Dissertation 1 dec 2017 1007p79505 wong ying hui

WAYFINDING IN ARCHITECTURE Understanding Multisensory Design for the Visually Impaired

by

Wong Ying Hui

Dissertation I Written Draft: Introduction and Literature Review

Submitted in partial fulfilment of the requirements of the degree of Master of Architecture, Semester 3 School of Architecture, Building & Design Taylor’s University

ABSTRACT

Architecture today is visual dominance where experience through sight is being too focused, such as directory, function and building aesthetic. What if the sense of sight is removed, people have to rely heavily on their other senses which enable them to interpret their surroundings or accessing from one point to the other. Research shows that the implementation of multisensory design within the built environment aids in spatial experience for the visually impaired (VI). However, wayfinding through multisensory design in the built environment for the VI is still a high challenge as people often overlook it and see it as a separate component instead of a combined element in design. Design strategies for wayfinding much relies on technologies rather than spatial layout planning, built form and internal experience in spatial cognition. This paper aims to analyze the relationship between principles of wayfinding and multisensory design in a built environment for the VI. It outlines the characteristics and design strategies by detailing the selected case study, and draw findings by exploration on the connection between different ways of expression of multisensory design in buildings and its effectiveness in movement guidance for the blind.

The research benefits architects and other professionals in the related field a reference to apply sensory designs for the VI through wayfinding principles, proposing appropriate response to designing for different abilities people so that they are able to benefit positively from architecture that communicates with them through their remaining functional senses.

Keywords: Wayfinding in Architecture; Multisensory Design; Visually Impaired

1.0 INTRODUCTION

1.1 BACKGROUND STUDY

1.1.1 DESIGN FOR THE VISUALLY IMPAIRED

Visual impairment is a growing problem. Over the past 25 years, various steps have been taken to prevent blindness and raise awareness among the public, such as increased eye care services, establishment of national programmes by relevant governments, educational campaigns, and etc. (WHO 2015, NCBM 2017). However, are there any actions and strategies that the field of architecture or built environment can do for this large population group of visually impaired? Important efforts have been recently made to help improve the environmental experience for the visually impaired through newly developed research, health care facilities: hospitals, rehabilitation centers, adult assisted living, etc. Architectural and environmental barriers have gained increased attention in recent years to improve the accessibility of the environment for people living with visual impairments.

Architects, such as Pallasmaa, have used the term “phenomenology” to introduce the idea of ‘multisensory architecture’. According to Pallasmaa (1959), it is evident that “life-enhancing” architecture has to address all the senses simultaneously, and help to fuse our image of self with the experience of the world. Sensory experiences become integrated through the body, or rather, in the very constitution of the body and the human mode of being. Our bodies and movements are in constant interaction with the environment. He explains that in order to experience architecture, one must use all of their senses equally i.e. the eye, nose, ear, skin, tongue, skeleton and muscle) to understand the space, scale and qualities of matter in architecture (Pallasmaa, 1996). A disabled person with a visual impairment may develop skills that rely heavily on or heightens four of their five functional senses referring to hearing, sight, touch, smell and taste to associate with their environment for understanding.

Humans like to see, hear, smell, feel, move, and taste their way through the world constantly every day. There is a frequency to recognize the form and texture that the body experiences directly or indirectly whether one is asleep or awake (Ryhl, 2009). Vision which is considered to be the primary sense in modern western culture dissolves spatial definitions between interior and exterior spaces through open transitions and transparent surfaces. It also highlights connections and disperses feelings of isolation and loneliness. According to 1

Pallasmaa (1959), visual connection to what is outside the space is crucially important for an individual to the sense of being part of a greater context (Pallasmaa 2005, Ryhl 2003). A space that lacks visual connections with the horizon or neighbouring context increases the chances of feeling lonely and isolated. Therefore people who are visually impaired emphasize the importance of sensory connections to the world outside their home for social as well as existential reasons (Ryhl, 2003).

Figure 1: sensory design in architecture (Ryhl, 2003)

On the other hand, governments and associations in many regions had taken steps and formed design guidelines in regards to the wayfinding for the visually impaired. The aim of these design guidelines is to provide solutions to assist people who have low vision and others who require mobility assistance. Those guidelines are based on current understanding in cognitive psychology, linguistics and best practice in orientation and access as identified in the literature and in practice throughout the world (Apelt et. al., 2007). The following shows a list of wayfinding aids that are currently available for the visually impaired to navigate in a built environment.

Long Cane

Barcode Readers

Atlas Strider

Sonic Guide

Hoople

Braille

Talking Signs

Nottingham Obstacle Detector

Guide Dog

Beacons

Auditory Beacons

Vision Enhancing Device

Human Assistant

MoBIC

Electronic Strips

Tactile Displays, Maps, Arrays

Laser Cane

NOMAD

Motion Detectors

Personal Guidance System

Mowat Sensor

Infrared Detectors

Pressure Detectors

Auditory Compass

Table 1: Assistive device for the visually impaired (Golledge, 1999)

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1.1.2 UNDERSTANDING BLINDNESS

The Growing Issues According to World Health Organization (WHO) and International Agency for the Prevention of Blindness (IAPB), there are 217 million people suffering from severe and moderate visual impairment while 36 million people are bilaterally blind. This leads to a figure of an estimated total of 253 million people are living under the condition of visual impairment, as stated in the latest global data overview in 2015, which majority are living in middle and low income region. Globally, the three main causes of vision loss are untreated cataract, glaucoma, and uncorrected refractive errors in the eyes. However, there are hundreds of millions of world population today who are experiencing unnecessarily visually impaired or blindness; in fact more than 75% of them are avoidable from causes that are actually preventable or potentially treatable (WHO 2015, IAPB 2017).

Figure 2: World data infographic of visual impairment (WHO 2015, IAPB 2017)

Visually Impaired and Blindness Visual impairment refers to the condition of lacking in perception through visual of a person or the reduced ability in sense of sight due to neurological or physiological factors (NCBM, 2017), where in further detail definition, visually impaired usually takes into account the poor ability to visualize or loss of visual acuteness required for an individual in perceiving his surrounding; while total blindness is often used to describe complete loss of sight. Based on 3

the various scales developed in measuring the extent of vision impairment, the following explains the four main level of blindness i.e. low vision, vision loss, legally blind and complete blind (NFB, 2014). Visual impairment is a severe problem as it will directly affect the central vision, which usually function in controlling human activities such as transferring objects, recognizing faces, and carrying out daily tasks including writing, reading and moving from one point to another. Since it is understood that not all visually impaired sees total darkness, it tells that there is still a need to consider light intensity control in designing for them in order to promote better well-being and spatial comfort in their living environment.

