eye.

20 100

Thanks Many thanks to all who in one way or another took part in this thesis project. Special thanks to Tom Bible for giving me guidance and thoughtful advice and believing in this peculiar topic. Thank you to Liz Riorden for always having constructive criticism and enjoying this process as much as I did. Many thanks to the OSSB teachers and administrators for opening the doors of their facility and surroundings to allow this research, specially to Mr. Dan Kelley for his comments regarding the tactile models. Kristen and Dede, thank you for you interest and sharing your expertise for this project, and for being the first experts outside of DAAP to participate and contribute to a better understanding of the visually impaired. Thanks to SHP Leading Design for giving me the opportunity to closely follow their design proposal for the New School for the Blind for facilitating the necessary tools to successfully accomplished this proposal. Thanks to the CABVI for giving me the opportunity to â&#x20AC;&#x153;testâ&#x20AC;? the tactile models in their facilities with wonderful persons like Jennifer and Steve.