Interior Architecture Portfolio 2021

DESIGNING FOR AUTISM A DESIGN PORTFOLIO

WΞEYΔNG

FYP PART 1 | DESIGNING FOR AUTISM

ACKNOWLEDGEMENT

______________________________________________________ Firstly, I would like to thank my studio profs, Nadia Wagner, my main superviser and the others for guiding me and giving me a chance to explore this challenging topic. Secondly, I want to thank the educator, parents and people from the autism community in participating so eagarly in the process, making this project so much more meaningful to me as a designer. Lastly, my friends who gave me support and kept me sane and going throughout the entire process. This would have never happened without all the supports.

Thank you all.

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BACKGROUND

______________________________ This project began way before I decided to dedicate my entire final year project topic to designing for autism. It started from a short 2 months project in year 3, followed by an extended project during the summer holiday in collaboration with an architect and an occupational therapist on learning spaces. As I am interested in studying the relationship between human behaviour and architecture, I decided to dive into the unfamiliar realm of autism for my final year project. I am not an expert in the realm of autism and had to find case studies, read books and research paper in order to understand how autism and architecture is related, and how this relationship is so crucial for designers to understand before designing for this specific group of people.

This project is based off perspective and stories told by people with autism and the people around them, from auto-biography, videos, books and interview. However, it needs to be mentioned that there are limitations as people with autism falls on a spectrum, with many specific needs. Comments and feedback in the process of designing are based on the limited references I have, but not an attempt at generalising the autism community. It is my hope that any reader of this project will build upon the knowledge shared between architecture and autism and challenge the dominant way of thinking about design.

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TABLE OF CONTENT

00 INTRODUCTION Autism and environment pg 06-11 ______________________________________________

This year long project is split into three parts. Each explores the autstic experience in different environment with three different programmes.

01

02

03

THE CORRIDOR

THE CLASSROOM

THE CAFE

The interpretation of spaces pg 12-41

Security and protection pg 42-75

Sequence and security pg 76-101

______________________________________________

______________________________________________

______________________________________________

The focus of this project is about questioning the dominant way of thinking about design. It enables us to look into the fundamentals of design when designing for people on the spectrum. It goes beyond just designing the sensory quality of the space.

Classroom is a space where students with autism learn other than at home. This makes the classroom an important space to explore and understand how can we make this a safe and secure environment for students with autism.

Public spaces in general has always been a challenge for people with autism, the overwhelming lights, sound and movement has created a chaotic environment for them.

This project investigate and reimagine how a public space will look like if we design it for people with autism. Cafe do not have to be so open, bright and loud background noises. By redesigning the spatial layout and seatings area can improve the whole cafe experience for people with autism.

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“I am not disabled by my autism, though; I am disabled by my environment.”

- Jac den Houting, a research psychologist with autism

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FYP PART 1 | DESIGNING FOR AUTISM

This project is interested in understanding the relationship between autism and design, and how design can help achieve a better built environment for people on the autistic spectrum.

Autism is not an illness that needs curing, it is a neurological disorder which affects part of the brain that involves information processing. This makes interacting with the environment a little more difficult for those with autism than for others.

In this project, three different typologies are investigated to show the difference in designing for autism as compared to designing for neurotypical people. Precedent studies, research papers, interviews and literature become an important part in the design process, questioning and understanding more dominant ways of thinking about design.The project is not about creating the most beautiful and exciting spaces, rather it hopes to design spaces that people on the spectrum can understand and enjoy.

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A Autism TMI Virtual Reality Experience video by The National Autistic Society to experience every single sight, every single sound, every single stare they endure on a simple trip to the shopping centre.

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INTRODUCTION TO AUTISM AND TERMS ___________________________________________________

autism

noun

a developmental disorder of variable severity that is characterized by difficulty in social interaction and communication and by restricted or repetitive patterns of thought and behaviour.

neurotypical

adjective

not displaying or characterized by autistic or other neurologically atypical patterns of thought or behaviour.

People with autism have a different way of thinking and processing information, which makes their experience and perspective of space different from a neurotypical person. A neurotypical person is defined as someone who does not have a diagnosis of autism or any other developmental disability. (Brusie, 2017) This different way of thinking has impacted beyond just their social abilities, but also their spatial awareness in the built environment.

AUTI-BIOGRAPHY _______________________ Many research references are available online in regards to designing for autism but this is a compiled documentation of people on spectrum sharing their experiences in relation to the built environment.

First person stories helps to understand how much the environment is affecting them 9

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Sketch of how chaotic spaces are.

A collage of how i think people with autism sees the world.

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FInal poster design.

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“A design is loaded up with inherent meanings, which can afford certain behaviours—conscious or not. But do we—as designers—still question how a door can be designed so as to look inviting to enter?”