Figure 3: Variation in different level of visual impairment (LightHouse SF, 2017)

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1.2 PROBLEM STATEMENT

Architectural phenomenology suggests that the basis of perceptual integrity between the subject and a space is multi-sensorial. However, the advancement of visual representation techniques within architecture has led to predominance of the visual experience over other sensory modalities, where experience in the built environment through sight is being too focused. As a consequence, the integrity of the user’s multisensory appreciation of a space has been largely neglected which may impact on the holistic experience of the individual, especially to the visually impaired whose sense of sight is removed. They have to rely heavily on their other remaining functional senses which enable them to interpret their surroundings or accessing from one point to the other. It is noticeable that one of the major difficulties faced by the visually impaired is navigation within a space, thus wayfinding design is essential for them. However, wayfinding communication in architecture today is generally designed with a visual bias, using systems such as graphic signage, marked floor plans and information boards; while wayfinding solutions for the visually impaired much rely on technologies such as audio installation and braille. Designers who are not visually impaired are unlikely to have developed the non-visual wayfinding skills that a visually impaired person may have developed from experience, resulting in lack of design considerations for this population by designers because they do not understand the actual need of this user group and are therefore less sensitized. Research shows that implementations of multisensory design within built environment aids in spatial cognition and orientation for the visually impaired, but wayfinding through multisensory design is still a high challenge as people often overlook it and see it as a separate component instead of a combined element in design.

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1.3 RESEARCH QUESTION Based on the background study, it is crucial to understand that the term “sensory design� is being used and explored in architecture for the visually impaired referring to the mode of spatial experience, spatial cognition, rehabilitation, physical and mental well-being, and etc.

It shows that there is fingertip touch of sensory design in relation to orientation cue and mobility aid where wayfinding in architecture for the visually impaired is often overlooked or presented in the built environment in visual bias. The researcher identifies the knowledge gap through the lacking and importance to link the two together in this paper, i.e. sensory design and wayfinding. This study thus posits and responses to the research question as follow: Main Research Question What is the relationship between multisensory design and principles of wayfinding in built environment for the visually impaired?

Sub-Research Questions: - In what way can multisensory design aid in accessibility for the visually impaired in the built environment?

- How sensory design can be more effective in guiding movements for non-sighted environments?

1.4 RESEARCH AIM & OBJECTIVES

The main intention of this paper is to analyze the relationship between multisensory design and wayfinding in architecture for the visually impaired.

In order to achieve the research question and its aim, this study embarks the following objectives:

1. To identify the principles of wayfinding in the perspective of blind.

2. To analyze the translation of sensory design in the built environment in relation to principles of wayfinding.

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1.5 METHODOLOGY AND METHODS

This paper adopts a qualitative research methodology. In this paper, knowledge is constructed based on analysing five contemporary examples using framework derived through literature review, and the researcher has to conduct the project within eleven months’ time by looking into collecting information such as drawings and photographs, publications about the selected case study buildings, produce diagrams or mappings, and etc in order to analyze their different expressions of multisensory methods in relation to wayfinding principle. This particular methodology is selected as referencing to other successful precedent done by other researchers. Through this approach, understanding the relationship between multisensory design and wayfinding principle is more accurate to be perceived. The research will be conducted according to the phases shown below: Phase 1: Deriving Analytical Framework In accordance to the objectives, the principles of wayfinding in architecture will be the analytical framework for the study and this has to be derived through literature review (in Chapter 3). During this phase, the researcher also identifies the translation of multisensory design in the built environment (Chapter 2).

Phase 2: Case Study Buildings Selection & Contextual Research The preliminary study will involve the selection of five case study buildings based on the following criteria: apply multi-sensory design; focus on the visually impaired user group; and easy accessible to data. The selected buildings that fulfill the mentioned criteria are Hazelwood School for the Visually Impaired in Scotland; Anchor Center for the Blind Children in Colorado; W. Ross Macdonald School for the Blind in Ontario; Center for the Blind and Visually Impaired in Mexico; and Centre for Scottish War Blinded in Scotland. The researcher will collect data including background research, related publications, photographs, and architectural drawings such as floor plans, sections and elevations.

Phase 3: Data Analysis The researcher will do some sketches or mappings (based on data from Phase 2) which together with the drawings and images collected, to analyze the relationship between the translation of multisensory design in architecture and principles of wayfinding for the visually impaired. The researcher will also produce analytical diagrams and sectional sketches if necessary in order to achieve better understanding from the findings (Chapter 4&5), followed by critical discussions which will finally leads to a conclusion.

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1.6 STRUCTURE OF DISSERTATION

Chapter 1 presents the overall introduction to the content of the entire study. It summarizes the background study on architecture for the visually impaired which informs a problem statement, followed by identifying the research gap, subsequently the research aim and objectives. This chapter outlines the methodology adopted in conducting different phases of the research and also justifies the selection of case study buildings to be used in analysing sensory design in relation to wayfinding design in architecture. It then lastly explains the significance and importance of the study and its benefits to the field of related professions.

Chapter 2 is a departure of study by looking into sensory design in architecture that is essential for the visually impaired through introducing the difference between sensory perception from the non-sighted and sighted users in a space, as the background study which forms the foundation of this literature review chapter. This chapter explains the more widely known concept of phenomenology in architecture in regards to spatial experiences and the senses within built environment, by Juhani Pallasmaa, Rasmussen, Camilla Ryhl, and etc. It then further elaborates the translation of multisensory design in architecture today in relation to the removal of sense of sight.

Chapter 3 covers the second part of the literature review which looks into the study of wayfinding in architecture for the visually impaired. It first presents the process of human spatial cognition in a space by experts in the field including Arthur and Passini, Mark Foltz, and etc. as the fundamental knowledge in understanding wayfinding, followed by arguing the issue of visual bias wayfinding design in architecture today. It highlights the knowledge gap of discontinuity between wayfinding and sensory design in Chapter 2 in designing for visually impaired. This chapter aims to derive a framework comprises of wayfinding principles to be used in analysing the multisensory design of the selected case study buildings.

Chapter 4 comprises analysis of the five selected case study buildings i.e. Hazelwood School for the Visually Impaired; Anchor Center for the Blind Children; W. Ross Macdonald School for the Blind; Center for the Blind and Visually Impaired in Mexico; and Centre for Scottish War Blinded, against the framework of wayfinding principles established in Chapter 3, supported by diagrams, images, and etc. This chapter examines the relationship between translation of sensory design of each building and principles of wayfinding in consideration to the absence of sense of sight. The researcher eventually summarizes and reviews the case studies critically upon analysing each building.

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Chapter 5 discuss the relationships between multisensory design and the principles of wayfinding in architecture for the visually impaired by gathering and overlaying the findings of all case studies obtained in Chapter 4. The chapter eventually answers Objective 2 by criticizing and providing detail elaboration of each relationship, followed by a summarized conclusion upon each relationship found.

Chapter 6 concludes the overall dissertation through summarizing all the findings and research outcomes. It explains the better potential of incorporating suitable multisensory design as part of consideration for appropriate wayfinding designs in architecture as an added dimension and value in designing spaces and buildings which is able to cover a wider range of different abilities users, especially user friendly for the visually impaired.

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Figure 4: Overview structure of dissertation (by Author) 10

1.7 SIGNIFICANCE & JUSTIFICATION

This study highlights the gap between sensory design and wayfinding design in architecture for the visually impaired community. It argues that wayfinding through multisensory design as an important element to provide directional cues to help the visually impaired to navigate in their surrounding built environment. This paper offers the researcher an opportunity to demonstrate the impact of phenomenology in architecture in relation to principles of wayfinding in making useful architectural design decisions. This is because both psychological influence and physical aspect in the built environment should be taken into consideration into a design process in order to accommodate wide range of users especially for the visually impaired community.

