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Architecture Undergraduate Honors Theses Architecture

5-2020

Multi-sensory Design for people with visual impairments

Joshua Levy

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 Multi-sensory Design
For People with Visual Impairment.

Joshua Levy Capstone Spring 2020

Title: Multisensory Architecture For 1 Person
people with Visual Impairment

Author: Joshua Levy 3 Introduction

5 Blindness
9 Perception
Advisor : Ken McCown

Committee : Sherry L. Muir

Jennifer Webb 12 Policy
13 Universal Design
19
A.D.A.

21 Principles
23 The Senses
33 Horizontal
39 Vertical
47 Entourage
55 Conclusion
 Abstract

Architectural design commonly focuses on the visual qualities of its

manifestation, leaving people with visual impairments aside from its qualita-
tivegoals.Inordertocounteractthisphenomenonandappropriatelyaddress
peoplewithlowvisualacuity/legalblindness,wemustunderstandthepeople
within this large community as well as current policies focusing on different
types of accommodations for spatial practicality. Understanding the people
will entail a dive into what a visual impairment is, what it is like, and under-
standing how people perceive the world as a whole. Then it is necessary to
understand current policies that designers have adopted in order to benefit
those with physical disabilities by making all space accessible to all people. Af-
terestablishinganunderstandingofthecurrentstateoftheissuewecanmove
forward by breaking down a set of guiding principle that is based on sensory
cues. This will lead to an understanding of how to make architecture a multi-
sensoryexperienceforeveryonewhilespecificallybenefitingthosewithvisual
impairments.

1 2
Introduction
was formed by the visual memories that he had from before he had lost his
People with low vision or legal blindness experience the world differ- sight.Hearguesthattheworldchangesscaleafterlosingtheabilitytosee.New
ently than those with a high level of visual perception. People who have been experiences are created within reach of the body, and when life is silent, it also
blind since birth do not struggle as much with living with the condition as it is disappears.
essentiallywhotheyare.However,peoplewhohavedevelopedblindnesshavea
very difficult transition into the new lifestyle. Cristina Hartmann, a writer with The field of architecture is seduced by a common bias of visual op-
limited sight and hearing, states that the“most destructive part of losing one’s tics. While the visual qualities of architectural spaces are important, there
sight is the feeling of incompetence”.1 In the transition period, she broke drink- should be an equivalent amount of focus and attention brought to the other
ingglasses,steppedonhercats,andwouldloseherthingsconstantlythrough- 4 senses. In this proposal, I will explore how architecture can employ a set of
out the day. This can be a very discouraging and frustrating way of life that is multi-sensory design tactics in order to increase the quality of life and spatial
alsoinescapable.Dailyroutinesandhabitshavetoberelearned.Anexampleof understanding to people with visual impairments. Architecture is inherently
afrequentmundanetaskthatbecomesalteredwithanacquiredvisualimpair- experienced by the body.The sense of smell draws memories of our past.The
mentisgettinggroceries.Thejourneytothegrocerystorebecomesmuchmore sense of touch provides a haptic understanding of materiality. The sense of
difficult as one can no longer drive directly to the desired location. Walking hearing gives an omni-directional source of orientation and context. All of the
through a city is no longer understood by street signs and built aesthetics but senses are important and should play an integral role within the influence of
by memory, sound, and smell. A person with low vision can choose to have architecturaldesign.Integratingthesensesintothedesignprocesswillproduce
a seeing-eye dog, a cane, or a sighted navigator to help navigate a city. Cris- engaging and multi-sensory places for the visually impaired and the sighted.
tina Hartmann prefers the white cane strategy as“a white cane doesn’t shed,
poop, require vet visits, or develop a mind of its own” and a navigator takes TheWorld Health Organization estimates that 253 million people live
away a sense of independence.2 After arriving at the grocery store searching a with visual impairment in the world.5 The Center for Disease control and
list of specific items is altered as braille is not incorporated on aisles, cans, or Prevention states that 3.4 million Americans are diagnosed as legally blind, 21
refrigeration doors. Typically, a legally blind individual will ask for assistance million with medical eye conditions, and 17% of Americans 65 and older have
when arriving to the store for help with the hunt, go with a friend, or just order reported to have“vision trouble”.6This correlates to one out of every five peo-
the items online.3 After the items have been purchased and brought home, ple older than 65.This community is typically overlooked and forgotten by de-
one is tasked to put everything in their proper locations and clean fruit and signers since visual content is held to the highest esteem. Good design should
vegetables. Removing stickers from the purchased piece of fruit becomes an account for this group for they are filling the spaces that we produce. How can
excruciatingly tedious task as stickers are not easily perceived.This is just one design focus on a more holistic account for the body that is experiencing it? In
example of a frequent task that will change after one is diagnosed with a visual this essay, I will identify key strategies of designing for the full spectrum of the
impairment. sensesthroughtheinvestigationofcasestudiesandadevelopmentofguiding
principles.
The understanding of space loses all visual qualities and is replaced
by other sensory cues. John hull, a blind professor at the University of Bir-
mingham who lost his vision mid-career, considers himself“a sighted person
who cannot see”.4 When visiting places that he already knew, his experience

1 Hartmann, Cristina. “What is it like to be deafblind?”.

2 Hartmann, Cristina. “What is it like to be blind?”.
3 Rogers, Priscilla. “Reevaluating the Best way to do my Shopping as a Person Who is Blind” 5 World Health Organization, Blindness and visual impairment, (2017).
4 Hull, John. “Notes on Blindness: Journey Through the Dark”. 6 Center for Disease Control and Prevention. “The Burden of Vision Loss”

