KINESTHESIA
SPATIALIZING THE BODY
Stephanie Yeow Cyborgonomic Architecture, Chromosapien Space ARCH 672 Propositions Studio Instructor : Mary-Ann Ray Fall 2015
kinéō + aísthēsis ‘to move’ with ‘sensation’
In a time when successive generations of technology amplify human presence at distances far greater than the reach of the hand, what becomes the place and form of making at the scale and pace of the individual body? - Ann Hamilton, artist
TABLE OF CONTENTS Overview
i
Acknowledgements
ii
Laying the Ground topographies, spaces, surfaces + objects
1
I . The Body, Redacted : Personifying the Chromosapien II . Surface Tension: The ground plane III. Skinscapes: Haptic sensory driven design
2 3 4
Notes
iii
Bibliography
iv
OVERVIEW
This book represents an artifact of the mind, the obsessions with the body in space and the ponderings of architecture’s role in transforming how we think about disability in the world today. It should be said that this book aims more often to suggest than to conclude.
“Space can become place if we get to know it better ” - Yi-Fu Tuan Space and Place 1977
ACKNOWLEDGEMENTS
This book would not have been conceived without the Taubman College of Architecture & Urban Planning for their continual interest in pushing the boundaries of the architecture discipline. To Mary Ann Ray for her endless energy and wisdom. Also, to the Holt International Foundation - I hope that this project does justice to the amazing things the organization does for people in need everyday. To all my peers and colleagues in the school for their creativity and support and finally to my family and friends who have shaped the way I think throughout the years.
LAYING THE GROUND
TOPOGRAPHIES, SPACES, SURFACES & OBJECTS
Juhani Pallasmaa in ‘An Architecture of the Seven Senses’ proclaims that “every touching experience of architecture is multi-sensory; qualities of matter, space and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle. Architecture involves seven realms of sensory experience which interact and infuse each other.” To approach the task of understanding the human body in the world, we must begin by thinking spatially. The following work is an exercise of intuition. The responses aim to gage my initial reactions when thinking about topographies, spaces, surfaces and objects in regards to a new kind of politicized and problematic association of the body - ‘disability’.
TOPOGRAPHY
SPACE
LAYING THE GROUND
SURFACE
OBJECT
Womb-space
LAYING THE GROUND
Cavity Home This work speculates on the activities and outcomes of bodies in environments that restrict ‘normal’ and ‘simple’ movements. It becomes a cavity that moulds around the body. Texture is also important as the material becomes part of the immediate sensory environment when touching the body.
Slippery surfaces
LAYING THE GROUND
slippery plateau
sliding walls sinking valleys
disabling environment creating a landscape of physical struggle
slippery substance the ground is both slippery and rubbery without the ability to grip or create friction reliant bodies human bodies become reliant on one another to navigate the terrain , enabling closer interactions, physical touch, combined effort and struggle
The Landscape of Physical Struggle When one is impaired, any particular surrounding environment can suddenly become trecherous as it was designed to cater to an ‘ideal’ state of physical health. By thinking about the landscape as mediators of our experience with the world, we come to see it not just as an object but as a tool to enhance or limit our bodies in the world.
“We need a theory o
THE BODY, REDACTED
PERSONIFYING THE CHROMOSAPIEN1
Susan Wendell’s quote below sets the tone for the discussion in this chapter. Disability as a social construction is more fluid, dynamic and interesting. It sheds any preconceptions one might have had about disability and brings us to the realm of the chromosapien.