By studying the relationship between multisensory design and wayfinding in architecture, the intended audiences of this paper which are the architects, landscape architects, interior designers, urban planners, as well as anyone wanting to better understand the design for the visually impaired, will benefit from the following:

- Benefits architects / other professionals in the related field a reference to apply sensory designs for people with different abilities through wayfinding principles.

- Offers a way to demonstrate the impact of wayfinding and phenomenology in making architectural design decisions.

- Awareness in enhancing the built environment and the quality of health for all.

1.8 SUMMARY

This chapter established the foundation for the dissertation by introducing the background study formulating the research problem and issues. A description on the methodology to be employed in conducting the research was presented together with an outline of the paper.

Following on, chapter two will look into the literature review on the architecture for the visually impaired by understanding the background of sensory perception of the user group, as well as phenomenology in architecture.

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2.0 MULTISENSORY DESIGN FOR THE VISUALLY IMPAIRED

This chapter looks into sensory design in architecture that is essential for the visually impaired through introducing the concept of phenomenology in architecture in regards to spatial experiences and the senses within built environment. It further explains the sensory perception from the non-sighted users in a space. The main aim of this chapter is to understand the translation of multisensory design in architecture today in relation to the absence of sight.

According to Alejandro and Ana (2010), architecture is experienced when the perception of scale, quality and material of a space is fully engaged with the body. It comes from how an individual move through spaces and heighten the senses of the body (Scarcelli 2016, Alejandro and Ana 2010). However, human are visual dominant beings, that leads to prioritization of vision in experiencing things and environments that overtakes and suppress the other senses (Scarcelli, 2016). Research suggests that with the absence of sight, it will results in fear and disorientation, followed by body adjustments and response to stimulus from external condition during interaction with the surrounding, at the same time heightening the other remaining senses which leads to a memorable experience. Sevrin Scarcelli (2016) states that body interaction with space allows the ability for one to learn and understand then remember.

Chris Downey, who is a blind practicing architect, believes that in order to make a space more effective and inclusive for the visually impaired, it is vital for space designers to integrate and better deliver multisensory experiences in architecture. He advocates and promotes the needs in creating environments that strengthen those experiences for the nonsighted users (Downey, 2015). Besides, Alejandro and Ana (2010) also explain that experimentation with multisensory space design allows architecture that triggers and controls the perception and sensation of the users especially for non-sighted environments.

Buildings are communicative instruments strongly connected with senses. Although sound are perceived with the ears and smell with the nose, all five senses react to them (Alejandro and Ana, 2010).

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2.1 ARCHITECTURE PHENOMENOLOGY The term “phenomena” is defined as the nature of being; things and facts that appear or situations that occur in our experience; where phenomenology refers to the philosophical study of structures and objects from a person’s point of view, that the senses and mind notice (Smith, 2011). It studies the conscious experience of an individual and allows them to interpret an environment that might trigger instinctive feelings in them. This is further brought and placed specifically in the field of architecture, where phenomenology in architecture is the philosophy approach in the aspect of experience within a built environment, which questions the basis of architecture in reference to sensorial spatial experience in relation to dwelling, building materials, place and space.

According to Pallasmaa (2005), architecture is of multisensory experience where quality and scale of spaces are to be measured and engaged by eye, ear, nose, skin, tongue, skeleton and muscle, and the experience has to be equal. He explains that architecture strengthens the existential experience, and that essentially is a strengthened experience of self (Pallasmaa, 2012). Instead of the general five senses or rather solely vision, architecture involves different states of sensory experience that are able to communicate and merge with each other. Based on Pallasmaa’s Architecture for the Senses, many buildings can be distinguished on the basis of the sense modality they tend to emphasize. There is architecture that recognizes the realms of haptics, hearing and smell alongside the ocularcentrism architecture (Pallasmaa, 2005).

Besides, Rasmussen (1959) highlights the importance of awareness to other various senses while perceiving a thing or an environment which are often being ignored by human. This is because people tend to receive a total impression of the thing or space without giving any thought to the multiple senses that have also contributed to that particular feeling. For instance, a space seem formal and cold rarely does the user refers to the low temperature of a room but rather the feeling of dislike to certain form or material within that particular space; or choice of room colour that gives a feeling of different comfort level, even though the temperature had not changed (Rasmussen, 1959). Moreover, the controlling of building materials, light and shadow of a space demonstrated in architecture, has the ability to create unforgettable encounter in the users as a result of strong effect from their body senses. This concept of phenomenology in architecture facilitates integration of sensory perception as functional purpose given to a built form, which is very important for visually impaired users in their non-sighted environment.

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2.2 SENSORIAL EXPERIENCES IN THE PERCEPTION OF VISUALLY IMPAIRED

Evidence research that demonstrates the various ways of people with different sensory abilities experience architecture in their daily lives does exist. Results show that the five senses which include vision, hearing, smell, touch and the kinesthetic sense are important.

According to Ryhl (2003), different senses help to compensate the missing one depending on the level of disability of sense that has lost, in this case refers to the visually impairment.

It thus reflects the use of the remaining functioning senses of blind community and explains the necessity for considering sensory accessibility as an important architectural element (Ryhl, 2003). The following elaborates the sensorial experiences in relation to the absence of sight.

Sense of Touch Haptic sensibility in architecture promotes tactility, intimacy and slowness. Peter MacKeith (2005) and Pallasmaa (1959) states that, all senses are extensions of sense of touch, they are the specializations of body skin, and all sensory experience are in the mode of touching, thus related to tactility. Even in the sense of sight, there is an unconscious and unavoidable action of touch: the eye touches the object (Pallasmaa 2005). When sense of sight is removed, tactile sensibility replaces visual through enhanced materiality; this is because all materials and surfaces embrace their own language and play a significant role to the visually impaired.

Figure 5: Hapticity in different textures of similar material (Pallasmaa, 2005)

In the perception of the blind community, their sense of touch emphasizes on the feel of different surfaces, which was trained to read textures base on the degree of smoothness and 14

roughness of different materials. They often run their fingers over various surfaces repeatedly and able to perceive and understand the textural values from their repetitive action of touch (Rasmussen, 1959). Research shows that spaces are perceived separately through haptics, which is a reverse process of visual. This is because with the sense of sight, people see a space as a whole immediately but not the detail structure at first; whereas for in haptic perceptions, the most important aspects for the visually impaired are small details such as materials and structures (Jasmien and Ann, 2008).

Sense of Sound Pallasmaa (2005) states that there is intimacy between acoustic in architecture and human being: buildings do not respond to our gaze but they return our sound. In Rasmussen’s Experiencing Architecture (1959), he explains that an individual gain impression of material and form through reflections of light, thus in the same way by hearing reflections of sounds thereby gives the idea of material and form as well. He elaborates that a space of different material, texture, scale, size and shape reverberate and absorb sound differently. Therefore hearing structures allow one to understand a space and articulate the experience. However, human beings often ignore and are unaware of the significance of spatial experiencing through hearing.