3 4
What is Visual Impairment?
Blindness is commonly misunderstood by the majority of the sighted.
Some believe that if an individual is blind then they do not see anything. All
they see is blackness. This not necessarily the case as there is a wide range of
visual impairments that would cause someone to earn the title“legally blind”.
Some people that are“legally blind”will have trouble seeing the focal point of
what they attempt to focus on where others can only see the focal point and no
peripheral information.There is currently a process in place that determines if
one can qualify for the term.
20/200
TheworldhealthorganizationestimatesthatIntheUnitedStates,26.9
million adults (18+) currently experience low vision, legal blindness, or total
blindness.7 Blindness is categorized and reported by a ratio derived from the
“Snellen eye chart”. The process determines an individual’s vision acuity by 20/100
testing the sharpness of their vision with the distance from the chart.8 Some-
one with 20/70 vision standing 20 feet from the Snellen eye chart can only see
what a person with 20/20 vision (perfect vision) can see 70 feet from the chart. 20/70
Within the results of this common test are three categories of visual impair-
ment; low vision, legal blindness, and total blindness. 20/50

This is a cut and dry way to define a visual impairment (as there are 20/40
other types of blindness within this category) but it allows for patients to 20/30
qualify for disability benefits.Within all three of these visual impairments are
several different eye conditions that will cause individuals to see the world in
20/25
a different way. Cataracts, Glaucoma, Macular Degeneration, and Diabetic
Retinopathy are some of the most common eye conditions that will cause a 20/20
persontofallintoanyoftheabovediscussedcategories.Commonissuesfaced
is depth perception, reduced visual field, sensitivity to glare, and difficulty ad-
justing from light to dark. When designing for the“visually impaired”it does
not mean that the design can eliminate visual aspects completely but should
designvisualcuestohelpwiththoselivingwiththeseconditions.Italsomeans
that all design should use a multi-sensory approach. Designs should focus
more on the touch, sound, and smell of spaces in order to reach all people with
all perceptions of the world around them.

7 American Foundation for the Blind: Statistics about children and youth with vision loss. (March 2019)
8 World Health Organization, Blindness and visual impairment, (2017).

5 6
 Glaucoma Diabetic Retinopathy

Low vision is diagnosed when an individual scores a 20/70 or lower on the

Snellen eye chart.9 This person “has measurable vision but has difficulty ac-
complishingorcannotaccomplishthesetasksevenwhenprescribedcorrective
lenses” (Corn & Lusk, 2010, p. 4-5). This is the most common range in visual
impairments as 2.9 million Americans 40 and older fall into this category.
(AFB).

Legal Blindness requires an individual to score a 20/200 or lower on the Snellen eye chart while
wearing correctional eye wear.With this impairment, you can only read the top line of the chart at 20 feet
away.

Total blindness is the rarest of the visual impairments. It is diagnosed when an individual has an inability to see anything. Their eyes have no light percep-
tion. This is a cut and dry way to define a visual impairment (as there are can be influences affecting the way in which one sees) but it allows for patients to Cataracts Macular Degeneration
qualify for disability benefits.

9 American Foundation for the Blind: Key Definitions of Statistical Terms. (August 2017).

7 8
Color Blindness

Another form of blindness is color blindness. It is estimated that 5% of

males and 1% of females have an inability to perceive colors from each others.1
99Designs.“Why all designers need to understand color blindness”.
Color blindness does not affect the visual clarity of a persons surroundings
but will create issues with differentiating certain colors from others.The most
common type of color blindness is a difficulty in perceiving the difference
between red and green.2The following most common is the inability to differ-
entiate yellow and blue. The lack of perception of any of the colors is possible
but very uncommon.
Regular Google Logo Red Green & Red Yellow Color Blindness.
Living with color blindness is not as life altering as some of the pre-
vious eye conditions discussed. It does however create difficulty seeing the
differencebetweencolors,thebrightnessofcolors,anddifferentshadesofcol-
ors.Web designers will take this into account when laying out a website.They
will make the important content such as links and buttons visible with a high
contrast ratio of color. The colors used on the website should be on opposite
endsofthecolorrangeallowingforahighvaluecontrastwhenseeninamono-
chromaticlens. Blacktextonawhitebackground is the best example but there Ficket, Matthew. “Color Universal Design and Architecture”. Payette.
my be variation in the menu and navigation of a website. Navigation should
stand from the body of the website. If an element is meant to stand out (URL
Link) should not only be differentiated by color but by another aspect such as
underlining it or size. Transit maps also suffer from being confusing for those
with color blindness. Routes are typically color coded in order to differentiate
the multiple courses.This can cause a misreading of green route from the blue
route.Designersneedtotakethisintoaccountwhenmakinggraphics.Design
should be accessible to all types perception. Using programs like Photoshop
one can easily check to see if the colors need to be adjusted in brightness or
hue. This will allow design to not be compromised but to be enhanced and
pleasuarbale to everyone.
Normal Deuteranopia (Severe Color Blindness)
1 Usability.gov. Improving the User Experience. “Color Blindness & Web Design.”
2 National Eye Institute. “Color Blindness”.

No Color Blindness Deuteranopia Protanopia Tritanopia

Perception
Understandinghowweperceivetheworldisimportantwhendiscuss- of edges and profiles through materiality, color, and texture will produce a
ing sensory design for a visual impairment. Most people think that vision and sense of clarity for depth and the physical environment. The ability to cat-
perception are the same thing as most of our day is guided by vision.10 How- egorize sounds and smells as pleasant or unpleasant will also play a role in
ever, vision is different than perception.Vision occurs when light and images this venture as people have attached meanings and ideas to all sensory intake.
go through the eyes while perception is how the brain interprets and makes The smell of an apple orchard in the spring is a pleasant experience as it will
sense of those light signals. After our eyes react to a stimulus, it moves the inevitably bring an individual’s memories of this fragrance into the overall
information into our brain in order process what it is picking up. The under- constructed experience.
standing and processing of our surroundings is not only from our eyes but
combined with information from the other senses to build an entire picture.
Tornadowarningsareperceivedthroughourears,apotentialgasleakispicked
up through our nose, and an involuntary reaction against a hot pan is through
touch. perception of our environment is a complex topic and has been exten-
sively researched.