of disability. It should be a social and political theory, because disability is largely socially-constructed.” The chromosapien is the one who leads the way in how we should be designing for people. The chromosapien embodies ageing, health and disproportioned ability among all people. Once we begin to think like a chromosapien do we start to uncover our flaws, our imperfections and see ourselves as very much human. Therefore, it is time that we take a step back and look at the body in a new lens.It is time we remove from our present knowledge all we know about ‘standards’ and ‘ideals’. It is time for the body to be redacted so that our understanding of it may be rewritten. 1 “Chromosapien” is a term invented by Robert Adams to dissolve the binary structure produced by the use of the terms “abled” and “disabled” and to substitute for the generisized and sanitized term “universal”
UNCOVERING A NEW HUMAN BODY
A majority of architecture today clings to the hegemony that visual aesthetics hold highest value in the profession. Pallasmaa writes that, “Instead of an existentially grounded plastic and spatial experience, architecture has adopted the psychological strategy of advertising and instant persuasion; buildings have turned into image products detached from existential depth and sincerity.� It is time to take charge of the other senses of the body. A body with a variety of needs has different ways of reading the environment. What if the environment molded itself to our bodies? Perhaps we should imagine non-static objects. Sculptured objects and spaces have flexibility to mold to become extensions of the body. What are postures and positions we have forgotten to design for?
THE BODY, REDACTED
James Leckey : Advanced Bath Chair displays various reclining positions for posture and support of a disabled body
UNCOVERING A NEW HUMAN BODY
Lines of nonextension for the upper body These lines correspond with points on the skin that do not extend when moving limbs, and thus serve as an indicator of a usually unseen stiff exoskeleton of support on the body which has maximum mobility and flexibility.
THE BODY, REDACTED
Diagram of experiential perspective by Yi-Fu Tuan Space as relative location and bounded space. The Eskimo (Aivilik) woman’s space is essentially defined by the location and distance of significant points, mostly trading posts (A), as perceived from the home base on Southampton Island, whereas the idea of boundary (the coastline) is important to the male Eskimo’s sense of space (B)
UNCOVERING A NEW HUMAN BODY
Dis-Armor by Krzysztof Wodiczko Dis-Armor is designed for socially withdrawn Japanese youths who shun interaction, speech or expression, alienated users for whom normative modes of behavior and rules don’t apply. This wearable prosthetic device and helmet allows one to see through one’s back in order to reconnect with society by allowing them mediated communication.
THE BODY, REDACTED
pros·thet·ic /präs-THetik/ Origin : Greek prostithenai pros ‘in addition’ + tithenai ‘to place’.
an artificial body part; a prosthesis. the making and fitting of artificial body parts. an artificial feature or piece of flexible material applied to a person’s face or body to change their appearance temporarily.
THE BODY, REDACTED
RETHINKING DISABILITY
Much of our preconceptions about disability is rooted in a strong idealization of the body and the need to control it. In this social normative, those who cannot control their bodies are seen and may see themselves as failures. Design in the world caters to this idea that we are ‘ideally shaped’ - we are either strong and healthy and can do what an average able-bodied persons can do, or we are completely disabled, unable to participate in life. When does the margin between those two meet? Furthermore, when will we make disability a social issue? We often push the topic aside and bury it in personal or familial realms in order to avoid coming to face the fact that our bodies are much more uncertain entities than we would like it to be. We should begin to consider how we shape the world around us to embrace what we cannot control and enhance what we can.
RETHINKING DISABILITY
“Our culture idealizes the body and demands that we con
disabled at some time in their lives, the disabled
and the threat of pain, limitation, dependency and death.
If disabled people and their knowledge were fully integra would be liberated�
THE BODY, REDACTED
ntrol it. Thus, although
most people will be
d are made “the other” who symbolize failure of control .
ated into society, everyone’s relation to his/her real body - Susan Wendell ‘Feminist Theory of Disability’
RETHINKING DISABILITY
Henry Dreyfuss : The Measure of Man The set of bodily measurements here is problematic as it addresses a ‘typical’ able bodied man, which is ideal and non-inclusive.