Sound is a memory, and is especially vital to the visually impaired. The echo of sound in a space stays as an unconscious experience, and this is how spaces related to a specific sound are being remembered by them (Alejandro and Ana, 2010). Hearing has plays an important role in giving orientation cue for the visually impaired because it helps them to identify the direction of a sound source. According to Daniel Kish (2015), who is a blind man since his 13th months old, has proved that the visually impaired are able to use sonar to perceive and navigate space during his talk in TED, by solely producing sound through tongue clicking.

It shows that through the acoustic information of sound reverberation, an audio dialogue between a person and a space by sending out own sound is useful in helping them to read the character and form of a particular space in a non-sighted environment. Therefore, acoustic is one of the important elements especially when design for the visually impaired because it plays a significant role as a wayfinding tool that is able to aid them to navigate from one location to another.

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Sense of Smell Often, olfaction is seen to be less relevant to space formulation. Yet, evident research shows that there are phenomenon including planning, perceptive, anthropological, cognitive, culture, and social, had revealed that odours are not only the profound intrinsic components of places, but also necessarily important in defining them (Anna and Anthony, 2006). According to Pallasmaa (2005), every city has its own spectrum of odours and taste, and smell is often the most persistent memory of a space. The relationship between sense of smell and a place is affected by a complexity of odours, which depends on materials and type of finishes that make up the space, orientation of a room that influences its air humidity, and also human odours due to type of activities happening in a space over time (Anna and Anthony, 2006).

Richard Neutra (1949) commented that architects should devote much and equal attention to sense of smell as compared to other senses in the built environment especially to the nonsighted aspects. Based on a research conducted by Basyazici-Kulac (2013), odour was the most often feature used by the visually impaired to describe an identity of a place during the experiment. It shows that sense of smell is an important experience in a non-sighted environment, and they feel delightful to move from one realm of smell to another which helps them to remember a space without sight.

Light and Temperature Light gives structure and form. It is the prior condition required for seeing but also emotional experiences such as warmth and well-being. Due to the existence of different level of blindness, some of the visually impaired are able to perceive low amount of light using sight.

Thus daylight is one of the important components to them as an essential source of pleasure as well as telling information such as time and direction (Anna and Anthony, 2006). For instance, position of sun resting on the body or change in room temperature due to heat from daylight will inform the direction of north. On the other hand, another form or result of light is the colour. Colour is used to emphasize a character of a space, to make a form or material noticeable, and to explain divisions clearly (Rasmussen, 1959). For the low vision community, colour of a space or highlighting building parts such as an entrance portal, help them to perceive and remember a place (Anna and Anthony, 2006).

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2.3 TRANSLATION OF SENSORY DESIGN IN ARCHITECTURE FOR THE VI

By looking into the phenomenological experience of the non-sighted environment, there are possibilities to separate the dominant role of sight and transfer this natural attitude to a different way of seeing things and perceive spaces using other senses (Seamon and Mugerauer, 1985). This concept strategy intends to create a unique experience of space for the visually impaired. Designs should take into consideration the sensory details when integrating a collaborative program with a space, which is able to instil intimate memories of a place and its experience to be ingrained in a person’s memory. This method of understanding the built environment through multisensory is significant to a blind person.

The following looks into several highlights regarding the translation of multisensory design in architecture which are crucial for the visually impaired.

Position of Windows and Size of Openings In general scenario, the eyes will adjust to adapt to the surrounding light condition however for the visually impaired, they might have difficulties in this adjustment depending on the state of blindness or might take longer time for the adjustment to familiarize with the surrounding (Rasmussen, 1959). Therefore it is important to have intelligent strategies of openings design responsive in controlling penetration of light intensity into buildings to avoid contrast glare for the visually impaired in order to prevent discomfort.

Figure 6: Position of windows and openings (Perkins School for the Blind)

In Rasmussen’s Experiencing Architecture (1959), he explains that the same room is able to create different spatial impressions to the non-sighted by manipulating the size and location of its openings. He concluded that designing room with skylight and room with light entering from the side as the suitable design method for window position. On the other hand, Seamon 17

and Mugerauer (1985) state that the visually impaired can recognize space by touching the openings such as openings for windows, stairwells, corridors and doors. Openings carry special meaning to them, for instance, grocery stores are identified by big openings whereas some business are recognized by their small openings.

Building Materials Different textures of various building materials are the most important information to identify objects through touch. The role of pattern recognition and ability of texture recognition of the visually impaired are captured by architects and other space designers, translating them into possible combinations in using either building materials of contrasting characters or mono materiality with different coarseness. According to Jasmien and Ann (2008), often good architecture for the visually impaired exists in the imperfections of the building materials or construction. For instance, a little twist in a wooden armrest is able to provide orientation point for them.

Figure 7: Twist armrest haptically marked orientation point for the VI (Mark, 1993)

Landscape and Architecture Anna and Anthony (2006) states that landscape in architecture in the form of sensory garden contains the wide olfactory dimension in experiencing a place, which derives from a combination of natural odours which are associated with climate, weather, humidity, temperature, orientation and pressure; artificial odours due to the odorous element introduction of another nature; and iconic odours deriving from materials used or ingredients 18

of the place. Garden spaces or courtyards in architecture has embraces the combination of most of the senses within it, including sense of touch with the tactile pavements and hardscapes; sense of smell from the fragrance of flowers and plantations; sense of sound from natural elements; and change in temperature as an effect from water elements.

Sensory gardens play an important role in improving the physical and mental well-being for the visually impaired, at the same time gives orientation cue.

Figure 8: Blossom and fragrant throughout the year at regular intervals (Anna & Anthony, 2006)

Scale and Proportion of Space Based on research, the visually impaired tend to focus on sensory modalities such as sound and smell, or specific physical properties such as height and proportion when describing their experiences in a built environment (Basyazici and Ito, 2013). Structurally, majority of the visually impaired expressed unfriendliness of extra low and high ceilings due to its difficulties in tracing sound echo. They are also fear of poorly defined large open space because there is no returning echo and therefore hard to achieve effective spatial cognition and direction

2.4 SUMMARY

By gaining understanding in phenomenology in architecture, further detail by researching on the different sensorial experience in the perception of visually impaired, the researcher has summarized that multisensory design in architecture for non-sighted environment mainly focus on building materials, window position, landscape, and scale of space.

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3.0 WAYFINDING IN ARCHITECTURE FOR THE VISUALLY IMPAIRED

This chapter looks into the study of wayfinding in architecture for the visually impaired. It first defines wayfinding and presents the process of human spatial cognition in a space as the fundamental knowledge in understanding wayfinding, followed by arguing the issue of visual bias wayfinding design in architecture today. This chapter aims to derive a framework comprises of wayfinding principles to be used in analysing the multisensory design of the selected case study buildings.

3.1 DEFINING WAYFINDING

Wayfinding is an activity that each of us carries out every day. It is the ability to orientate and navigate through our surroundings in a way that allows people to reach their destinations in everyday environment. While many people do not realise they are undertaking the task of wayfinding, it is abruptly brought to their attention and becomes of key concern if they become lost or disorientated in an unfamiliar building or place. Wayfinding system refers to the information system that guides people around their physical environment. It is about effective communication, and relies on a succession of communication clues delivered through our sensory system of visual, audible, tactile and olfactory elements. There are four primary wayfinding elements: architectural, graphic, audible, and tactile communication.