- Stijn Baumers, Beyond the Designers’ View: How People with Autism Experience Space

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01 THE CORRIDOR

Wayfinding and interpretation

AIM This project aims to redesign a corridor in a school for students who are on the spectrum. It focuses on wayfinding – specifically visual cues – in the school corridor. This project will convey the fundamental understanding of what it means to design a space, that is predictable for people on the spectrum.

INTRO People on the spectrum have a different way of processing information, which is why understanding the contrast between a neurotypical and a person on the spectrum’s way of interpreting spaces is crucial in creating this design.

The value of this project is about questioning the dominant way of thinking about design. It enables us to look into the fundamentals of design when designing for people on the spectrum. It goes beyond just designing the sensory quality of the space.

LIST OF IMPORTANT REFERENCES USED IN THIS PROJECT ________________________________________ Magda Mostafa, an architect, pioneer in researching in designing for autism “E”, an adult on the spectrum.

Temple Grandin, an Autistic American scientist and activist.

Stijn Baumers, a researcher in architecture and autism Van Dalen, an adult on the spectrum.

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RAINBOW CENTRE CORRIDOR SITE CONTEXT 14

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01 | SITE

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A photo compilation of the school corridor.

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01 | SITE 17

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HOW DO WE KNOW IF IT IS THE END OF THE HALLWAY? ________________________________________________________

01 | CEILING

Long corridors can be confusing and difficult for a person on the spectrum to navigate due to its proportion and can set off sensory isues.

A series of form and space iterations explore differentiating the hierarchy of spaces. This creates pockets of nodes at each end of the junction and the middle of the corridor which serves as a pause area before continuing moving through the corridor.

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“Hallways can be difficult spaces to walk through due to their proportions”

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CEILING HEIGHT ______________________ A higher ceiling and natural light at the ends might help with creating pause points for orientation.

Light at the end of the corridor suggests something around the corner and is good for showing people there is something there and its safe.

01 | CEILING

LIGHTING ______________________

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DIRECTIONAL CUE

01 | CEILING

____________________________________ Using form and height of the ceiling to create movement and visual cues in directing the user in the coridor.

However, a simple straight ceiling does the job best.

“I feel like i’m being crushed by the building” - E

Image from Francis Ching’s Form, Space and Order 4th Edition.

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CEILING FORM _____________________

01 | CEILING

Slanted, convex and concave surfaces in any direction create a feeling of being crushed by the building, which makes the user wants to leave the space immediately.

This feeling overwhelmes the intention in directing the user using the hierarchy of spaces in terms of ceiling height and form.

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WALL FORM _____________________

01 | WALLS

Similar to ceiling, curved walls also has the same impact as curved and slanted ceilings.

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IS THIS A ROOM I ENTER?

01 | ENTRANCES

____________________________________

“There must be a sign of some sort on the doors... because the others didn’t hesitate over where they should go.” -Gurnilla Gerland Entrances is one of the confusing element in the space which makes wayfinding so difficult for people on the spectrum. Sometimes accquired knowledge or intuition is needed to navigate through these spaces, which is something peple on the spectrum have difficulty with.

Creating abivous visual cues to differentiate entrances are explored in this section.

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ENTRANCES _____________________ Recessed entrance are difficult to see unless you are infront of it. May be better with lighting to emphasize the entrance.

Flushed entrances are the easiest to read and understand.

01 | ENTRANCES

Words are easier to understand but preferably on eye level or left to right format. Vertical or other orientation can be confusing.

Colour cues are not always obvious in demarcating anything and can be confusing and distracting if there are too many of them.

Using one color is fine.

Extruded beams and entrances makes the spaces feel like it is closing on you and would want to leave imediately.

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01 | ENTRANCES

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01 | ENTRANCES 27

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HOW CAN WE TELL THE DIFFERENCE BETWEEN DOORS?

01 | ENTRANCES

_____________________________

“Symbols and colors doesn’t mean anything to me” There are different rooms and entrances but how do we pick up cues? For example, having one pink and blue door may suggest toilet because it is the universal colors to represent male and female. But do people with autism interpret the same way as we do?

“For example, I often experienced that I pushed the open button to close the doors of the elevator and the other way around.”

– Van Dalen

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DIFFERENTIATING THE ENTANCES _____________________

Recessed toilet doorways are good privacy wise.

Using material cues such as wall tiles suggest toilets.

01 | ENTRANCES

Painting the maintenance door with the similar color as the background does hide it well.

Altering the size of the doors does emphasises the rooms most are meant to enter.

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01 | ENTRANCES

Having recessed maintenance door does help to hide as it is non-essential for students.

Similarly, signs are gender stereotyping in terms of the body shape, be cause we don’t look like that. People on the spectrum take things literally so symbols which has hidden meanings does not make sense.

Words are easier to understand.

Colour cues are not always obvious in demarcating anything and can be confusing and distracting if there are too many of them. Having blue for gents and pink for ladies washroom are based on gender sterotyping in terms of colors which poses a challenge for people on the spectrum to understand.