THE BODY, REDACTED
Panero & Zelnik : Human Dimension and Interior Space A wheelchair users range of motion is identified here through an addition of the prosthetic device yet still maintains ideal body parts that are non-inclusive to a range of human dimensions
SAFE HAVENS
IN REGARDS TO AUTISM
Ernesto Neto sculptural works Soft spaces create playful yet engaging environments for children and adults alike
THE BODY, REDACTED
Japanese Capsule Hotels Small spaces in reaction to economy but create a sense of privacy and security for foreign travellers who may need a transition space of rest
SAFE HAVENS
The Squeeze Machine by Temple Grandin This device is completely lined with foam rubber, and the user has complete control over the duration and amount of pressure applied
THE BODY, REDACTED
SAFE HAVENS
Perceptual Cells by James Turrell Turrell’s Perceptual Cells Series are enclosed, autonomous spaces built specifically for one person at a time. If the sensation of claustrophobia is psychological, can one’s perception of space (or lack of) be influenced by light?
THE BODY, REDACTED
FORM I
‘BURROW’
burrow to move underneath or press close to something in order to hide oneself or in search of comfort. Form I represents a model of the interior of a single living unit. A linear approach articulates a strong direction of movement in space with subtle changes in the landscape through heights, gradients and tightness of spaces. By capitalizing on the term ‘burrow’ this model emphasizes the ground plane as site for domestic living. Active spaces such as the kitchen and the bedrooms are buried in the ground while more transient spaces are connected through planes and ramps. The changes in the topography of the ‘home’ suggest different forms of activity that can occur that give varying sensations to the body that inhabits each space.
THE BODY, REDACTED
Form I : Burrow Museum board, spackle paste, primer, wood skewer
SURFACE TENSION
THE GROUND PLANE
The ground is geometrically simple and yet complex in nature. It is the space controlled by gravity and defines human activity. The ground can be manipulated to enhance or restrict mobility. It can be closed off or thrown open depending on who we choose to invite into the space. It holds form and yet is also formless. This is the site for the architectural intervention. The constant contact point of our bodies to the earth and the world around us. It can be shaped in numerous ways. A surface in tension is waiting for action to release its potential. When designing for an inclusive body, how can we chanel the potential to produce a new form of living, moving, working and even being?
INTIMATE SURFACES
Excerpt from Constance Classen’s “Studies in Sensory History” “In the medieval home there had hardly been anything to touch but other bodies. In the Victorian home, there was often everything to touch but other bodies. An insistence on physical separation, except for prescribed, ritualized moments— the hand offered to a friend, the morning kiss on the wife’s cheek, the storytime on father’s knee, the spanking of the naughty child, the bedtime kiss from mother— was reinforced by the use of individual chairs for sitting on and single beds for sleeping in.To be forced to sleep alone as a child in the eighteenth century might have been regarded as a punishment. In the nineteenth century, while numerous children might necessitate communal sleeping arrangements, the ideal was one person per bed. Any piece of furniture that allowed contact between two bodies— the sofa, the “loveseat,” the matrimonial bed— was suggestive of an extraordinary physical intimacy.”
SURFACE TENSION
Muybridge’s Infantile paralysis; child, walking on hands and feet Infants rely on different modes of movement and interaction with the surroundings when one form of movement is impaired.
THE FLOOR AS ELEMENT
Korean rural households practice traditional underfloor heating or ondol which manifests the ground plane as a lifted active space for for cooking, sleeping, domestic heating and ventilation. Traditionally, the underfloor heating is supplied from the kitchen stove and is transmitted to spaces of rest such as the bedroom or living room. This way, ritual practices of the home supply energy to support one another.
