sensory design
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2021 ◽  
Vol 6 (18) ◽  
Author(s):  
Roslinda binti Ghazali ◽  
Siti Rasidah Md Sakip ◽  
Ismail Samsuddin ◽  
Heba Samra

Designing spaces for the autistic should be considered their sensory needs. This quantitative study employed the survey method to explore the relationship between the sensory design towards the physical learning environment. The respondents (n=384) identified and Statistical Program for Social Sciences Software (SPSS) used for data entry and analysis. Pearson's Correlation is used to highlight relationships between the variables. The result revealed sensory design have a strong significant relationship towards the physical learning environment in the context of autism. Findings hoped to benefit in creating to improve the autism learning environment in Malaysia. Keywords: Sensory design; physical learning environment; quantitative eISSN: 2398-4287© 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians/Africans/Arabians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6i18.3070


2021 ◽  
Author(s):  
◽  
Kate Shepherd

<p>It has been agreed that one of Interior Architecture’s primary roles is to create atmosphere. This is generally achieved by engaging the senses in specific spatial conditions that shift the emotions and create moods. This view of interior is more particularly relevant to the needs of inhabitants/ users with sensory impairment. The intention within this thesis is for individuals with hearing and sight impairment to experience space/ interiors, with at least the same, wholeness as those with the capacity of full range of sense.  Pallasmaa states that “it is evident that ‘life-enhancing’ architecture has to address all of the senses simultaneously” (Pallasmaa (C) 11). It has been suggested that if a sense is taken away there is a higher importance placed on the remaining senses. Early research has indicated that people, specifically children with sight impairment “perceive the built environment very differently and pay more attention to tactile, haptic, auditory and olfactory aspects” compared to a person with full sensory abilities (Vermeersch et al. 1). Engagement with all possible senses allows a connection with space and orientation within architecture. It is this engagement with surroundings which “is a key component of happiness” (Fox, “Emotion Science”). This helps to achieve the independence that is desired among the sensory impaired. “A dialogue between architects and people with visual impairment can therefore contribute to a more multi-sensory design approach to architecture” (Vermeersch et al. 1).  While specific senses engage with mood to stimulate a learning experience for those with hearing and sight impairment, this design research demonstrates how the play of light and water can be used as a tool in creating specific atmospheres. These in turn influence moods in creation of interiors for multisensory experience. Henry Plummer’s light categories are the basis for which this research invents categories of sound. It is also proposed as a tool for interior designers to think about space for people with sensory impairment and to design with specific guidance. This invention will be tested by applying a program, Gallery of the Senses, to a Wellington site.</p>


2021 ◽  
Author(s):  
◽  
Kate Shepherd

<p>It has been agreed that one of Interior Architecture’s primary roles is to create atmosphere. This is generally achieved by engaging the senses in specific spatial conditions that shift the emotions and create moods. This view of interior is more particularly relevant to the needs of inhabitants/ users with sensory impairment. The intention within this thesis is for individuals with hearing and sight impairment to experience space/ interiors, with at least the same, wholeness as those with the capacity of full range of sense.  Pallasmaa states that “it is evident that ‘life-enhancing’ architecture has to address all of the senses simultaneously” (Pallasmaa (C) 11). It has been suggested that if a sense is taken away there is a higher importance placed on the remaining senses. Early research has indicated that people, specifically children with sight impairment “perceive the built environment very differently and pay more attention to tactile, haptic, auditory and olfactory aspects” compared to a person with full sensory abilities (Vermeersch et al. 1). Engagement with all possible senses allows a connection with space and orientation within architecture. It is this engagement with surroundings which “is a key component of happiness” (Fox, “Emotion Science”). This helps to achieve the independence that is desired among the sensory impaired. “A dialogue between architects and people with visual impairment can therefore contribute to a more multi-sensory design approach to architecture” (Vermeersch et al. 1).  While specific senses engage with mood to stimulate a learning experience for those with hearing and sight impairment, this design research demonstrates how the play of light and water can be used as a tool in creating specific atmospheres. These in turn influence moods in creation of interiors for multisensory experience. Henry Plummer’s light categories are the basis for which this research invents categories of sound. It is also proposed as a tool for interior designers to think about space for people with sensory impairment and to design with specific guidance. This invention will be tested by applying a program, Gallery of the Senses, to a Wellington site.</p>