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01 | ENTRANCES 31

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DO PLACEMENT OF COLORS MATTERS?

01 | ZONING

_______________________________

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“I find vertical coloured stripes difficult to walk past”

In this section, zoning in terms of color is being explored in different forms such as patterns, subtle touch and straight up obvious cues.

LUDLOW TAYLOR ELEMENTARY SCHOOL. Washington D.C . Ludlow Taylor Elementary School in Washington D.C using colour and patterns as zoning and wayfinding in schools.

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ZONING _____________________

It is quite difficult to notice things which is above the usual eye level.

The stripes at both end of the corridor is nothing more than just stripes.

Half painting and horizontal stripes suggest hospital context and does some weird things to the walking experience

01 | ZONING

Easiest to look at and understand.

The patterns can seem like they are coming out of the wall due to depth perception, which is unpleasant.

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WHAT DO THESE STICKERS IMPLY? ________________________

01 | FLOOR

“This are nothing more than just coloured stickers”

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These stickers are placed for students to play and learn cognitively. It is has different sticker design which create some sort of storytelling in the play. However, these hidden stories are not interpreted by people on the spectrum as these are literally colored stickers which adds some fun while transiting through spaces. So what is the point of creating qualitative aspect if it is not being translated to the people on the spectrum?

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FLOOR ELEMENTS _____________________

01 | FLOOR

Most comfortable, as long as the contrast isn’t high.

These are not as comfortable as they are too distracting. The contrast between tiles and grout makes the grid jump out.

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The final design is a compilation of all the findings

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SUMMARY TABLE NEUROTYPICAL

CEILING

Ceiling wall forms such as curves are used to suggest a certain hierarchy or directional cue in a space.

Slanted, convex and concave surfaces in any direction create a feeling of being crushed by the building, which makes the user wants to leave the space immediately.

SYMBOL

Shapes or colors that are universally understood and used can be a form of wayfinding for male and female toile.

Often symbol do not literally represent its intention, therefore it could be difficult to understand. Material or words can sometimes be more effective .

COLOR ZONING

Subtle shapes or color in a space would be sufficient to suggest a zone.

The used of colors must be obvious to suggest a zone. Shapes or stripes zoning are distracting which may be difficult to navigate.

FLOOR STICKERS

Colorful cartoon stickers encourage some imagination and playfulness while interacting with it.

Taking it literally, a visual play than using imagination for play. Textured stickers has tactile feedback which may provide.

Assume based off using information collected through visiting many places.

Important or main entrances should be visually visible. Having a window to see the space inside helps to understand whether if it is meant to be entered.

ENTRANCES

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AUTISM

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FYP PART 2 | DESIGNING FOR AUTISM

“Being held by another person is scary but rolling or being held by surfaces produces the calming effect that ordinary children get from a hug.”

-Temple Grandin, Autistic American scientist and activist

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02 THE CLASSROOM Security and protection

AIM This project aims to redesign a classroom in a school for students who are on the spectrum. It focuses in providing a sense of security and protection that student with autism need to focus on activities.

INTRO Classroom is a space where students with autism learn other than at home. This makes the classroom an important space to explore and understand how can we make this a safe and secure environment for students with autism.

LIST OF IMPORTANT REFERENCES USED IN THIS PROJECT ________________________________________ Choo Kah Ying, a writer/educator and a homeschooler of Sebastien, her autistic son.

“A”, an educator from a special need school in Singapore.

“E”, an adult on the spectrum.

Temple Grandin, an Autistic American scientist and activist.

Aiyana Bailin, an online blogger who shares experiences from an autistic perspective.

Lien Foundation, Singapore's First Inclusive Preschool.

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RAINBOW CENTRE CLASSROOM SITE CONTEXT 44

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SITE CONTEXT

___________________

OVERVIEW ______________________________

NOISE LEVEL ______________________________

The classroom is rather small and it looks similar to a typical classroom.

Since the classroom is adjacent to the corridor, There are more noise closer to both the entrances.

NATURAL LIGHT ______________________________

CIRCULATION ______________________________

The classroom is on the upper level and has window only on one side with adequate amount of natural light entering the room in the day.

Since it is a small classroom, there is not much movements except nearer to the entrance where people enter and exit.

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INFLUENCE OF MOSTAFA’S RESEARCH ON CURRENT DESIGNS

_________________________________________

02 | CASE STUDY

There are several schools designed for autism out there and they follow the guidelines created

by Magda Mostafa. Almost all of them focus on spatial sequencing, natural lighting and colors to provide a calmer and safer classroom envrionment.

MAGDA MOSTAFA’S RESEARCH: AN ARCHITECTURE FOR AUTISM: CONCEPTS OF DESIGN INTERVENTION FOR THE AUTISTIC USER

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02 | SITE

CURRENT CONDITION

_______________________________ The current classroom uses fluorescent lighting which is a visual disturbance for people with autism. There were many decorative art work done by the students in the room which were claimed to be “a form of encouragement for the students.