SURFACE TENSION
Ondol : korean floor heating system underfloor heating system which promotes social activities of eating and sleeping on the floor as it is the source of heat
THE FLOOR AS ELEMENT
Maya Lin : Vietnam Memorial The vision for the memorial was to cut open the earth and polish the remaining surface, attributing the form and space to be part of the landscape. This gesture of ‘architecturalizing’ the ground plane
SURFACE TENSION
Bedroom of a traditional hanok in Korea Bedroom floors are elevated to allow for underfloor space. This allows furniture to sink into the ground which posits the ground as the main space of activity
Shaker retiring room The room served as a place to retire to “in silence, for the space of half an hour, and labor for religious reflection. The clean, white plaster walls, scrubbed pine floor, and simple stained woodwork aged to a warm ocher reveal three of the most typical characteristics of Shaker design: utility, simplicity, and beauty. Shaker furniture As in many Shaker interiors, a pegboard runs around the room to hold various objects up from the floor for day-today storage and to facilitate cleaning. Practices relating to cleanliness influenced design and functionality of furniture to be lifted off the ground and stored on the walls
House of Ray Kappa Different floor levels create hierarchy of spaces and zones of activity.
FORM II ‘PEEL’
peel to remove or separate a thin covering or part from the outside or surface of something. Form II is a light gesture in the landscape which aspires to carve out a space for refuge in the industrialized landscape. The slope of the topography of the land lends itself to carving out habitable space in both the high and low points. The frontside of the lifted surface becomes a soft divider between the space it wishes to enclose and the environment around it. The edges gain thickness and can also become habitable. Additionally, the strong linear form suggests movements to link one point to the next, and by moving through the landscape one can uncover this small refuge that might otherwise be buried in the ground.
SURFACE TENSION
Form II : Peel Museum board, spackle paste, primer
SKINSCAPES
HAPTIC SENSORY APPROACH DESIGN
A disabled body relies on movement through space and a perceptual channel that is biased to the body - the sense of touch. Géza Revesz first introduced the term “haptics” whos origins can be traced back to the Greek words ‘haptikos’, meaning “able to touch,” and haptesthai, meaning “able to lay hold of” Haptic perception involves connections between movement and touch. Excerpt from David Howes’s “Skinscapes”
“...while we may perceive aspects of the environmental with all of our sensory organs, only the skin can manifest the marks of what it has perceived. The skin may be dried by the sun and roughened by the wind; it bears the scars and bruises of its scrapes and bumps and the imprint of what has pressed into its soft surface, it becomes warm through perceiving warmth and cold through experiencing coldness. On a winter’s afternoon, you can tell it is cold outside by touching the skin of your son who has just come indoors; you cannot tell it is white with snow by looking into his eyes. The eyes may see all manner of sights, and show no signs of it. By contrast, the skinscape and landscape are linked in multiple ways.”
Haptic perception involves active as well as dynamic and passive touch. Whereas active and dynamic touch require movement from the body itself, passive touch arises from movement in the environment - Herssens & Heylighen
SKINSCAPES
Incan Quipu storytelling device Pnemotic storytelling device based on surfaces and textures of knots in the ropes to remind them of specific moments of a story in which they were re-telling.
If we were able t sanitized in a re
Sense of the City: An Alternate Approach to Urbanism This curated set of experiences in the city by Mirko Zardi
SKINSCAPES
SENSORIAL ARCHITECTURE
SENSE OF THE CITY : AN ALTERNATE APPROACH TO URBANISM “By comparison with the animal kingdom our perceptual abilities are somewhat limited. While the pigeon can see 340 degrees; the bee can detect small magnetic fields; some spiders have eight eyes; and the cockroach can detect movement as small as 2000 times the diameter of a hydrogen atom; few of us are aware of the smell- deliberately blow out through diffusersfrom our nearest KFC, which draws us subliminally towards the ‘chicken delights’ of Colonel Sanders
to go back in time and visit cities before they became elatively odourless tourist aura, the smells and sights would overwhelm us As described in ‘Air of the City’ 19th century London was typically awash with the offal of slaughterhouses in the streets, open sewers and a river that was in essence a moving cesspool. While much as been done in the name of progress- removing the threat of disease and pollution- we have essentially over-sanitised and deodorised our cities”
SENSORIAL ARCHITECTURE
Life of the streets in London by Nigel Henderson As Alison and Peter Smithson describe in their book Urban Structuring, “life of the streets� in these p idated by the motor car, rising standards of living and changing values. In the uninhabited organizati organization.