Wayfinding in non-sighted environment is divided into two categories: orientation and mobility. Orientation concerns the ability for one to monitor his or her position in relationship to the environment; and mobility refers to one’s ability to travel safely, detecting and avoiding obstacles and other potential hazards. In general terms, wayfinding is the ability to: know where you are, where you are headed, and how best to get there; recognize when you have reached your destination; and find your way out, all accomplished in a safe and independent manner.

Figure 9: Wayfinding conceptual path connecting destination from beginning (Foltz, 1998)

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Effective and inclusive wayfinding design can assist the blind to discern where they are within their physical space and how to travel from place to place safely and independently. It gives the visually impaired the ability to know where a desired location is and how to get there from their current location. According to Passini (2015), to move freely in the large scale architecture and urban environment can be a difficult task for any person and especially exasperating for the visually impaired. For those visually impaired or totally blind, mobility has to be gained through personal experience, training, and endurance. This step usually takes patience and the willingness to learn these steps in increments (Passini, 2015).

3.2 SPATIAL COGNITION AND NAVIGATION

In the absence of vision, wayfinding is more challenging and complicated. Wayfinding without the use of sight involves a combination of multiple tasks such as avoiding hazards and obstacles, monitoring locations in relation to other features in the environment, learning object-to-object relationships, associating environmental information with major decision points, and finding destinations without access to distant landmarks and visible signs. Under these conditions, the visually impaired limit their movement habits to selected learned routes between known places (Golledge 1993). In order to independently travel to find a destination, a blind person must not only know what and where things are in space, but also whether they are in motion and, if so, how fast and in what direction these objects in space are moving. Objects may be obstacles or hazards, but they may also be reference points.

People who are severely visually impaired or blind rely on their haptic, auditory, and olfactory senses to navigate the environment. They use their cognitive abilities, especially logic and memory, to acquire spatial knowledge and to negotiate their surroundings. Because of these different modes of perception, the blind face challenges which include: limitation in previewing and pre-processing of spatial information (Golledge, 1991), difficulty in avoiding obstacles and detecting hazards, loss of distant landmarks, and lack of access to signs or spatial representations of the environment. They have more difficulty in acquiring information about the spatial relations of an environment than sighted people do because they have fewer ways of obtaining spatially distant and macro information.

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3.3 WAYFINDING DESIGN FOR THE VISUALLY IMPAIRED

In buildings, a wayfinding system is more than just signage: it encompasses architecture, landscape, lighting, landmarks, corridors and rooms, graphics and orientation spaces (Arthur and Passini, 1992). Its basic purpose is to help visitors move through their surroundings by providing constant directional clues. Architects, designers and building managers strive to get people easily and safely through public buildings; however, wayfinding communication is generally designed with a visual bias, using systems such as graphic signage, marked floor plans and information boards. Visually impaired people can only make wayfinding decisions if sufficient non-visual, directional information is provided by their surroundings. Visual impairment has been identified as the sensory impairment which most severely affects a person’s ability to find his/her way in a public architectural setting (Arthur and Passini, 1992).

A building’s inability to communicate direction to a visually impaired visitor magnifies this difficulty, resulting in a negative impact on the visitor’s experience, which may deter further visits to the building.

The development of technology aids such as wearable walking systems, human-computer interactive aids, assisted vision and hearing devices, smart phones, visual sensors and assistive robotics can aid visually impaired people when wayfinding. However, about two thirds of the population have difficulties with technological products. People can find technological solutions alienating, as they can be expensive, or become rapidly outdated, or require extensive training to use.

Figure 10: Interaction experience of VI with assistive technology (ELSEVIER, 2016)

Current provisions available in buildings to assist in helping people to negotiate their environments include Braille signage, tactile maps and voice-operated sensors. However, 22

there can be problems with such interventions, for instance there is braille implemented in buildings but not all blind knows how to read braille whereas a blind person who can read braille does not know where the braille is located. This suggests that current wayfinding communications employed by buildings are failing to instil confidence in visually impaired visitors. There is a need for a comprehensive set of considerations to contribute to the design of existing and new wayfinding systems in buildings.

Figure 11: Braille design and tactile map (ELSEVIER, 2016)

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3.4 PRINCIPLES OF WAYFINDING

Wayfinding designs for exterior or an urban space is very different from internal space within a building (Golledge, 1999; IDEA, 2010), however they both core around the similar principles which eventually aim to make a space more informative and navigable for the users that allow them to mobilize from one point to another effectively. According to Foltz (1998), developing a set of design principles for wayfinding has to fulfil the following three main criteria, i.e. the ability for an individual to identify his current location within a space; the effectiveness of a certain information message is conveyed to the navigator in order for him to analyze and determine the route to be taken in reaching to the next destination; and how the experience of the users be gained and accumulated throughout the explorative journey of navigation and process of wayfinding within a space (Foltz, 1998).

Arthur and Passini (1992) define the principles of wayfinding design as solutions in spatial navigation, which embrace the purpose that create a set of fundamental structure that breaks down the large environment into smaller spaces based on their distinctive hierarchical characteristics and functions, to solve and ease the task of wayfinding. Expertise within the field including Arthur and Passini (1992), Mark Foltz (1998), Carpman and Grant (2002), Apelt et al. (2007) and IDEA (2010) have derived various sets of wayfinding design principles based on own definitions and are mainly for general users. The following explain and elaborate on each principle of wayfinding: Identity of Location Foltz (1997) explains that giving a distinguishable unique character to a space that is different from others allows it to be easily identified by the users, which this response to the criteria of designing wayfinding principles as mentioned above. It is to allow an individual to immediately recover his orientation during navigation in an environment and able to identify the latest position within that space (Foltz, 1998). In reference, Arthur and Passini (1992) also discuss the idea of grouping and allocating rooms and spaces according to their specific shared characters, functions and attributes aid in wayfinding process as it strengthens the spatial cognition of the users.

Use of Landmarks According to IDEA (2010) and Foltz (1998), landmarks are useful in providing effective directional cue to the users during the wayfinding process. It helps giving orientation indication within a built environment and can be in any tangible form such as a structure, a signage, a feature, or in any intangible manner including sound and smell. Lynch (1960) and 24

Foltz (1998) explain that another useful purpose of landmark is creating a memorable location. Different individual might refer to different items as landmarks during navigation and the level of memory towards a landmark differs among all users. However the main purpose is to offer immediate recognition of a location to the users and stimulate effective association with surrounding during wayfinding. On the other hand, landmarks are defined as clear identification of space with appropriate marker and repetitive features should be avoided (Arthur and Passini, 1992; Apelt et al., 2007).

Well-Structure Path Paths can only be defined as well-structured when they carry the following characteristics, i.e. to possess an obvious beginning point, center way, end point that is legible to be seen by users from both directions (Foltz, 1998). Foltz (1998) argues that a well-structured path has to be continuous and should allow the users to understand and deduce the direction while they navigate. According to Carpman and Grant (2002), an effective wayfinding design should avoid using ambiguous patterns in circulation planning in order to create a clear path system, and connects corridors from different angles (Carpman and Grant, 2002; Arthur and Passini, 1992).