Typical classroom furniture are used and were messy.

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02 | FINDINGS

ARE THESE THE ONLY THINGS THAT MATTER?

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_______________________________________________ The current classroom does have many issues with lightings and sound distractions. However upon talking to some of the experts, there are more than just these factors which contribute to creating a safe space for students with autism.

One of the finding was that people on the spectrum actually prefer sitting closer to surfaces; or a corner of a room. This is because the surfaces provide a sense of security and comfort by protecting them from the noise and distraction from the surroundings.

FYP PART 2 | DESIGNING FOR AUTISM

“Personally, I prefer to sit in corners or against walls at a table” – “E”

“If you ask me, where would I have my son sit in a restaurant, I go to the far corner, and he sits in the corner, and I am next to him… it makes them feel safe.”

02 | FINDINGS

Hiding under a table, tugged and lying on the floor during a meltdown.

– Choo Kah Ying Leaning against surfaces in a shoe store.

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WHY FOLLOW THE TYPICAL CLASSROOM LAYOUT?

____________________________________________________

In addition, having the students seated nearer to the wall surfaces (closer to surfaces helps in providing a sense of security), instead of being gathered in the middle of the classroom.

02 | THE LAYOUT

After speaking to the experts and gathering a few insights, students in the class do not perform activities like how a normal class do. They do not require long hours of focus on screen nor listening to the teachers speak at the front.

Therefore challenging the idea of having students all seated in the center of the classroom. And also how important is it for students to face a specific direction like how typical schools are designed. Is there really a need for students to all face the same direction?

Current classroom layout.

Proposed classroom layout.

Plan of Ratchu School.

Ratchut School / Design in Motion. The learning area is split into multiple small-sized “rooms”, where all the children could feel more like home when they come to school.

It requestion the typical layout and the need for furniture legs.

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DO THESE LAYOUT AFFECTS TEACHING IN THE SPACE?

______________________________________________ Having seats in different direction does not hinder teaching in the space. In fact, some teachers intentionally modify the seats for the students.

02 | THE LAYOUT

Facing the center of the classroom. Backfacing the wall.

Facing the wall. Backfacing the center of the classroom

“But for the ASD classes, for snack time they sit in in smaller groups, and likely also for other table based activities” - Occupational Theraphy student.

All facing different directions, but still close to the walls.

“Mostly they do the assigned tasks independently, so half my tables face the wall... Or I have some students facing certain directions (not to the front) as there may be something that may distract them” - Educator at a special need school 51

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“Why full of tables and chairs? Why not some station where you can stand, some you can lie down? To be on the ground, the ground is very safe for everybody.”

02 | THE LAYOUT

- Choo Kah Ying

“Given the opportunity, I usually choose the floor, or at least a couch or ottoman, over a chair. If required to use a chair, I often sit “incorrectly”: sideways, or backwards, or kneeling.”

- Aiyana Bailin Yan Yun, eight, has been taking public transport home after school with her elder sister.

CHAIRS ARE ENEMIES _______________________________

Being closer to surfaces helps people with autism to feel more secure and protected.

“At other times, sitting “properly” in a chair is truly stressful, physically painful, and/or a major distraction from whatever I'm supposed to be attending to.”

- Aiyana Bailin

TYPICAL CHAIR _______________________

It was observed that some students tend to rock the chair back and forth during lesson which might potentionally cause them to fall.

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“Some of them do have a lot of rocky movements that may tilt the chair.”

- OT student

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UNRESTRICTIVE SEATS

______________________________________________

These are some of the options that provide a better sense of security for students on the spectrum. Some methods such as beanbags and gym balls are currently used during theraphy session.

STANDING _____________________________

CUSHIONS OR BEANBAGS _____________________________

GYM BALLS _____________________________

Sitting closer to the floor surface may provide more sense of security for the students. It also prevent them from feeling restricted in a chair which may cause anxiety.

Standing tables option for other activities. So they do not always have to sit for the whole day.

Cushion and beanbag are often use in meltdown rooms (a place for them to calm down during a meltdown) and is a popular choice.

Gym ball allow the student to jump up and down which helps to stimulate them and calm them down.

02 | THE LAYOUT

SITTING ON FLOOR _____________________________

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A NEW PEDAGOGY

_______________________________ Providing a variety of seatings or work station so that students can benefit them. This helps in making the space more flexible without having to always move the furniture as changing the layout of the room may cause distress to the students.

02 | THE LAYOUT

Placing the seats to the side of the classroom.

Adding platforms to create different heights.

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Creating different table heights.

Removing the seats.

Moving the seats away from the busy entrances.

Adding platforms to create different heights.

Adding over head elements to provide more enclosure.