SKINSCAPES
pictures is a survival from an earlier culture - a subsistence culture at that. The street has been invalion of the children’s games we are seeing a valid pattern, and in this is an indication of a freer sort of
SENSORIAL ARCHITECTURE
Parking lots as playgrounds by Buro Gabi Kiefer in Flamingstrasse, Berlin.
Anchor Center for Blind Children by Davis Partnership Architects The school in Denver is acoustically suited to the needs of blind and partially sighted students. Classrooms feature specifically colored and textured walls to benefit way finding.
SKINSCAPES
THE SHAPE OF TOUCH
Juhani Pallasmaa in “An Architecture of the Seven Senses” “The skin reads the texture, weight, density and temperature of matter. The surface of an old object, polished to perfection by the tool of the craftsman and the assiduous hands of its users, seduces the strokin of our hand. It is pleasurable to press a door handle shining from the thousand hands that have entered the door before us; the clean shimmer of ageless wear has turned into an image of welcome and hospitality. The door handle is the handshake of the building. The tactile sense connects us with time and tradition; through marks of touch we shake the hands of countless generations.”
“we cannot change our environment through hearing, seeing, smelling or tasting but we can through touch and movement in space”
THE SHAPE OF TOUCH
Ramp House by Archivirus A home designed for a skateboarder with emphasis on constant movement and ability through the topography of the ground
SKINSCAPES
Vanessa Quick in ‘Why Skateboarding Matters to Architecture ;
“Space is motion ,it relates to architecture that functions beyond just conceptual but engages the physical level of tactility and motion... open to a myriad of appropriations and improvisations by the user”
THE SHAPE OF TOUCH
Furniture is as important as architecture itself and that both are perceived as a whole in our perception to space. Material characteristics can be landmarks themselves. Classification of landmarks, paths, nodes, edges, boundaries, are applicable to haptics as well - they create haptic landmarks
SKINSCAPES
Soft furniture by Ernesto Neto Sculptural pieces that can be inhabited by the body
“MOVEMENT PLANE”, “GUIDING PLANE” AND “REST PLANE”. Movement Planes Functional oriented design to support orientation and balance in movement Examples of such places are the ground floor in underground, steps of a staircase, door of a public entrance Rest Plane Creating atmospheres through passive touch gives description on the materials concerning radiation and rubbing of the skin creating an atmosphere Examples : surfaces for sitting, sleeping, relaxing, leaning, hanging where bodies lie in rest Guiding Plane Dynamic touching of environment through means of an object : A plane that guides the direction and supports yet promotes experience Examples : a handrail that can be actively touched but gives information about the wall or construction on which it is fixed upon1
1 Haptic Design Research:A blind sense of place , Herssens and Heylighen
SKINSCAPES
Haptic design parameters A design framework developed by Herssens and Heylighen are described by material characteristics, spatial characteristics and the variables are differentiating between foot and hand, dependent on the regions of sensitivity.
“movement plane”, “guiding plane” and “rest plane”.
Olympic Archery Range by Enric Miralles & Carme Pinos Shifts between rhythmic planes seem to stimulate movement while varying scales determine level of engagement
SKINSCAPES
“If we think of space as movement, then place is “pause” and this way each pause in movement will allow a space to become a place” - Yi-Fu Tuan in Space and Place
“movement plane”, “guiding plane” and “rest plane”.
In the Hazelwood School for the blind in Glasgow, the architects Gordon Murray and Alan Dunlop designed a “backbone wall” in the middle of the school that has different functions: first of all, it is a cupboard for the children‟s coats, canes and briefcases and the teachers working material: secondly, it creates a transit zone between the passage way and the class rooms; and finally, it helps the children with visual impairments to orientate themselves as the wall is not orthogonally structured but twists through the building by making blunt angles with its surfaces. This way the “backbone wall” kinetically draws a line through the building.