2021 ◽  
Author(s):  
◽  
Emma Macann

<p>This thesis discusses the importance for people within the confines of high-density, metropolitan cities to find a collective moment of retreat through an architectural landscape of silence. Silence is becoming a desired and yet difficult to obtain commodity in modern western society. Due to intensified work and home commitments combined with overwhelming sensory manipulation in the urban environment, stress and psychological overloading is common. Stress and psychological overloading is problematic with regards to a sense of connectivity to other people. With constant sensory onslaught it is becoming increasingly important to create moments of stillness, which in the course of controlling and manipulating external stimuli allows for mental and physical retreat through contemplation. Historically places of silence and contemplation in western urban settings were places of worship. These spaces are designed to encourage groups of people to congregate and experience internal reflection while establishing a sense of togetherness. As western society moves towards secularisation, finding moments of silence collectively becomes even more significant in harvesting and maintaining a sense of belonging. Through referencing Juhani Pallasmaa and philosopher Max Picard an in-depth exploration into sensory design and what silence embodies is established. This, in combination with a critique of the detrimental current situation in modern society, asserts reasons for the need to revert to simplified sensory experiences in order to increase personal awareness of self and others. Nature and its pivotal role in stimulating a sense of silence is investigated through current theory and personal design explorations. This research is reinforced by case studies into successful modern places of retreat, for example Dominique Perrault’s Bibliothéque Nationale de France. Such schemes are used to understand notions of ritual and removal within a city setting. By incorporating silence (both visually and aurally) into an everyday city park in London, opportunities are created for the wider public to encounter and benefit from Stille.(1)   (1) — German: English translation is Silence</p>


2021 ◽  
Author(s):  
◽  
Emma Macann

<p>This thesis discusses the importance for people within the confines of high-density, metropolitan cities to find a collective moment of retreat through an architectural landscape of silence. Silence is becoming a desired and yet difficult to obtain commodity in modern western society. Due to intensified work and home commitments combined with overwhelming sensory manipulation in the urban environment, stress and psychological overloading is common. Stress and psychological overloading is problematic with regards to a sense of connectivity to other people. With constant sensory onslaught it is becoming increasingly important to create moments of stillness, which in the course of controlling and manipulating external stimuli allows for mental and physical retreat through contemplation. Historically places of silence and contemplation in western urban settings were places of worship. These spaces are designed to encourage groups of people to congregate and experience internal reflection while establishing a sense of togetherness. As western society moves towards secularisation, finding moments of silence collectively becomes even more significant in harvesting and maintaining a sense of belonging. Through referencing Juhani Pallasmaa and philosopher Max Picard an in-depth exploration into sensory design and what silence embodies is established. This, in combination with a critique of the detrimental current situation in modern society, asserts reasons for the need to revert to simplified sensory experiences in order to increase personal awareness of self and others. Nature and its pivotal role in stimulating a sense of silence is investigated through current theory and personal design explorations. This research is reinforced by case studies into successful modern places of retreat, for example Dominique Perrault’s Bibliothéque Nationale de France. Such schemes are used to understand notions of ritual and removal within a city setting. By incorporating silence (both visually and aurally) into an everyday city park in London, opportunities are created for the wider public to encounter and benefit from Stille.(1)   (1) — German: English translation is Silence</p>


2021 ◽  
Vol 5 (04) ◽  
pp. 320-333
Author(s):  
Putri Nadhira Saraswati ◽  
Aldyfra L. Lukman

Abstract- Museum as an architectural object with its function as an educational and recreational facility is open to public and must be able to be used by all people. Therefore, the design of museums must be accessible for all people, including those with special needs. One of the museums in Indonesia which is considered to be a good work of architecture is the Museum of Bank Indonesia. It receives many visitors from various circles, including people with visual impairments. To accommodate visitors with visual impairments, the Museum of Bank Indonesia must have design features that help them to do activities, despite their limited sense of sight. Through this study, the research aims to find out how physical elements in the Museum of Bank Indonesia accommodates the orientation and mobility of visitors with visual impairments. This is a qualitative research, with a descriptive discussion. The collected data are the data on physical elements in the Museum of Bank Indonesia and the data on the behavior of visually impaired visitors while doing orientation and mobility in the Museum of Bank Indonesia exhibition area. The data are collected through observation and interview, then analyzed by using a table which elaborates physical elements from technical requirements aspect and sensory design aspect, and how they accommodate visually impaired visitors. Research shows that some physical elements in the Museum of Bank Indonesia are already adequate in accommodating visually impaired visitors. They able to provide assistance for visually impaired visitors while doing orientation and mobility, as well as gathering information on the museum objects. On the other hand, there are also some physical elements that hinder visually impaired visitors because they don’t technically meet the user’s needs. Therefore, improvement in the physical elements design is needed, so it can accommodate visitors with visual impairments better.   Key Words: museum, visual impairment, Bank Indonesia, universal design, sensory design


Author(s):  
Ahmed Raouf Fahmy ◽  
Laura Sophie Amann ◽  
Andreas Dunkel ◽  
Oliver Frank ◽  
Corinna Dawid ◽  
...  

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