One of the earliest understandings of perception is the Gestalt The-

ory. One of the ideas in Gestalts theory is that an understanding of our en-
vironment is filtered through a figure ground process. Perceiving an object
is achieved by the brain reading the edges or profile of a physical object and
labeling everything else as“background”.The size of the profiles allows for an
idea of distance.11 While the brain is processing individual figures, there is a
holistic approach to understanding the parts. A common phrase within this
field of thought is that “the whole is greater than the sum of its parts.” A very
important point in Gestalt theory is the idea of closure. This is the idea that
whenweperceiveanelementthatappearstobeunfinishedorincomplete,the
brain will piece it together in order to understand it for what it is. The brain is
abletodothisbecauseitisconstantlypickinguppatternsandreferencingcues
from previous perceptions.

In a later theory of perception, Piaget’s theory, perception is based on

an individual’s own built up experience.12 It is not a universal way to under-
stand perception since everyone will have different backgrounds, but it helps Malnar. Vodvarka. Piaget Theory of perception.
to understand a process to it. Piaget states that the world is taken in through
thebodiessenses,thenprocessedthroughthebrain,andthenre-presentedinto
the perceived elements own category. All of this is a way to understand and
organize the world around us.

Understanding space through edges and profiles will serve as basic

principle when designing for people with a visual impairment. An articulation
9 10
 Policy

Now that we have developed a basis of understanding for what“visual

impairment” means, what it is like to be “legally blind”, and how visual per-
ception is understood, we can move into Policies of disabilities. I will focus on
two policies that designers will refer to known as Universal Design, and ADA.
Both offer insights into the development of the view and actions towards dis-
abled community as well as architectural barriers that have had to be heavily
investigatedinordertoallowforequalaccessforeveryone.Bothpoliciesmake
the statement that design should have a zero-tolerance policy for any type of
discrimination toward any kind of people group. Design brings order and joy
to the built environment and should allow for all and everyone to be a part of
it. As we move forward in history we become more and more connected to one
another leaving physical and social barriers an idea of the past.

11 12
Universal design is a design lens which looks to benefit the widest range and
variety of people in the world. It pushes designers to produce good design that can
potentially meet all of the needs of all people that would use it. It is intended to allow
for proper access, understanding, and use by all age groups, size, ability, and disabil-
ities.This has become considered a way to measure if a design is good as the use and
joyofadesignisthefundamentalgoalofwhatdesignersattempttoachieve.Itsgoalis
to account and bring joy to everyone.

In the twentieth century, extreme medical advancements allowed for peo-

ple to live longer and a more productive life with physical disabilities. With injured
soldiers returning home from the war and people living longer into their elder years,
there was a quick realization that accommodation must be made to account for this
wide array of lifestyles. This manifested in a strong push for equal rights in govern-
ment legislation.This brought a large amount of attention to the design community
as they understood that it was necessary to begin to create accessible and usable
products and environments. In the 1970’s, barrier free environments were becoming
the norm as it was a growing concern to account for people in wheelchairs .13 It also
became implemented in all products to be as easily used and understood as possi-
ble.This practice began to inform designers from the beginning stages of the design
process. In 1997 seven principles of Universal design was written by Ron Mace and a
committee of 10 at North Carolina State University.14 The principles were used as way
to evaluate existing designs and to guide those currently practicing both in product
design and in spatial design. Essentially, universal design is good design that focuses
on the users in all conditions.

13 14
 3D Printed Sculpture:
Principle 1: Equitable use.
Allows for equal experience for
both sighted and non sighted
It will provide appealing, equal, and identical means of use for all people by
not segregating or stigmatizing any of the users. People with a visual impair-
ment(andeveryoneelse)requireequaluseandunderstandingofinformation.
Art museums will often exhibit 3D printed replicas of famous works of art in
order to allow for people with visual impairments to experience the art in a
tactile nature.This begins to allow for an equal experience for both the sighted
and non-sighted in the art scene.

Accessibility Shortcuts Accessibility Settings:

Principle 2: Flexibility in use.
AssistiveTouch
iphone can be used by sight or
listening.
This means that the design brings a variety and adaptability to the method
Classic Invert

Color Filters

Reduce White Point

of use in order to accommodate for a variety of conditions. Objects like auto-
Smart Invert

Switch Control mated teller machines (ATM) practice this step as it gives tactile and audible
VoiceOver
Zoom
feedbacktothosewithavisualimpairment.Moreandmorethisbecomingreg-
ularized as iPhone’s have a“VoiceOver”tool that will explain what is occurring
on screen to help aid those with low vision.This provides an alternative way to
use the tool that adjusts to those with different types of needs.

Principle 3: Simple and Intuitive Use.

Remote w/ Raised Lettering:
Easily understood by just
feeling it. Design should be simple and consistent with the expectations of the users in
- + order to avoid an unnecessary complexity. Refining elements for the visually
1 2 3
impairedtobesimplyunderstoodshouldincludehighcontrastwhenseparat-
ing elements such as edges, light switches, and fixtures.When holding an ob-
4 5 6 ject, like a remote, there should be a clear front and back to the object. Objects
7 8 9 should read as they are without a level of complexity to ensure it. In regard to
* 0 #
people with a visual impairment, the understanding edges and profile either
through touch or limited sight is very important when bringing clarity.

15 16
 Principle 4: Perceptible Information
Stair Signage
Can be understood by sight
and touch The presentation of information should have a variety of techniques and
effectively contrast surroundings in order to effectively convey information
to a user. Information should appeal to the eyes (with clear contrast, size, and
font), the skin (with raised lettering and/or braille), and the ears (with audible
information). People with low vision or blindness rely heavily on touch and
hearingtoperceiveinformationsoanynecessaryinformationsuchasbuilding
maps, fire exits, street signage, or room keys should have this applied to its
manifestation.

Principle 5: Tolerance for Error.