SKINSCAPES
Overall plan for the Hazelwood School for the blind in Glasgow Movement is embedded in the architecture
Backbone walls Haptic sensory guides movement and encourages perception of space by visually impaired students
FLOOR SITTING CULTURE
Korean and Japanese furniture styles
Ondol : korean floor heating system underfloor heating system which promotes social activities of eating and sleeping on the floor as it is the source of heat. Usually pasted with paper and lacquered with bean oil on the surface to represent floor
Maru : wooden plank board flooring with empty space beneath Built above the ground to allow cool air to flow in from below in the summer
Traditional Korean House Typology daechong : largest space in house and located centrally between two ondol rooms toetmaru : narrower wooden floor that lies between interior rooms and ground surrounding the hanok. It is usually raised to the height above the ground that makes it convenient for grown adult to sit on its edge. Shoes are removed before stepping on the toetmaru jjokmaru : narrower variation of toetmaru outside doors and windows that do not have toetmaru numaru : raised maru floors that function like pavillions attached to the rest of the house deulmaru : simple raised wooden platform-like floor surfaces that could be moved around to convenients spots in summer windows and doors : layered, sliding, folded, lifted up, suspended horizontally changsal : window made of grid of thin, interlocking lengths of wood gates : traditionally, houses are surrounded by walls walls : stone walls in rural villages rarely exceed human height, they are built as indicators of property limits rather than physical barriers to keep out intruders functional yards : empty spaces between house and walls for household chores such as threshing rice, drying chillies and special occasions intermediate spaces
HOLT INTERNATIONAL Understanding the organization - strong familial ties -christianity
YOUNG SOOK JANG 64, Mother
Young Sook is unlike anyone you’ve ever met before. Filled with positive energy and a welcoming aura, she exudes a presence in the room when you enter. Young Sook was diagnosed with polio at a young age and has lost the ability to use her legs. However, this creative woman , with the help of her amazing helper , daughter and two adorable dogs, she has designed her life in order to overcome her physical challenges. Her home relies entirely on the surface - the medium for which she slides, moves, eats, sleeps, and cleans herself. The walls around her personal space are armed with devices to help her navigate her space. Finally, she transforms herself when she slips into her special wheelchair - navigating the streets as if they were her own. Her determination to overcome any obstacles and still lead her life with dignity and a smile on her face is what is inspiring about Young Sook Jang.
Building for unique individuals Similarly to the Schindler House, the new Holt Community aims to build for unique individuals with their own strengths and personalities. The architecture aims to embrace and nurture each ability
MEMORIES OF HOLT INTERNATIONAL
Site Investigations in South Korea, 2015 A true sense of community My memories of our trip to South Korea are of the faces of the people I met in Holt International. They were all distinct faces - each with their own characteristics, sensibilities and stories. I would describe it as a community of individuals coming together for the purpose of caring for one another. Everyone was kind, and everyone seemed to be there for the purpose of helping one another. From Molly, the enigmatic old woman who had a motherly presence without having children of her own. To Mia, the strong-willed woman whose allegiances lay with Holt as they facilitated her adoption years ago. To the housemothers who wore aprons and wiped up the drool from their disabled children to the residences themselves. I don’t mean to paint a naive picture - but they most certainly seemed to be a very happy bunch. I remember distinctly the young woman who came up to hug everyone whom she had met for the first time. The polite gentleman who bowed and greeted everyone and a moment later shuffled off to the next place he needed to be. To the young man who was preparing the table of food for his neighbours and himself. To Mr. Fix-it- constantly smiling, declaring his disability to us the moment we meet - almost as if he was proud of it. He certainly was someone whom I will always remember - giving us a ride in the back of his truck, telling us stories about the site, opening up his home to us. These are all incredible stories that make up the experience in Ilsan, South Korea for those five eye-opening days. Besides the community - there was a strong presence of infrastructure. A network of facilities that created a nurturing environment. Schools, by the dozens. Religious buildings. Parks, everywhere. A swimming pool with a wheelchair ramp. Even better, an entire section of a building dedicated to a ramp. A slide as a fire escape. A waiting room for anxious mothers. A sports gymnasium lined with numerous wheelchairs. It was like the city of the future - where everyone was respected and treated as equals. There was no ‘disability’ - everyone was given equal opportunity.