Minimal Options in Navigation Based on research by IDEA (2010), a space planner should avoid providing multiple unclear and ambiguous choices in a space especially at junctions, as too many options confuse the users in navigation and the wayfinding process will eventually be prolonged and less effective. Upon providing minimal options in navigation within a space, Foltz (1998) also highlights the significance to design clearly each space of the possible routes that might be selected by the users during navigation process is vital. This wayfinding principle corresponds to the second criteria of wayfinding design which is to effectively determine route to be taken to reach a destination (Foltz, 1998; IDEA, 2010).

Use Survey Views The main purpose of survey view is to create a mental map of a space to the navigators (Golledge, 1999). It provides a vista or ready image of an environment such as size of space, position of the navigator in the space, options of routes, type of available destinations, and etc. to the users which will assist in their spatial cognition, decisions making and judgements during the wayfinding process (Foltz, 1998). The survey views function as a succinct and concise expression of a space corresponding to the organization and structure of the information the space contains which aid in navigation and wayfinding. They are often represented in the form of conceptual maps and are useful especially for unfamiliar 25

environments, where the information presented on a map should be simple, clear and precise either through symbols, graphics or texts (Apelt et al., 2007).

Signs at Decision Points Signs are able to embed additional information into a space and have to be placed at important decision points such as junctions, turning corners or change in functions between spaces, to inform the users whether there is a need to change in route or direction in order to reach the final desired destination (Foltz, 1998). Allocating suitable signs at appropriate decision points that is able to acquire the user’s attention will ease the wayfinding task by providing directional cues along a journey within the built environment and inform them to take proper and accurate move (Arthur and Passini, 1992; Apelt et al., 2007).

Clear Entrance According to Carpman and Grant (2002), a space should incorporate an identifiable and clear entry point to any destinations after the entrance in order to mark a distinctive starting point of a journey in a built environment. Multiple entry points will create ambiguous path that are undistinguishable from one another (Arthur and Passini, 1992) should be avoided however depends on different building typology. Apelt et al. (2007) highlights the necessity in designing all arrival points as primary entrance which involves the first step in wayfinding process and they could be represented in various ways such as huge portals and contrasting scale of space.

Smaller Distinctive Parts Apelt et al. (2007) explains that dividing spaces into smaller zones from a large scale environment that carries distinctive character ease the wayfinding tasks as this principle allow preservation of the identity of a space and its sense of place (Apelt et al., 2007).

Besides, creating regions base on their common attributes through sub-dividing spaces aid the process of wayfinding and provide navigation guidance. Those smaller regions possess different features including functionality and appearances, which give directional cue to the users for location recovery (Foltz, 1998; Carpman and Grant, 2002).

Integrating Communicative Systems Communicative systems in wayfinding design could incorporate different elements to create informative navigation design system, such as graphics, symbols, technology devices, signage and naming methods (Arthur and Passini, 1992). Besides, Apelt et al. (2007) explains that this principle can integrate pictograms and numerous languages so that it is of universal design and easily remembered by diverse background users. Information 26

communicative system is especially important in designing spaces or building typologies which has exposure towards international users or people from different background.

The following summarizes the principles of wayfinding. In this chapter of the dissertation paper, the researcher reviews the principles according to each characteristic and critically justify which is related to the removal of sense of sight and useful for the visually impaired, followed by further deriving the analytical framework for case studies in the next chapter.

Theme

Characteristics

Review

Identity of Location

PRINCIPLES OF WAYFINDING

- Unique identity at every setting for the navigator to associate with surroundings and able to recover his position and orientation in a space. (Foltz, 1998)

Useful and effective however the character has to be tangible without the presence of sight.

- Identity makes a space distinguishable from another; equivalence allows spaces to be grouped by their common attributes. (Arthur and Passini, 1992)

Use Landmarks

- Landmarks serve as an orientation cue and memorable location. (Foltz, 1998) - Avoid repetitive features. (Arthur and Passini, 1992)

Serve as anchors along path at intervals to form mental map and aid in spatial cognition.

- Landmarks help orientation and give directional cues in built environment other than through signage. (IDEA, 2010) - Clearly identify the building or facility with its appropriate marker or landmark. (Apelt et al., 2007)

Well-Structured Path

* for VI

- Continuous and have clear beginning, middle and end; should confirm progress along the route to the destination. (Foltz, 1998) - Corridors at acute or obtuse angles to be well connected (Carpman and Grant, 2002)

* for VI Provide easier understanding and ease spatial cognition for a blind person if a circulation path is well planned.

- Create legible circulation system design; avoid providing ambiguous circulation patterns (Arthur and Passini, 1992) - Clearly mark boundaries: unobstructed edges of pathways with continuous or contrasting colours, textures and materials. (Apelt et al., 2007)

* for VI 27

Minimal Options in Navigation Use Survey Views Signs at Decision Points Clear Entrance Smaller Distinctive Parts

- Do not give the users too many choices in navigation; design space clear enough for every route the navigator might take. (Foltz, 1998) - Avoid giving numerous unclear options. (IDEA, 2010) - Provide a vista or map to aid in judgements such as location of navigator, immediate vicinity, destinations available, route options, size of space, and distance of chosen path. (Foltz, 1998) - Map design should present spatial information in a flexible and orientation-independent way. (Apelt et al., 2007) - Embeds additional info to direct navigation; should inform the next direction and destination. (Foltz, 1998) - At decision points, navigator combines observation of local features with previous knowledge of the space to make proper move. (Arthur and Passini, 1992)

Minimize route options help VI but is used in planning, no sensory input required.

Mainly apply to general users and focus on sight, less suitable for blind community.

Notifications at decision points or turning junctions is important, signs could be in any form other than visual signage.

- Provide sufficient lighting at intersections. (Carpman and Grant, 2002) - Provide frequent directional cues particularly at decision points along journey in both directions.

(Apelt et al., 2007) - Numerous entrances make them undistinguished from one another. (Arthur and Passini, 1992)

* for VI

- Provide clear and identifiable entrance to major destinations. (Carpman and Grant, 2002)

Marks the arrival point of a space during wayfinding is vital: the first step or starting point to navigate.

- Design the arrival point as main entry but not secondary. (Apelt et al., 2007)

* for VI

- Create regions of differing visual character; subdivide spaces into regions with different set of features in terms of appearance, function or use.

(Foltz, 1998) - Clear articulation and coherent grouping of interior and exterior spaces. (Arthur and Passini, 1992)

Zoning of spaces base on similarity in functions and space character ease the users to remember the location of a place.

- Make spaces within a facility look unique is effective in guiding navigation. (Carpman and Grant, 2002) - Zoning base on functional use; preserving a sense of place and connectivity between spaces. (Apelt et al., 2007)

* for VI 28

Integrating Communication System

- Use information wayfinding design: graphics, signs, and technology devices (Arthur and Passini, 1992)

Rely mainly on technology for sound system.

- Use names and symbols that can be easily remembered by users from diverse background; incorporate multiple languages or pictograms (Apelt et al., 2007)

Table 2: Principles of wayfinding (by Author)

3.5 SUMMARY

From (Table 2) in this chapter, the researcher marks the principles that are useful and more related to non-visual environment with (* for VI) and summarizes the following: identity of location, use of landmarks, well-structured path, signs at decision points, smaller distinctive parts and creating clear entrance are the six main principles of wayfinding for the visually impaired.