Pedestrian Curb Detail:
Keeps pedestrians aware of
hazardous edges. Designed elements must be arranged in a way that minimizes hazards and
errors. This implies that a design would not support unconscious activity
whilesupportinganactionthatrequiresvigilance.Warningsareincorporated
as a way to provide safety to the users. For visual impairments things like curb
edgesandstairlandingsneedtobeappropriatelydetailstoprovidewarningto
the user.The detail should send a message through the supposedly used cane
to the user stating that there is an upcoming level change. This will provide a
sense of safety and awareness to users with a visual impairment.

Automatic Door: Principle 6: Low Physical Effort

Requires no physical effort to
walk through.
This states that design should avoid required physical effort for the users. It is
encouraged that people should be able to“maintain a neutral body position”
while experiencing the design and is minimizes the physical effort required.
This does not apply directly to people with visual impairments but to every-
body. For example, the weight of a door should have an appropriate weight in
order for users to be able to open it with ease. Stairs and ramps should main-
tain a reasonable pitch of incline to avoid fatigue from the users.

Cane Range: Principle 7: Size and Space for Approach and Use.
Hallways should accommodate the “cane
range” as well as the person.
Designs should have a clear line of site, appropriate reach for both seated or
standing orientation, appropriate hand / grip size, and provides necessary
spaceforpotentialelementsorassistance.Theheightandplacementofhand-
rails,elevatorbuttons,doorhandles,lightswitches,andsoap/toweldispensers
should be consistent throughout all spaces to help those with low vision with
there location.
17 18
 Advisory 407.2.1.3 Clear Floor or Ground Space. The clear floor or ground space required at elevator call
buttonsmustremainfreeofobstructionsincludingashtrays,plants,andotherdecorativeelementsthatpreventwheel-
ADA. While Universal design was a set of guidelines for all people in all chair users and others from reaching the call buttons.The height of the clear floor or ground space is considered to be
conditions there is another set of principles that focuses on those with specific a volume from the floor to 80 inches (2030 mm) above the floor. Recessed ashtrays should not be placed near elevator
call buttons so that persons who are blind or visually impaired do not inadvertently contact them or their contents as
disabilities.“ADA Standards”(Americans with Disabilities) creates a standard they reach for the call buttons.
for quality control in regard to disabled users.
Advisory 307.2 Protrusion Limits. When a cane is used and the element is in the detectable range, it gives a
personsufficienttimetodetecttheelementwiththecanebeforethereisbodycontact.Elementslocatedoncirculation
It began with the independent living movement which challenged paths,includingoperableelements,mustcomplywithrequirementsforprotrudingobjects.Forexample,awningsand
their supporting structures cannot reduce the minimum required vertical clearance. Similarly, casement windows,
the idea of segregation and institutionalization of individuals with physical when open, cannot encroach more than 4 inches (100 mm) into circulation paths above 27 inches (685 mm).
or mental disabilities. Before, people fell into the idea of “out of sight, out of
4.4.2 Head Room. Walks, halls, corridors, passageways, aisles, or other circulation spaces shall have 80 in (2030 mm)
mind”. In 1973“rehabilitation act”which“banned discrimination on the basis minimum clear head room (see Fig. 8(a)). If vertical clearance of an area adjoining an accessible route is reduced to less
of disability by recipients of federal funds.15 This caused ignorance towards than 80 in (nominal dimension), a barrier to warn blind or visually-impaired persons shall be provided (see Fig. 8(c-1)).

those with disabilities to truly become viewed of as discrimination by the pub- A4.30.2 Character Proportion. The legibility of printed characters is a function of the viewing distance, character
lic.This act stated that even though there is a wide array of disabilities (mental height, the ratio of the stroke width to the height of the character, the contrast of color between character and back-
ground,andprintfont.Thesizeofcharactersmustbebasedupontheintendedviewingdistance.Aseverelynearsight-
/ physical), this group suffered from similar struggles in regard to employ- ed person may have to be much closer to recognize a character of a given size than a person with normal visual acuity.
ment, education, and access to society. After a continuous fight for legislation, 4.30.4 Raised and Brailled Characters and Pictorial Symbol Signs (Pictograms). Letters and numerals
shall be raised 1/32 in (0.8 mm) minimum, upper case, sans serif or simple serif type and shall be accompanied with
in 1988, witnesses of blindness, deafness, down syndrome, and HIV infection Grade 2 Braille. Raised characters shall be at least 5/8 in (16 mm) high, but no higher than 2 in (50 mm). Pictograms
spoke of the social and architectural barriers that have been a part of their lives shallbeaccompaniedbytheequivalentverbaldescriptionplaceddirectlybelowthepictogram.Theborderdimension
of the pictogram shall be 6 in (152 mm) minimum in height.
without a second thought from the public to the Senate Subcommittee. The
feeling of discrimination had nearly defeated them. After this, the running 4.30.5 Finish and Contrast. The characters and background of signs shall be eggshell, matte, or other non-glare
finish. Characters and symbols shall contrast with their background -- either light characters on a dark background or
president Bush made this top priority and a strong factor in his presidential dark characters on a light background.
campaign bringing a large amount of attention to the issue. By July 26, 1992,
4.34.5 Equipment for Persons with Vision Impairments. Instructions and all information for use shall be
theactwaspassedandimplementedbringingactiontowardstheaccessibility made accessible to and independently usable by persons with vision impairments.
for those with disabilities.16
A4.13.12 Automatic Doors and Power-Assisted Doors. Sliding automatic doors do not need guard rails and are
more convenient for wheelchair users and visually impaired people to use. If slowly opening automatic doors can be
TheAmericanwithDisabilitiesactbecameastandardmanualfocused reactivated before their closing cycle is completed, they will be more convenient in busy doorways.
onarchitecturaldesignsrequirementsformakingspacesaccessibleforpeople
with disabilities. The types of conditions that the standards address are old
age, walking disabilities, deafness, and blindness. In regard to blindness, the
main focus of the“ADA Standards”is to eliminate any obstacles (wall protru-
sions, slippery floors, level floors) that would potentially harm a user with a
visual impairment. The standard also lays out ideal signage for architecture
that will help people with low vision still have access to the information.This is
donebyhavingastrongcontrastbetweenthefigureandbackgroundaswellas
incorporating braille and raised lettering into the signs (or elevator buttons).

