Autism and architecture Humphreys Autism Show 2016.pdfI completed a research thesis paper on...
Transcript of Autism and architecture Humphreys Autism Show 2016.pdfI completed a research thesis paper on...
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Autism and architecture
11.35 - 12.25
Simon Humphreys,
Autism Specialist Architect
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AUTISM & ARCHITECTURE
Part 1: CONCEPTS Simon Humphreys RIBA www.simonhumphreys.co.uk
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MY BACKGROUND
My late brother was autistic.
I completed a research thesis paper on architecture for autism in 1989.
Since then I have developed these ideas and implemented many of the concepts into built
projects.
As Donna Williams states:
‘as we all know autism is a complicated disorder that effects communication and the
senses. We also know that ‘ one size fits all’ on the basis of a shared label ASD may not
be effective in helping these individuals’
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ARCHITECTURE
Architecture can best be described as the ‘ art or practice of designing buildings for
human use ‘. It takes account of Form, Function, Construction, Beauty,
Convenience, Propriety, Delight, Utility, Durability, Strength, Proportion, Light and
Freedom.
It can also be explained in the following way:
You employ stone, wood and concrete, and with these materials you build houses and
palaces; that is construction. Ingenuity is at work. But suddenly you touch my heart,
you do me good, I am happy and I say “ This is beautiful “ That is architecture. Art
enters in. ( Le Corbusier )
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THE EYES OF THE MIND Baumers & Heylighen
The diversity in personal disposition and spatial interpretation from the users point of
view challenges the architect to pay attention to the way the human mind-in all its various
appearances-deals with the environment (Ziesal 2001)
Without efficient filtering and selectivity of attention people with autism find it difficult to
make sense of the environment (Bogdashina 2003)
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THE DESIGN PROCESS
In architecture the design of spaces can be loaded with the ideas of the designer. The
disposition of the architect is interwoven with the whole design (Baumers & Heylighen)
Due to the distinct way people with autism perceive their environment and
process incoming information they make sense of their world in a unique way
(de Roeck 1997)
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OVER ARCHING CONCEPTS : DESIGNING FOR AUTISM
CALM AND ORDER: Reduce stimulation, back drop for therapy, still point, sameness
CLARITY AND SIMPLICITY: Symmetry, ease of use, rhythm, routine, sequence
PROPORTION: The Golden Proportion, abundant in nature, scale, harmony
RESTRAINT: Less rather than more, limit complexity of detail, calm architecture
THE SENSES: Good acoustics, even levels of natural light, texture, good ventilation, cool colours
OBSERVATION: Ability to observe children without intrusion, safety
CONTAINMENT: Places to escape from immediate demands but safe within enclosure
DISTINCTION: Simple clear forms , distinction between spaces for work and leisure and living
MATERIALS: Limit number, durable, good sound qualities calm, natural
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FLEXIBILITY: Every child is different, proximity, differences
INCLUSIVE DESIGN: Allow inclusion in both directions, not too special
PERCEPTION: Detail and the bigger picture, how the child with autism perceive’
MOVEMENT: Generous circulation space, proximity, location, orientation
HARMONY: A state recognised as the immediate prerequisite for beauty
NUMBER: The correct application of number to create acoustically balanced spaces
PROXEMICS: The amount of personal space around the body, greater for autism
SPELL: A framework for design
OVER ARCHING CONCEPTS : DESIGNING FOR AUTISM
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CALM AND ORDER
People with autism are bombarded with sensory stimuli. They perceive everything without filtration and selection this leads to the perception
of the whole scene as a single entity with all the details perceived but not processed simultaneously (Bogdashina 2011)
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CALM AND ORDER
Maintain a stable, ordered secure environment. The autistic child simply cannot function if there are too many daily changes. The autistic child is
unable to bring order to his world. You must provide that order in his environment. Autistics might march to a different beat but that beat can be
meaningful ( Temple Grandin )
John Pawson
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CALM AND ORDER
Hans Van Der Laan
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CALM AND ORDER
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CLARITY AND SIMPICITY
The whole place was a mass of corridors; a puzzle in which you had to chose the right door. I liked the banisters, which led to hallways with red
doors running off them. I was constantly going into strange classrooms and sitting down before being escorted out and pointed in the direction of
my own class. (Donna Williams)
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CLARITY AND SIMPLICITY
For children with autism to recognise things these things must be exactly the same as when they initially experienced them only then will they
know what to do (Donna Williams)
Simon Humphreys
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CLARITY AND SIMPLICITY
Campo Baeza
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CLARITY AND SIMPLICITY
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CLARITY AND SIMPLICITY
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CLARITY AND SIMPLICITY
Mies Van Der Rohe
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PROPORTION
Ancient proportional systems resonate with something within the human mind or heart which recognises beauty in a very direct and intuitive
manner. When we see a natural form such as a sunflower we automatically see its beauty. These proportional systems are derived from nature and
are abundant in nature. ( Michael Manser )
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PROPORTION
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PROPORTION
The Greeks developed this theme given from nature through mathematical equation providing a proportion that humans intuitively find
pleasing. It is known as the Golden Proportion. The Parthenon is defined by the golden proportion
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PROPORTION
Simon Humphreys
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NUMBER
The Fibonacci Proportion is a sequence of numbers which can be applied to music and architecture and is derived from the golden proportion.