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FROM RIGID TO ORGANIC

______________________________ Due to the nature of sponge, the form became more organic which provides a better sense of security and comfort.

02 | THE LAYOUT 55

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THE ACTIVITIES

__________________________________

02 | THE LAYOUT

The reason why having multiple different types of “workstation” helps is because the students do not have ciriculums which require them to sit for long. Therefore having different “workstations” helps to provide variety so that they do not always have to do task while sitting.

The play in different table heights created a space with different types of “workstation”. The difference in height also act as a small partition for pocket of spaces.

A combination of different table heights in a corner of the classroom.

“Having multiple workstations, sometimes standing up or sitting so that they are not always sitting down. Dividing the kids up is a great idea, easier to handle and everyone doesn’t have to always do the same thing together.”

- Choo Kah Ying

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02 | FINDINGS

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A machine that applies pressure to the cattle’s body . Movie: Temple Grandin

THE SQUEEZE, THE PRESSURE.

_________________________________________________________________ Deep pressure has been defined as the “sensation produced when an individual is hugged, squeezed, stroked, or held”. It is widely used by occupational therapists working with children with autism spectrum disorders and is thought to be rewarding, reducing symptoms of stress and anxiety and improving performance in school.

So why are all the classroom designed with hard surfaces just like any other classrooms? By introducing other elements such as the hugging sensation in the classroom may help in calming the students down.

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OTHER WAYS OF CRAVING THE PRESSURE _______________________________________

“The touch of your family and friends feels like your hairs are being plucked out one by one... I am extremely sensitive to sound and touch. “

Soft mattresses.

- Temple Grandin

02 | FINDINGS

I was one of the pressure seekers. When I was six, I would wrap myself up in blankets and get under sofa cushions, because the pressure was relaxing.

- Jane

Putting shirt over the head.

Wearing a helmet to keep pressure on the head.

Using objects to apply pressure onto parts of the body.

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02 | MATERIALITY

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MATERIAL EXPLORATION ________________________

movement and distraction which defeats the purpose in the first place.

02 | MATERIALITY

A variety of soft materials were explored. These materials are chosen because they do provide the tactile feedback which is crucial in the process of creating a calming environment for students with autism. However we have to make sure that it does not create too much

“Have you considered that the accommodations may end up distracting the students instead of promoting learning?

- An educator in special need school in Singapore.

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02 | MATERIALITY

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WHY SPONGE?

______________________________ Sponge has different density which provide a range of tactile feedback for the students. It has good sound insulation property as well.

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SofT is a thesis project by a student in LA to seek the irregular structures of soft material in order to form aggregated wholes.

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02 | MATERIALITY 63

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Indirect pendant lighting with warm tone for comfortable lighting.

Curtains to control the natural lighting when it gets to harsh.

Hugging table.

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Hugging Wall.

Different table height or “workstations”.

Carpet flooring to reduce sound.

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HUGGING TABLE

______________________________ Sponge has different density which provide a range of tactile feedback for the students. It has good

02 | MATERIALITY

sound insulation property as well.

INITIAL IDEA _____________________________ Initial idea of “hugging” their legs while sitting.

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LEG ROOM _____________________________

SITTING POSTURE _____________________________

A bigger opening allow the legs to be slot in.

Enough space for the students to stretch their legs.

The natural way of sitting and being “hugged” by the table.

02 | MATERIALITY

OPENINGS _____________________________

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HUGGING TABLE

__________________________________

02 | MATERIALITY

When the tables are close enough, the sponge extends out and become a squeezy entrance for the students to stimulate pressure to their body while moving through the spaces.

The organic form also made it such that everywhere they go they have a firm and comfortable surface to push on.

“Being held by another person is scary but rolling or being held by surfaces produces the calming effect that ordinary children get from a hug.”

- Temple Grandin

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WHY ORGANIC? _______________________

COMFORT _______________________

Shapes with corners are much softer which has inconsistent pressure.

Organic shape has a more comfortable and even “hugging” effect than rigid shapes.

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02 | MATERIALITY

A plan view to illustrate the areas where the extensions are.

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02 | MATERIALITY

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HUGGING WALL

__________________________________ Pushing the sponge provides tactile feedback and visual stimulation while revealing the colors inside. Students can slot their arms and legs in between the horizontal openings too.

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DIFFERENT DENSITY _______________________

VARIATIONS _______________________

The soft quality of the sponge allow the inner side to reveal only when you push it.

It provides visual stimulation at the same time not distracting when it is not used.

A variety of sponges with different density and tactile feedback.

A process with different variations.

02 | MATERIALITY

HIDDEN COLORS _______________________

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02 | MODEL

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02 | MODEL 73

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SUMMARY TABLE

02 | SUMMARY

NEUROTYPICAL

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SEATING LAYOUT

AUTISTIC

Center of classroom, all facing the whiteboard. Easier to focus as all the seats get a clear view of the whiteboard during lesson time.