19 20
 Principles

Nowthatweunderstandwhatblindnessentailsandwhatpolicieshave
beendevelopedtoaccommodatethedisabilities,wecannowtakeaphenom-
enological approach to the topic at hand. It is one thing to accommodate for
people in a pragmatic point of view but in order to enhance the qualities of
architecture,wemustenvisiontheoverallexperientialaspectsofwhatthesens-
es can bring. Designers take utilitarian ideas and make them into something
unique and enjoyable for the individuals who will interact with the product.
First, I will walk through the senses. This is necessary as the sensory organs
are the key into unlocking architecture that is experienced in a multi-sensory
fashion.Then, by looking at numerous case studies, I will discuss how they use
design to enhance the senses.Thirdly, a set of multi-sensory principles will be
formedinreactiontospecificarchitecturalelements(doors,walls,floors…etc.)

21 22
 Sight is commonly thought of as being the noblest of the senses.17 It is the
easiest to appreciate and understand for the sighted. It allows for the under-
standing of objects in close proximity and great distances as well as compo-
sitional beauty. In current architectural practice, architects often design the
building for its image and visual aesthetics. Pallasmaa argues that this has
left“the body and the other senses, as well as our memories, imagination, and
dreams homeless”.18 A design that focuses on vision alone is 2 dimensional. It
fails to enhance the lives or spirits of the occupants. Visual optics, when dealt
with appropriately, must be integrated into the other aspects of the building
that the other 4 senses interact with. They reinforce one another.

As stated earlier, people with visual impairment are not completely

detached from sight. A very small amount of people has total blindness.When
a person has a visual impairment, they can still see color, light, and shapes. It is
however more difficult to understand the world visually as this group will lack
a certain level of visual acuity. Light plays a large role when designing for the
visually impaired. Harsh beams of light or glare will result in a very uncom-
fortableexperienceastheireyeswilltendtobemuchmoresensitivethanthose
without a visual impairment.When picking materials for a space with natural
light, one must avoid a strong sun glare at all cost for this is a very unpleasant
experience.Colorsshouldbeusedtodelineateobjectsinaspacesuchastables,
stair treads, light switches, handrails, etc. This is important for when a space
Downey. Lighthouse for the Blind and Visually Impaired.
Floorshavelowreflectivity.Materialsaredelineatedwithhighcontrastedges.
is primarily monochromatic a person with a severe visual impairment will not
Signage is large and readable. beabletoperceivethedifferentelementsthatmakeupthespace. Contrasting
colors should also be used to define different spatial zones (waiting area vs.
reception) as a way to bring a better understanding of the way in which a space
is programmed and used.

17 Pallasmaa, Juhani, The Eyes of the Skin, (Great Britain, Wiely-Academy, 2005), 15

23 24
 Touch gives a view of the world at bodies’ reach. Pallasmaa claims that all
senses are an extension of touch. He states that“the senses are specializations
of skin tissue, and all sensory experiences are modes of touching and thus re-
lated to tactility”.19 Upon losing the sense of sight, the sense of touch is natu-
rally enhanced. In John Hull’s audiotapes on the Notes on Blindness he de-
scribes how the beauties of the world begin to shift after losing sight. He states
that a“nice day”no longer corresponds to clear blue sunny skies but to a day
thatpossessesamildbreeze.20 Abreezepicksupandcarriesscentsandsounds
of the world and touches the body with its consistent manner.

Within architecture, the sense of touch is activated where individuals

come into physical contact with the building. Handrails, doorknobs, floors,
andfurnitureallbecomeanopportunityexpressmaterialityandcarefullyplay
with thoughtful ergonomics. Alvar Aalto designed handrails to be comfort-
able to the touch over time and to provide organic transitions while turning a
corner. Aalto designed the handrails primarily out of wood so that they would
age with the numbers of hands that slide across it.The sensation is pleasurable
to the touch for it reflects the slow process of its formation. Museums offer
exhibits that allow blind occupants to touch sculptures and sometimes paint-
ings. This offers to the visually impaired a means to seeing beauty through a
haptic experience. Designers must pay attention to temperature, materiality,
Alvar Aalto. Aalto University.
Handrail is comfortable to the touch.
air movement, and ergonomics as a way to design for the skin.
Natural transition at end.
Wall has tactile ceramics applied pleasing he hand when brushed accross.

25 26
 Smellmap. Amsterdam. Kate McLean.

Smell has a direct effect on the experience of a space. Pallasmaa states that
“The strongest memory of a space is often its scent”21 which is ultimately true.
If an individual can remember a smell after a single day, then they tend to
remember that smell for a much longer time. Odors are understood as either
being ambient or source perceived.22 When an odor is ambient, it means that a
smellwillfillaspaceandbecomeastrongpieceoftheperceivedatmosphereof
a space. A source odor is a specific point of origin and will increase or decrease
in intensity as proximity varies. When dealing with weather to enhance or
dampen a particular scent one must evaluate the odors intensity, quality, and
acceptability. This will provide direction when designing based on olfactory
qualities.
Olfactory design is fairly prominent as people have noticed that smells will
influence human behavior. New car smell is used by salesmen as it helps to sell
older and used vehicles. the smell of freshly brewed coffee and baked cookies
is used to sell homes.This is due to the odors producing a sense of homeliness
andwarmth.Lemonandpepperminthasbeenincorporatedintheventilation
system in offices to help employees focus. These particular scents are found
to provide a feeling of alertness and bring a sense of energy.23 Another way
in which scent has been incorporated in design are Japanese restrooms using
materials like cedar as a way to fill the space with a lasting clean, citrus-like
scent.24