Simon Humphreys
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NUMBER
The Fibonacci series are the numbers in the following sequence 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55 onwards.
Simon Humphreys
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FLEXIBILITY
Its important that spaces are as flexible as possible within the need to maintain sameness.
Simon Humphreys
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RESTRAINT
People with autism are extremely sensitive to sensory stimuli and because of the fact they have difficulties filtering foreground and background
information they are often capable of perceiving details that are unnoticed by others.
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RESTRAINT
John Pawson
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RESTRAINT
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RESTRAINT
Simon Humphreys
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THE SENSES
There is a very strong tendency in vision to grasp and fixate, to dominate secure and control.
Touch is the parent of our eye’s, ears, noise and mouth and seems to be recognised by the age old evaluation of touch as ‘the mother of the senses’
Simon Humphreys
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THE SENSES
Simon Humphreys
The eye is the organ of distance and separation whereas touch approaches and caresses. During overpowering emotional experiences we
tend to close off the distancing sense of vision
The most persistent memory of space is often smell
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THE SENSES
The Key is light and light illuminates shapes and shapes have emotional power ( Le Corbusier )
Deep shadows and darkness are essential because they dim the sharpness of vision make depth and distance ambiguous and invite unconscious peripheral
vision and tactile fantasy
Le Corbusier
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THE SENSES
Sometimes I heard and understood and other times sounds and speech reached my brain like an unbearable noise of an onrushing freight train.
Noise and confusion at large gatherings of people overwhelmed my senses
( Temple Grandin )
Simon Humphreys
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THE SENSES
Hans Van Der Laan
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THE SENSES
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OBSERVATION
‘ all of us need a private space. Autistic children need their secret places too, in which they can hide and retreat to their own world. After all autism is a
withiness disability and autistic children need the security of their own hideaways. I had mine it was a place for me to think and recharge myself’
( Temple Grandin )
Simon Humphreys
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OBSERVATION
Simon Humphreys
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CONTAINMENT
It is important that an individual with autism is secure and protected but allowed to wander freely within safe known boundaries. This also
provides peace for the carer equipped with this knowledge.
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CONTAINMENT
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DISTINCTION
Simple clear natural forms are understandable.
It is helpful that there is distinction between types of spaces for people with autism so that they understand expectations placed upon them.
Simon Humphreys
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DISTINCTION
Simon Humphreys
Communal Spaces
Support Spaces Support Spaces
Entrance
Natural Light Zone Movement Movement
Classrooms Classrooms
Natural Light Zone
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DISTINCTION
Simon Humphreys
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DISTINCTION
Simon Humphreys
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MATERIALS
Along side the prevailing architecture of the eye there is the architecture of the muscle and skin. This is the material of architecture.
John Pawson
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MATERIALS
Simon Humphreys
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MATERIALS
David Chipperfield
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MATERIALS
Peter Zumthor
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MATERIALS
Peter Zumthor
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PERCEPTION
People with autism have a strong drive for coherence. If one detail is changed the whole scene is different
John Pawson
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MOVEMENT
One of the most influential aspects of architecture is how we experience moving around a building from space to space.
Simon Humphreys & The Manser Practice
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MOVEMENT
Simon Humphreys
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MOVEMENT
John Pawson
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MOVEMENT
Hans Van Der Laan
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MOVEMENT
Through the Little Door and the Glass Door Barrier (Temple Granden)
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HARMONY
For any space to be harmonious it should facilitate not only need but also connect with the outside environment providing a smooth transition
Simon Humphreys
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PROXEMICS
Proxemics is the measure of personal space surrounding the personal body.
Simon Humphreys
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FINAL WORDS
The ultimate meaning of any building is beyond architecture; it directs our consciousness back to the world and towards our own sense of self
and being and makes us experience ourselves as complete embodied and spiritual beings. (Pallasmaa)
This experience is particularly relevant to people with autism who perceive and experience the environment in a unique and multi sensory way.
With architecture it is sometimes what you don’t do that has impact for individual’s with autism.
John Pawson
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AUTISM & ARCHITECTURE Simon Humphreys RIBA email: [email protected] www.simonhumphreys.co.uk
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