At the side of the classroom. Closer to walls and surfaces helps to provide better sense of security which improves focus during lessons.

Not compartmentalised. Lessons are usually conducted by a teacher which require the entire class to participate in.

Compartmentalised. Multiple teachers in a classroom conducting lessons in smaller groups.

Soft and flexible seating. Less restrictive so that students would not feel pressured to sit in the “correct” way, causing stress and distraction.

TYPES OF SEATS

Hard surface chair to encourage good seating posture, which improves focus through the long lessons.

TYPES OF “WORKSTATION”

Standard ergonomic tables for everyone. Usually for sitting whcih fits all curriculum activities throughout the day.

Tables of different heights for different curriculum activities in the same classroom. Some include sitting or standing as some students feel more comfortable doing activites in their prefered choice.

TYPES OF MATERIAL

Mostly hard materials, so that students dont get too comfortable to focus in class.

Softer materials. Reduce sound echo, prevent injuries during a meltdown.

Provide “hugging” sensation which helps calm the students.

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“If we start designing shopping malls that were quiet, dimly lit, predictable, and sparsely populated, well I’d still be autistic, but i might not be disabled by shopping malls anymore.”

- Jac den Houting, a research psychologist with autism

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03 THE CAFE

Sequence and security

AIM This project aims to redesign a cafe for people who are on the spectrum. It focuses on creating a predictable and comfortable experience.

INTRO Public spaces in general has always been a challenge for people with autism, the overwhelming lights, sound and movement has created a chaotic environment for them. This project investigate and reimagine how a public space will look like if we design it for people with autism. Cafe do not have to be so open, bright and loud background noises. By redesigning the spatial layout and seatings area can improve the whole cafe experience for people with autism.

LIST OF IMPORTANT REFERENCES USED IN THIS PROJECT ________________________________________ Choo Kah Ying, a writer/educator and a homeschooler of Sebastien, her autistic son.

“E”, an adult on the spectrum.

Temple Grandin, an Autistic American scientist and activist.

Magda Mostafa, an architect, pioneer in researching in designing for autism Carly, a 17 year old girl living with non-verbal Autism.

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03 | SITE CONTEXT

FYP PART 3 | DESIGNING FOR AUTISM

STARBUCKS @ DHOBY GHAUT SITE CONTEXT 78

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SITE CONTEXT

___________________

03 | SITE CONTEXT

NOISE LEVEL _________________________________

CIRCULATION _________________________________

LIGHTING _________________________________

The cafe is an open space which has a mixed of noise from both the cafe and the other shops from the surrounding.

The site is connected to a busy route which connects the shopping mall to the MRT Station, therefore there is quite a bit of movement along the entrances.

The site has natural lighting coming in from one of its side. At the same time there are also artficial lighting from the surround shops and the mall.

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STARBUCKS @ PLAZA SINGAPURA

03 | SITE

___________________________________________

An open and bright store front of Starbucks @ Plaza Sing.

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03 | SITE

Glass facade which has view of the plaza outside.

Waiting area with yellow boxes (due to pandemic).

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WHY STARBUCKS? 03 | CASE STUDY

__________________________________ Starbucks is the perfect brand for this project because they do have a series of understanding and studies of different customer’s need sand experiences.

From bar tables for those who loves to see the making of tea up close, a cubicle design for those who need space to study to an enourmous store with giant coffee grinder and tubes filled with coffee beans for those who are obsessed with the process of coffee making.

My part is contributing to this variety of customer experience studies by Starbucks by understanding and creating a space for people who are in the autism community.

Article retrieved from: https://www.luxurysociety.com/en/articles/2018/10/exclusive-interview-starbucks/

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03 | CASE STUDY

Starbucks Japan. Ginza, Japan.

Starbucks Teavana. Hongkong, Causeway Bay.

Starbucks Reserve. New York.

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03 | CASE STUDY

FYP PART 3 | DESIGNING FOR AUTISM

Carly’s Café - Experience Autism Through Carly’s Eyes

CARLY’S CAFÉ

_________________________________________________________________ Carly’s Café is a video produced by Toronto production company OPC which portrays the experience through the eyes of Carly Fleischmann, a 17 year old girl living with non-verbal Autism. It explores how, for someone with autism, a simple act like going for a coffee can descend into chaos. In the video you would see and hear the overwhelming sensory stimulation from the environment and also movements and judgements from the people around.

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JOURNEY MAP OF BUYING COFFEE IN STARBUCKS __________________________________

I created a journey map to understand how the entire experience in the cafe was like. The result shows how chaotic as there are many decisions and distraction along the process which is far worst for people with autism.

03 | THE SEQUENCE

JOURNEY STEPS DESIGN. Rezvan Boostani, OCAD University. An inclusive research project done by Rezvan Boostani. The focus of the project was on experience design to improve the dining experience for individuals with mild dementia and their loved ones.