27 28
 Sound is a powerful tool for orientation and understanding of atmospheric
qualities. Where vision is a direct means to viewing, sound is an omnidirec-
tional source.25 For the visually impaired, sound is the equivalent to seeing as
it allows for an understanding of distance and character of space. The sound
of traffic in the distance.The crashing of ocean waves.The laughter of children
playing.These are warm sounds to the ear that offer a sense place in the world.
John Hull writes of the“blanket of differentiating sounds”produced by rain.
He describes rain as “uninterrupted, which fills the hole of the audible envi-
ronment... if only there could be an equivalent to rain falling inside, then the
whole of a room could take on shape and dimension”.26

Understanding sounds as either desirable or undesirable is important since

design makes the decision to either enhance the sound or absorb it. A low to
middle frequency is preferred by most and sounds that are unrelenting, loud,
and high pitched tend to be unpleasant. It is also ideal for the sounds to be
informative and responsive to the inhabitants.27 Responsive sound is a result
of materiality being used in a way that is reactive to an individual’s action. a
crushed gravel ground results in a pleasant sound when being walked across.
Hard floors and walls provide an echo when walking through the space allow-
ing for a spatial understanding. Sound is always a reaction from some sort
of disturbance or action. Chairs scrapping against the floors, cars zooming
past a window, glasses clinging against a ceramic plate. Pallasmaa states that
Daniel Libeskind, Michael Arad, Peter Walker. 9/11 Memorial. New York City.
Sound of the water feature is what creates the sense of space.
“dripping water in a cave demonstrates how the ear can carve a volume out
of darkness”.28 The 9/11 memorial in New York City displays how sound can
be used as a way to carve a space in the middle of a hectic city. The constant
soundofthewaterfallsengulfsvisitorsmakingthesurroundingcitydisappear
and brings focus to the void of the destroyed building.

29 30
 Framework

Defining the primary qualities that the eyes, ears, nose, and skin react
to allows us to make a definitive judgment of a space’s multisensory qualities.
The eyes react to color, light, edges, and motion.The ears react to sound waves
createdbymaterials,echoes,absorption,andperipheralnoise.Thenosereacts
to fragrances of materiality, air movement, and objects within a space. Skin
reacts to temperature, humidity, and air movement and is activated through
physical contact. If one is designing a multisensory space, checking through
the list will focus the design to be geared toward a holistic experience for the
entire the body. As I discuss existing principles of multi-sensory architecture,
I will break down the architectural elements into three categories: horizon-
tal, vertical, and entourage. The horizontal elements focus on things such as
floors, ceilings, and wayfinding through a space. The vertical is about walls,
doors,stairs,andwindows.Entourageisaboutobjectswithinthespacesuchas
signage, utensils, fixtures, and furniture.

31 32
302.1. Horizontal / Floor. In certain environments, floor surfaces will
require consistency. Floors in front of elevators or corridors within hospitals
will certainly require a level of consistency as well and wheelchair access. ADA
states that“stable and regular surface is necessary for safe walking”regarding
those who have trouble walking. A ground surface with a variation in material
/ height will make the user engage with it more than if the surface is perfect-
ly level and monochromatic. Malnar explains that when a walking surface is
articulated in this way then the head will tilt downward to take in what is to
come.“thissuggeststhatunevenpathwaysheightenourawarenessofsurfac-
es by obliging us to bring our sensory organs into best alignment to perceive
them.”.1 Stone pavers or gravel will make a surface more engaging to the body.
The whole body will react to a surface that has more variation in it. However,
this will bring potential hazards to those with visual impairments. To suc-
cessfully achieve this tactic for visual impairments, the gravel must be finely
crushed and levelly spread bringing variation in the step and sound without
adding tripping hazards. Crosswalks can be constructed in a contrasting ma-
terial such as brick which will cause an individual walking or driving across to
have a brief change in mindset. Often this slows down the passage and makes
it more experiential and multisensory sense it will inevitably cause the entire
body to react to the change.
Another factor to consider when designing a floor for a visual impairment are
the materials reflective and sound qualities. If a floor is too reflective then it Path in Joan Teahouse Garden. Photograph by Botand Bognar, 2002
will cause a harsh glare to shine onto potentially sensitive eyes. The material
should be somewhat absorbent of light as a way to counteract glare. Materials
should also take into account the sounds that will be produced when feet and
canes move across it. Carpeting can be very confusing for people with low vi-
sionsinceittakesawaytheabilitytohearothersapproachingthem.Thesound
offeetfoottrafficbringsrhythmandanunderstandingofsurroundingactivity
as well as the scale of a space when echoed.
“Theory of head tilt, Drawing by Joy Monice Malnar”
“Path in Joan Teahouse Garden, 1618. Photograph by Botand Bognar, 2002”

Theory of head tilt, Drawing by Joy Monice Malnar

Variation in ground activates the body to engage with the ground

33 34
301.2. Horizontal / Wayfinding. While Variation in materiality and tex-
ture can enhance the experiential quality of movement, it can also convey in-
formation to those with a visual impairment. A project in NewYork City called
“TactileCity:NavigationstrategiesforvisuallyimpairedNewYorkers”address-
es this directly. They propose to apply an informative texture along all of the
sidewalks in NewYork City.The texture will be registered through the touch of
the cane and guide the NewYorker through the city.The textured pattern will
have variations in its spacing as a way to call out elements like trash cans, cross
walks, construction zones, and doorways. Construction detours would addi-
tionally be called by an audio signal informing visually impaired pedestrians
of what is to come ahead of their journey. This type of treatment has already
been incorporated in spaces such as museums, hospitals, and airports. The
guided texture can be applied to almost any surface as a vinyl covering (which
can also house wiring) or better yet, carved into the floor (Neus museum,
Berlin,Chipperfield).Lighthousefortheblindhasexpandedthisbyproducing
tactile maps as a means for planning out one’s journey since paper maps are
for eyes alone. This map is produced with physical bumps (similar to braille) Tactile City: Navigation Strategies for Visually Im-
paired New Yorkers. Cooper Union.
that can expand on detailed information by running a pen over it.
Treating a horizontal surface with informative tactile cues will provide an
informative sensation to visually impaired pedestrians. It provides a sense of
securityaswellasindependencewhenfindingones’waythoughthecity,store,
or museum.