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4.0 CASE STUDIES

4.1 JUSTIFICATION ON BUILDING SELECTION & METHOD

In this chapter, the researcher has selected five case study buildings based on the following criteria: (i) the building embrace the idea of multi-sensory design; (ii) the building focus on the visually impaired as the main target user group; (iii) there are available resources or data of the building such as drawings, plans, publications and photographed images; and (iv) the analytical study has to be doable within one year period of time for the entire dissertation.

The buildings that fulfil the mentioned criteria are: - Hazelwood School for the Visually Impaired in Scotland - Anchor Center for the Blind Children in Colorado - W. Ross Macdonald School for the Blind in Ontario - Center for the Blind and Visually Impaired in Mexico - Centre for Scottish War Blinded in Scotland

The researcher will collect data base on available resources including a brief background study of each building, photographed images, and architectural drawings such as floor plans, sections and elevations; at the same time referring to publications such as magazines and interviews from official media, to carry out the analysis. Note that the analysis mainly focus on the content and perception from the following:

- design idea description from the architect - visually impaired users of the building (age range depends on building typology) - visually impaired staffs working in the building - other sighted teachers / helpers in the building - technical consultants involved in the design of the project

For each case study, the researcher will analyse the building in accordance to the fundamental concept of wayfinding as explained in Chapter 3.1, by first identifying the priority circulation way which connects from a starting point or entrance to the destination (depends on building typology) in the perspective of the visually impaired users. The researcher will then analyse the sensory design applied to the identified circulation way in relation to the principles of wayfinding framework derived in Chapter 3.4.

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4.2 BUILDING 1 – HAZELWOOD SCHOOL FOR THE VISUALLY IMPAIRED

Hazelwood is a school for children and young people aged 2 to 18 who are primarily visually impaired and some with hearing limitation. This single storey height building with a built-up area of 2660sqm is located at the edge of Bellahouston Park, owned by Glasgow City Council of Scotland, completed in 2007. The design architects of the project, GM+AD Architects present that the aim was to create a bespoke building that support the needs of the visually impaired and allow great level of freedom, safety and independence to the pupils in navigation and orientation; at the same time support the students’ senses by incorporating sound and tactile clues, visual aid, and natural light.

Figure 12: Hazelwood School for the visually impaired in Glasgow, Scotland (by IHCD)

Identify Priority Circulation Way In this school, the priority circulation way is from the main entrance to classrooms. The building embraces a main circulation spine as the primary movement path for the students to ease their navigation and orientation through the building. The following studies show the breakdown of this circulation way into (i) entrance – the starting point, (ii) corridor – the path, and (iii) classrooms – the destination. Attached shows the floor plan demarcating the main corridor that connects the entrance of the school where pupils first arrive at the lobby and admin block, to the classrooms located along the corridor.

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Figure 13: Floor plan of Hazelwood School (by Author)

Entrance – The Starting Point Pupils arrive to the school by either taxi or mini bus. The school entrance was designed as a loop system to allow vehicles to rack up in a dedicated drop off area. Once drop off, the visually impaired students is able to walk to the entry door either with the guidance aid from school helpers or by feeling the floor tiles, which this material is only placed at this specific location. The metal glass door which is different from all the other spaces in the building informs the arrival at the entry point to the pupils. The horizontal rail on the doors also helps them to recognize the entrance. From the above mentioned, haptic element is an important orientation cue for the visually impaired in Hazelwood School. The, the main door opens to a lobby which doubles as the main assembly space. According to the blind students aged 1318, they are able to identify the lobby by listening to the change in echo of this bigger scale space.

Figure 14: Entrance of Hazelwood School (by IHCD)

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Corridor – The Path The corridor is designed as the main circulation spine throughout the building, without branching out to many junctions. It connects to the classrooms directly located alongside with it. The curve path aims to reduce visual scale of the circulation spaces and remove conventional institution feel. According to the architects, the corridor wall is clad in cork to provide warmth and tactile qualities to the blind children. It creates signifiers or messages along the route to confirm the children’s location by installing tactile aid such as trail rail on the cork wall. Sense of touch and temperature is reflected in the corridor design through the use of wall material in aiding navigation.

Figure 15: Corridor path using cork wall, trail rail, and clerestory (by IHCD)

The visually impaired students also describe the individually shaped wall panels at each bay of the sensory trail as landmarks for them to understand the length of the circulation space and identify as the access point into classrooms. Some describe that the naturally weathered larch gives a sense of smell along the corridor. Besides, metal plates are placed along the edge of corridor floor to provide directional cue, while louvered windows are placed on one side of the corridor to bring in daylight and reduce glare.

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Classroom – The Destination Classrooms are located along the northern side which is a more quiet edge of the site in order to escape direct sunlight and as buffer to the traffic outside. High level clerestories increase daylight penetration and ensure even distribution of light. Besides, installation of subtle colours, contrasting and adaptable lighting elements in these teaching and learning spaces aim to maximize use of children’s residual vision.

Figure 16: Sectional diagram of Hazelwood School (by Author)

The brighter environment and quieter ambience of the classroom spaces shows that lighting control and sense of sound are the important elements in giving orientation cues to the visually impaired students upon arrival at destination. Zoning of classrooms base on activities such as toddlers’ learning, music room and etc. also help the pupils in wayfinding to the accurate destination.

Figure 17: Classrooms of Hazelwood School (by IHCD)

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Findings & Analysis The researcher tabulates multisensory design in Hazelwood School in relation to principles of wayfinding as shown below:

Wayfinding Principles

Sound

Smell

Touch

Light & Temperature

3/6

1/6

5/6

4/6

Clear Entrance Well-Structured Path Use Landmarks Signs at Decision Point Smaller Distinctive Parts Identity of Location Score

Table 3: Multisensory and wayfinding principles of Hazelwood School (by Author)

Review: - Sense of touch is the most prominently used sensory design in wayfinding for the visually impaired in the school.

- Tactility is presented through minimal or single building material of different textures; mainly applies in the wayfinding journey rather than inform arrival at destination.

- Light and temperature is moderately high components in giving orientation cues, and is well incorporated along the path and other internal learning spaces.

- Sense of sound is moderately used due to not much of change in building height or scale of spaces, mainly recognized by the users through activity change.

- Smell is less recognized by the users throughout the wayfinding process in the school.

- In terms of wayfinding principles, identity of location and well-structure path are the main concerns in giving navigation guide and spatial cognition for the children.

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4.3 BUILDING 2 – ANCHOR CENTER FOR THE BLIND CHILDREN

Anchor Center is an institution that provides early education and intervention services for children birth to five years old that are blind or visually impaired. This single storey height building with a built-up area of 2170sqm is located at in Denver, Colorado, completed in 2007. The design architects of the project, Davis Partnership Architects present that the interior architecture is intentionally simple and free of obstructions, with variations in scale, materials, and lighting, as well as child-sized detailing to assist children with orientation throughout this touch-friendly site. This triad of hues, integrated throughout the building in the form of skylights, door lights, and wall sconces, were chosen based on a careful study of colour theory and the passive or active nature of each pod.