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THE USUAL UNUSUAL SEQUENCE OF LAYOUT

Exit/Entrance 3

03 | THE SEQUENCE

______________________________ After making the journey map, there were quite a few problems with the sequence of experience while purchasing the coffee. As learnt from the first part of the project, there were many hidden meanings in the environment which only regular customers in the store, or people who visit Starbucks often (like me) will understand what to do in the space.

Furthermore, customers have to walk through rows of tables before getting to the counter to order. These little things might cause disruption to someone who has autism.

The open spaces also allow a lot of visual disturbances (either through the spatial design or through general activity in the space), which, when combined with something else such as harsh lighting or loud sound, will usually have me leave within 30 mins.

-an autistic adult

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QUEUE ________________________________________ This is where the queue starts. There are no specific area to queue which sometimes causes obstruction to the circulation or queueing very close to the other customer at nearby tables.

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Only frequent customers will understand that the small table is where the collection point is.

There are no instructions or are to wait which can cause stress to people with autism.

Take Away Dining In

03 | THE SEQUENCE

COLLECTION POINT _______________________

Having to walk past other tables causes many unessary movement and distraction to both customers.

Main Circulation (Mall)

Exit/Entrance 2

Exit/Entrance 1

Seats

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HOW CAN WE MAKE THE PROCESS PREDICTABLE

__________________________________ Since there is a sequence in the process of purchasing a coffee, why not design the space where it intentionally

03 | THE SEQUENCE

follows the sequence?

FORM FOLLOW SEQUENCE

_____________________________ The chosen layout follows a systematic or routine layout of how buying a coffee would be. As you progess, you start to move closer into the cafe.

Series of layout iterations.

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Circulation path of those who are dining in the cafe.

03 | THE SEQUENCE

Circulation path of those who order take away for their coffee.

CIRCULATION

____________________________ The advantage of having this layout is a clear circulation. It removes unnecessary circulation in the cafe, thus reducing the amount of visual and sound stimulation to the customers dining in.

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WAYFINDING

__________________________________ Going back to the first project, some of the elements which I learnt while designing wayfinding in the corridor can also be applied here too.

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CEILING HEIGHT _____________________

FACADE OF CAFE _____________________

ENTRANCE TO CAFE _____________________ A clear entrance which provide the views to the seating area.

ENTRANCE _____________________

PAUSE POINT _____________________

Making the main entrance open and clear while the exit smaller and blending with the walls

Seats suggest a pause point, where they can wait for their drinks to be made. Before deciding to move to the next point.

03 | THE SEQUENCE

Instead of an open concept cafe, the exterior wall enclose the cafe, removing visual and sound stimuli from the shopping mall.

A difference in ceiling height demarcate the spaces.

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TYPES OF SEATING IN CAFE

__________________________________

03 | SEATING

Instead of starting from scratch to create an ideal seating for people with autism, I gathered a series of different types of seating, from hard to soft surfaces, enclosed to open, bright to dim, and asked the experts which would probably work the best.

Booth design are great in general because it provide some level of security which is helps in preventing stimuli overload. However, these booth are not originally designed for people with autism. Therefore I wanted to investigate what makes a booth design an ideal design for people with autism.

Booth design can work but it needs to be a soft, gently textured space (woven upholstery fabrics, curtains, carpet, cushions) rather than a hard space (laminates, tiles, timber etc). Most of the cafes I have been to do one thing well, but not all things.

- An autistic adult A compilation of different types of cafe seating.

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WHAT TYPE OF ENCLOSED SPACE IS IDEAL?

____________________________________ Open spaces allow many visual and sound stimuli, which is why booth design are great as compared to open space concept. However, there are many ways to create booth design and finding out what makes a booth design ideal for people with autism is crucial. Firstly, understanding how much enclosure do they need in order

OVERHEAD ELEMENTS

HALF OPEN BOOTH

Overhead elements like beams or any decorative elements might cast shadows and patterns in the space, which is a visual distraction and not ideal. Therefore, lighting plays a crucial factor in this type of design.

A half open booth does not provide much sense of safety. Mainly because it does not block out the visual and sound stimuli in the cafe.

HIGH WALL/PARTITION

HIGH WALL/PARTITION

ELEVATED BOOTH

High wall or partition will benefit in reducing the visual and sound stimuli from the environment.

Similar to the half open booth, it does not provide much security.

In the event of meltdown, stairs could be quite difficult and dangerous to climb.

Therefore having stairs might not be the best idea.

to feel secure.

-Choo Kah Ying

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03 | SEATING

Also climbing stairs could be hard and in the event of a meltdown, dangerous not only for the autistic, but also for others who could be pushed and fall.

________________________________

________________________________

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REDUCING SOUND STIMULATION __________________________________

I begin to explore how the types of material or object will affect the acoustic in the booth. Sound absorbing or insulating materials are great as it helps to lower the noise level in and outside of the booth.