MAC House. So So Architects.

Neus Museum, Berlin, Germany, David Chipperfield

35 36
 Horizontal
-Consistent grade to avoid tripping hazard
-Floor material to produce audible sound when walking across
-Contrasting material to demarcate zones
-Material to be non-reflective
-Tactile information to inform

Tactile floor treatment Ventilation to Gravel to be fine and level

to delineate walkway mark threshold with surrounding pave-

37 38
302.1. Vertical / Walls. Similar to ground surfaces, walls are typically
advised to be treated in an extremely consistent manner. ADA advises in 307.2
to treat protrusions from walls very carefully in order to avoid having people
withavisual impairmentcomeintoundetected contact with the element.The
manual advises for elements to not exceed more than 4 inches of protrusion
when greater than 27 inches off of the ground.This allows for people with a vi-
sualimpairmenttoappropriatelydetectanapproachingobjectwitharegularly
used cane.
Taller de Arquitectura designed a project that employed a unique take haptic
design for people with low vision. At the “Center for the blind and visually
impaired” in Mexico City the walls have a specific texture applied to each Center for the Blind and Visually Impaired. Taller de Arquitectura. Mexico City
rectilinear building.The Concrete bases of the buildings on the campus have Wall tactility to inform of buildings identity.

horizontal and vertical lines set into the concrete at hand height. This allows
for each building to have a unique and custom icon embedded into the archi-
tecture which can easily be touch and understood before entering ore while
walkingagainst.Thisprovidesanintegratedapproachtothearchitecturethat
invites users to touch and engage with through a sense other than the visual.
The rectilinear vertical walls in the project are ideal for a low vision environ-
ment due to their orthogonal organization. A study conducted at Stanford
University discovered that curvilinear walls can by confusing for those with a
visual impairment. When asked to describe curvilinear architecture, a blind
member describe it as“turned forms”.The individual stated that curved walls
“create the idea that you walk straight forward while you in fact are turning
around”(Stanford University, Architects andVisually Impaired people. 2009).
Slowlycurvedwallsarenotperceivedascurvedinanywaywhenvisionistaken
outoftheequation.Straightandrectilinearwallsprovidethemostunderstood
and clear for people with visual impairment.
Vertical walls are not only informative and clear but can also be experientially
designed for the senses.The mosques built in which Arabs would mix rosewa-
ter into the mortar that would make up the wall. When the sun would strike
the finished wall, they would put off a pleasant fragrance. This method is not
primarily for a functional purpose but speak to the experience of the body.
Walls not only delineate and shape the space in which we inhabit but are also
the most vulnerable for touch as they are at human hand height.They should
be designed with touch in mind. A smoothly polished concrete wall invites a
swooping hand gesture across it. A constructed tectonic wall suggests a hand
or cane run across it as it produces a rhythmic sound. Corners should consider
hands to guide and swing individuals 45 degrees in a new direction.
Hazelwood School, City of Glasgow, GB / Alan Dunlop Architect. School for blind
and deaf students.

39 40
302.2. Vertical / Stairs. Stairs are an architectural element that bring the
entire body into action. They provide a moment of wayfinding and orienta-
tion into the building while pragmatically bringing individuals up and down a
building.The experience can one of clarity and joy or it can be dangerous and
banal for those with a visual impairment. The detailing of the stair treads, ris-
ers, natural and artificial light, and handrails all come into play when produc-
ing a well experienced multi-sensory experience.The materials that make up
the treads and risers shall not have a reflective or glossy finish. If it does than
an unpleasant glare will be produced and disorient the individual.The mate-
rials should have a matte finish to avoid this. The materials should also emit a
tone when stepping on and off in order to stimulate the ears.The treads should
have a color or material differentiation on the ends of the treads in order to
bring an understanding to the beginning and end of the step itself. This will
make the experience much safer for those with a visual impairment. The first
treadandlasttreadshouldhaveasensorycuethatwillacknowledgethatoneis
beginningorendingtheverticalmovement.Thiscouldbeahapticdetailinthe
handrail, a subtle air vent that blows air onto the ankles, or a separate material
on the first and last tread. In the Neues Museum in Berlin, raised lettering and
braille is incorporated in the beginning and end of handrails to inform blind
individuals where they are in building. This will enhance the senses through
the skin particularly.
Downey. Lighthouse for the Blind and Visually Impaired.
The staircase designed by Chris Downey in the lighthouse school for the blind
and visually impaired is a good model for these types of ideals. He located the
stair next to a large window that brings in natural light while being extremely
careful to not allow for any harsh reflections of light onto the inhabitants.The
material of the treads and risers is wood which will provide a pleasant sound
when walking up and down the stair. At the end of each tread there is a con-
trasting material change that will be picked up visually as well as through ones
shoe or cane.The handrails are smooth and rounded bringing comfort to the
hand and have been notched where there is a landing. This allows for a clear
understanding of the beginning and end of the stair.The stair is safe and clear
forpeoplewithavisualimpairmentaswellasanoverallpleasantexperienceto
everyone when engaging with it.

iF Design, World Design Guide. Braille Stairs

Tactile information should be used to inform user of orientation.