CHRISTIANITY IN THE COMMUNITY religion as rehabiltation
Religion in the Korean Culture Sign of democratic and social progression in Korean society A space which represents and even nurtures, sanctifies and holds spatial memory in this new development of Holt The location as a border which wraps around the edges before one moves into the site is important as a reminder and reminiscence of the past The Ginkgo tree is a phenomenon, an object of veneration, a sacred tree of the East, a symbol of unity of opposites, yin yangby some seen as a symbol of changelessness, possessing miraculous power, bearer of hope and of the immeasurable past, a symbol of love. Because of all its properties it is associated with longevity.
DISTRUPTING SOCIAL NORMS ASSOCIATED WITH DISABILITY Representation of new model of indepence for disabled individuals
Disability Theory Disabled individuals are looking for independence, and the ability to be independent It is a disability enclave - development seeks to embrace the culture of disability associated with the Holt Community and refute against desegregation as a means of diluting culture, traditions and forced societal norms. According to belle hooks in ‘Teaching to Transgress..� How to create and architecture of segregation? Each surface is uniquely curated from a catalog of surfaces Each individual view is crafted and curated - the personal boundaries and spaces of each person is valued - but common spaces are created. What are the consequences of bringing together independent individuals to live in a model housing development all together? Should they be provided with assistance? are there community spaces or is each individual given their own rights to land and space? Architecture designed to literally segregate the able-bodied individual Surfaces and methods of movements are biased towards those on a wheelchair coming into the development - and once inside it is also the same? What are some ways that they use the space which is different from a normal individual? Make the design serve the individual who relies on bodily additionsthe cyborg - while able bodied individuals have to bend down to their height? The long ramp that makes you walk for a long time but is necessary for the individual on the wheelchair - not exactly architecture of exclusion but architecture which is biased ; no doors, long hallways for speed, handrails, surfaces, long ramps, accesible paths for accessing the outdoors, theatre with access - one sort of cultural ammenity crafting the idea of the importance of the individual power of the architectural solution to define a new model of living for them and for disabled communities in the rest of South korea overheadh lighting
NOTES
Aaronson, Deborah. Design like You Give a Damn 2: Building Change from the Ground up. New York: Abrams, 2012. Print. Adams, Robert “Making a Scene: A Vivid Genealogy of the Asclepius Machine.” [2013] in Adrian Blackwell, ed. 2013 Scapegoat: Architecture, Landscape, Political Economy: 04 Currency., [Toronto]: 375-388 “AD Classics: Olympic Archery Range / Enric Miralles & Carme Pinos.” ArchDaily. N.p., 20 Aug. 2014. Web. 27 Sept. 2015. Andrews, Edward Deming, and Faith Andrews. Shaker Furniture; the Craftsmanship of an American Communal Sect. New York: Dover Publications, 1950. Print. Classen, Constance. Studies in Sensory History : Deepest Sense : A Cultural History of Touch. Urbana, IL, USA: University of Illinois Press, 2012. ProQuest ebrary. Web. 26 September 2015. Flinchum, Russell, and Henry Dreyfuss. Henry Dreyfuss Industrial Designer: The Man in the Brown Suit. New York: Rizzoli, 1997. Print. Grandin, Temple. “Temple Grandin’s Web Page.” Web. 27 Sept. 2015. Hamilton, Ann. “Ann Hamilton Studio.” 27 Sept. 2015. Herssens, Jasmien, Heylighen, Ann. Haptic Design Research : A blind sense of place. Holl, Steven, Juhani Pallasmaa, and Alberto Pérez Gómez.
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