LAMINATED SURFACES

BOOKSHELVES

Laminated surfaces such as timber, laminates and tiles are not ideal as they reflect both light and sound in the space, creating more disturbance.

Books are actually great sound absorbing elements which makes an interesting material for acoustic.

PLANTS

FABRIC

Similar to books plants also helps to reduce the amount of sound reflected back. Interaction with lighting might cast a little shadow in the space.

Soft and gentle material such as wolven holstery fabric, curtains helps to soften the space, at the same time due to the irregular surface of fabric, it helps to absorb sound which is great for booth acoustic.

03 | SEATING

________________________________

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BonGout Cafe. Singapore. Quiet and has non-aggravating lightings.

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________________________________

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HOW CAN WE TELL IF THERE ARE PEOPLE IN THE BOOTH?

______________________________ With the high partitions to block out visuals, we still need to make sure that is predicable when looking for seats. Both curtain door and sensor lighting (not predictable) are not as obvious as being able to see the legs through the small openings.

CURTAIN DOOR

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OPENINGS AT THE BOTTOM

SENSOR LIGHTING

Small openings at the bottom to see the occupants.

Lights that turns on only when occupied.

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03 | SEATING

Open when vacant. Closed means occupied.

________________________________

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TYPE OF SEATING

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03 | SEATING

Taken from project 2, we understand that hard cold chairs are not very ideal for people with autism. Therefore, instead of typical chairs, softer options such as cushion is ideal for a cafe.

SITTING ON FLOOR _____________________________

CUSHIONS OR BEANBAGS _____________________________

GYM BALLS _____________________________

Sitting closer to the floor surface may provide more sense of security for the students. It also prevent them from feeling restricted in a chair which may cause anxiety.

Cushion and beanbag are often use in meltdown rooms (a place for them to calm down during a meltdown) and is a popular choice.

Gym ball allow the student to jump up and down which helps to stimulate them and calm them down.

BOM Cafe. Birmingham City. A autism-friendly cafe for people with autism uses cushions and sofa.

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FINAL BOOTH DESIGN

__________________________________ The final design is a soft textured space where visual and sound stimuli is reduced.

Fabric

03 | SEATING

Cushion

Able to see if there are occupants

Other Iterations

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CORK AS A MATERIAL

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03 | CASE STUDY

Cork is known for being a sustainable material. However, it is far more impactful than just that. These 2 case studies showed us how cork can be use to soften the interior and also reducing the amount of noise in a space. This can become a crucial material to create a quiet cafe designed for people with autism.

Nía School

Sulkin Askenazi Mexico City, Mexico. __________________________________ The Nía school, located in Mexico City, is an innovative school that promotes an interactive learning environment through flexible and open interior spaces. Cork plays a fundamental role: being a soft material to the touch, it is ideal for creating a safe environment for children. Its optimal texture allows children to play quietly, whether they are climbing, jumping, or exploring. In addition, cork creates a warm and attractive atmosphere thanks to its orange and yellowish tones that reflect joy and positive energy.

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03 | CASE STUDY

BOM Cafe

Karen Newman Birmingham City. __________________________________ BOM is an autism-friendly cafe which is designed by Karen Newman who worked with a group of autistic women.

The coffee machine is ultra quiet and every drink and meal is served on a cork coaster to prevent cups and plates from clattering on tables. The music were very soft which is nice for people with autism.

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Cork cladded walls

Cork floor.

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Seating for groups.

Viewing seats.

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Silent coffee machines.

Collection point.

Automated ordering system. Very predictable as compared to talking to people.

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CONCLUSION

______________________________ After investigating in 3 projects, the answer to an ideal space for people with autism is still debatable. What has been done here is simply asking the right question. Do we design for autism based on our own perspective of spaces? Or do we have we ask them for their interpretation. The approach towards these 3 project is different from most of the projects out there because there is a direct communication with people with autism or close to people who has autism. This provides insight which might open up different ideas or opportunity to explore.

This project has taught me how to truly design for someone who is not me - in this case for autism. To be able to put away the dominant way of thinking about spaces has made me be more aware of how others interpret spaces. What is comfortable for me does not mean the same for others. It is difficult at the start to not be able to use my knowledge and understanding of spaces to guide my design but gradually i start to see the value in that.

Overtime, I start to wonder if designing well for people with autism is designing well for everyone. This is because designing for autism requires many considerations in terms of sensory and space perception which is also experienced by neurotypical people and we often overlook these details in a neurotypical design. Even though neurotypical people has the capability to adapt one or another way in a confusing or unpleasant space, that does not mean that we can neglect the fact it is affecting the user experience in a space negatively.

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Teo Wee Yang 1900985 BA(Hons) in Interior Design Year 4 Singapore Institute of Technology – Glasgow School of Arts