Figure 18: Anchor Center for the Blind Children in Glasgow, Scotland (by IHCD)

The Circulation Way The building had chosen a pedestrian-friendly environment that enables its staff to help students explore their environment safely. Classroom pods are connected by a central circulation spine are flooded in diffused light through a series of filtered clerestory windows just below the angled roofline. Light wells help the children, a few of whom are deaf and most of them who have some degree of sight, navigate the hallways. The floors have different textures: the wooden hallways are interspersed with hard tile outside classrooms, so the sound of a white cane on them will sound different.

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Figure 19: Hallway of Anchor Center (by IHCD)

Classroom – The Destination Rooms are baffled so sounds are strictly directional, with no aural bounce or echo; textures abound. Children with visual impairments can be sensitive to light and can perceive colour, so classrooms are designed with featured coloured and textured walls that assist with wayfinding.

Figure 20: Classroom pods of Anchor Center (by IHCD)

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4.4 BUILDING 3 – W. ROSS MACDONALD SCHOOL FOR THE BLIND

Macdonald School is a facility that includes an elementary school, a student residence, and a healthcare centre, which provides both elementary and secondary education to the visually impaired and deafblind students. This 70acre campus is located at in Brantfort, Ontario, owned by the government of Ontario, completed in 2005. The design architects of the project, Sweeny & Co Architects present that the main design idea of the project focuses on providing good navigation system design for the visually impaired students in the campus.

Figure 21: W Ross Macdonald School for the Blind in Brantfort, Ontario (by IHCD)

The Circulation Way Corridors are oversized at 3m wide, as are all doors which facilitate sight-diminished navigation. Both natural and artificial lighting is controlled to produce minimal glare and geared toward flexibility of lighting conditions. Trail rails, attached to the walls, guide the students through the various spaces, while disparate and tactile floor materials provide audible clues aiding students in the navigation of their mental map.

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Figure 22: Ground floor circulation space of WRMS (by IHCD)

Figure 23: First floor circulation space of WRMS (by IHCD)

Figure 24: Second floor circulation space of WRMS (by IHCD)

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The Internal Spaces The learning spaces are finished with materials such as clear maple hardwood floors, gold cleft slate, porcelain tile, and polished concrete, which gives different sound effect, floor textures and sensory cues to the users. Besides, the millwork consisting of rich and contrasting cherry veneers and the form that features weathered steel, coloured glass, zinc cladding, iron spot brick, as well as poured and precast concrete also stimulate different senses to the visually impaired in experiencing and imagining the space.

Wayfinding Principles

Sound

Smell

Touch

Light & Temperature

Clear Entrance Well-Structured Path Use Landmarks Signs at Decision Point Smaller Distinctive Parts Identity of Location Score

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4.5 BUILDING 4 – MEXICO CENTER FOR THE BLIND AND VISUALLY IMPAIRED

Mexico Center is a center that provides services to one of the most disadvantaged and highly-populated areas of the city; Iztapalapa, which is the district with the largest visually impaired population in the Mexican capital. This building of 8500sqm built up area is located at in Mexico, owned by the government of Mexico City, completed in 2001. The design architects of the project, Taller de Arquitectura-Mauricio Rocha present that the project aims to enhance spatial perception, activating the five senses as experience and source of information to the visually impaired community.

Figure 25: Center for the Blind and Visually Impaired, Mexico (by IHCD)

The floor plan can be read as a series of filters which stretch out from the entrance in parallel strips. The first filter is the building that houses the administrative offices, cafeteria, and utility area. The second consists of two parallel lines of buildings organized symmetrically along a central plaza. These buildings contain a store, the "tifloteca-sonoteca" (a sound and touch gallery) and five arts and crafts workshops. The third filter has the classrooms facing the gardens and the most private courtyards. Perpendicular to the entrance, there is a series of double-height volumes space which house the library, gymnasium-auditorium, and swimming pool.

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Figure 26: Floor plan of WRMS (by IHCD)

The building complex is on corner plot bordered by two avenues. A blind wall encircles the complex on its four sides and acts as an acoustic barrier as well as a retaining wall/blank to hold the earth moved from neighbouring wasteland areas. In contrast to the abstract exterior, the internal facade of the boundary wall creates banks that change shape, height, and orientation, thus creating various courtyards. The buildings are rectangular prisms, based on concrete frames and flat roofs. Each group explores different spatial and structural relationships, making each space identifiable for the user and varying size, light intensity and weight of materials: concrete, bricks, steel, and glass.

Figure 27: Texture of the blind wall in WRMS (by IHCD)

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A water channel runs through the center of the plaza, so that the sound of the water guides users along their way. Horizontal and vertical lines in the concrete at hand height offer tactile clues to identify each building. Six types of fragrant plants and flowers in the perimeter gardens act as constant sensors to help orientate users within the complex.

Figure 28: Sensory plaza of WRMS (by IHCD)

Wayfinding Principles

Sound

Smell

Touch

Light & Temperature

Clear Entrance Well-Structured Path Use Landmarks Signs at Decision Point Smaller Distinctive Parts Identity of Location Score

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4.6 BUILDING 5 – CENTER FOR THE SCOTTISH WAR BLINDED Scottish War Blinded was founded with the object of caring for Scotland’s sailors, soldiers and airmen and women who were blinded in the service of their country. With the organisation now taking in a higher number of veterans of more recent conflicts, the Scottish War Blinded recognized that a new facility was required so that the scope and quality of the services they offer could be improved. This 750sqm facility is located at in Linburn, West Lothian, completed in 2011. The design architects of the project, Page Park Architects present that with the building users having visual impairments of varying degrees, in addition to many of the users being elderly, careful consideration had to be given to a number of key areas of the scheme especially in inclusive design.

Figure 29: Center for the Scottish War Blinded, Scotland (by IHCD)

Figure 30: Sectional diagram of CSWB (by IHCD)

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Figure 31: Floor plan of CSWB (by IHCD)

The building harbours a strong focus on internal flow, with a mainly open plan arrangement fed by one, generous circulation spine. The accommodation is organised so that the circulation and larger spaces are placed near the external walls, while smaller, ancillary spaces requiring enclosure, privacy and acoustic insulation are placed in ‘pod’ elements nearer the centre of the plan. The organisation of the building aims to be as simple as possible so that the users can easily form a mental picture of the building, thus allowing straightforward navigation.

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Figure 32: Circulation space of CSWB, with bold gestures and colours (by IHCD)

Inside the building, the primary circulation route is a generous width and has a continuous handrail down one side to provide support where required in addition to acting as a guide to the visually impaired. Where access to rooms occur off this corridor, bold gestures have been made at these locations both in the layout and in terms of the colours used on the walls.

Besides, the Light Reflectance Values (LRV) of each of the finishes such as floors, timber panelling, door laminate, and ceiling, has allow careful selection of the colours of the painted slots at these access points so as to provide sufficient visual contrast.

Wayfinding Principles

Sound

Smell

Touch

Light & Temperature

Clear Entrance Well-Structured Path Use Landmarks Signs at Decision Point Smaller Distinctive Parts Identity of Location Score

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5.0 DISCUSSIONS & FINDINGS - RELATING MULTISENSORY TO WAYFINDING

6.0 CONCLUSION

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