41 42
302.3. Vertical / Inside Outside. On vertical walls it is necessary to have
thresholds to bring people in the space as well as be able to provide an under-
standing of what is happening outside of the interior.Windows and doors are
the architectural manifestation of this need. The detailing of these elements
are similar to that of the stairs in which edges should be carefully invested in
both in materiality and form.The door handle is important to be ergonomic as
it is the handshake of a building. In Finland Alvar Aalto would wrap the door
handle in leather chords to bring warmth to the touch when skin comes into
contact with it. He would also put an element above the handle to shield the
handfromgettingwetwhenrainingorsnowing.Itdemonstratesacaretowards
the human body and scale and brings a sense of empathy to design. Outside
and inside a door can also have ventilation strategically placed.The air should
blow onto the inhabitants when entering or leaving the space as a way to pro-
vide a physical feeling on the skin that states that there is a change in tempera-
ture and humidity. ADA standards say that automatic doors are beneficial
to those with a visual impairment since they can just move directly into the
building but I argue that this takes away from the haptic experience of moving
into a building. There is no feeling of weight or materiality of a door or handle Alvar Aalto. Sannitorium. Window detail.
and there is no point that invites one to come in to contact with the building. Easily Operable window brings outside in.

Windows are the opportunity to provide views outward when inhab-

iting a space. For those that experience a visual impairment they provide
something else. If a window is operable and can be opened, then the aperture
will bring in the sounds and smells of the exterior into the space. This will
give the space a stronger sense of place. When Charles Moore and Richard B.
Oliverdesignedahouseforapartiallysightedclient,theyintegratedsmellinto
the building communicating a powerful understanding of the environment
to the client. Moore and Oliver designed a ventilation system high up in the
main living area of the building.2 They strategically planted pine trees on the
north side of the house and a peach orchard on the southern area. The high
windows would catch the air carrying the scents of the landscape. The client
couldunderstandwhichdirectionthewindwasblowingdependingonhowthe
room smelled. It also would allow for an understanding of the cardinal direc-
tions. It is a strong example in which a simple window can be used to create a Alvar Aalto. Door Handle Detail.
multi-sensory experience of a place. Handle is comfortable to touch by the use of leather and height variation.

43 44
 Vertical
Walls Door

-Lack of Protrusion -Comfortable handle

-incorporate tactile information -appropriate weight to avoid

-Avoid long curves strain

-Aromatic material -Ventilation to mark threshold

Stair Window

-Audible materials -Operable windows

-Contrasting Edges -Contrasting edges

-Beginning / End Markers -Seat / rail at hand height

-Low reflectivity
-Comfortable handrail w/ tactile
information

Tactile wall treatment to Operable windows

delineate walkway

Contrasting tread edges

on stair

Ergonomic handrail to
display tactile information
45 46
303.1. Entourage / Value. People with a visual impairment have a diffi-
cult time perceiving edges and material change. A common test when un-
derstanding a person’s visual skills is showing figure-ground images. This
image will overlay multiple different profiles of commonly seen objects such
as scissors, books, glasses, etc. on top of each other. If the person taking the
test has certain visual impairments such as low vision or blindness then they
will have a very difficult time differentiating the items. They will ultimately
perceive a cluster of lines and will fail to prescribe any meaning to what they
represent.That being said, the treatment of edges and surfaces must be easily
delineated. Colors and texture can be an easy and stylish way to achieve this.
In many modern spaces the design focuses primarily on the form resulting in
a very monochromatic space. A space of one color / material to a person with a
visualimpairmentisverydifficulttounderstandaseverythingbleedstogether.
The image to the left show a bathroom with edges and element marked by a
contrasting color.This allows for an extremely clear understanding of what is Dementia Care Bathroom, HEWI (Germany). Value contrast high-
around an individual. A blind interior architect was interviewed by Stanford lights fixed elements in a typical monochromatic space.

University and discussed how he had adjusted the interior of his house after
losing his sight.3 He demarcated zones of his living environment with varying
wall materials and light colors.This provided a sense of place in his home.The
atticwasunderstoodthroughthecolorsandsmellsoftheexposedwoodwhile
his living room was felt through the contrasting lamp colors. Chris Downey at
theLighthouseschoolfortheblindmarkedhallwaysandspaceswithdifferent
lighting colors as well for similar reasons.
Downey. Lighthouse for the Blind and Visually Impaired.
Color Value differentiates the different rooms.

3 Peter-WillemVermeersch, Jasmien Herssens, Megan Strickfaden, Ann Heylighen.“Architects andVisually Impaired

People: Analyzing two ways of thinking”

47 48
303.2. Entourage / Furniture. Furniture is typically the most used objects
in an a space. In many homes, offices, restaurants, and schools, furniture is
used to bring relaxation and comfort to users.The placement of furniture cre-
ates pockets of space within a larger space so it is to be treated as architectural
elements. Architects such as a Frank LloydWright would design the furniture
to compliment the buildings aesthetics and would even make the furniture
to be built in / fixed to the building. He would use natural material such as
wood as a material for it was a softer and more economical material.While his
furniture was aesthetically consistent with the building, it provided no con-
trast to its surroundings. It was also critiqued for not being comfortable as it
he did not always design with the human body in mind. The chairs designed
fortheJohnsonWaxOfficewereonlysupportedbythreewheelscausingusers
to frequently fall out of the chair. He also would use materials and colors that
BBDO Bangkok, 7:1 Furniture Collection. Contrast visualization
blendedintothebuildingmakingperceptionoftheobjectdifficultforaperson
with low vision.

The furniture line 7:1 designed by BBDO Bangkok addresses issues

such as this. Their collection of furniture focuses on visual clarity for those
with vision impairments manifested in tables, chairs, shelves, and plumbing
fixtures.The concept of the line was based on the ideal contrast ratio of 7 : 1 as
it allows for the clear understanding of edges and surfaces.4The furniture uses
bright and vibrant colors with the edges articulated in a contrasting color.This
allowsforthereadingofthespatialobjectstobeperceivedevenwhenlooking
through the lens of a person with low vision.

BBDO Bangkok, 7:1 Furniture Collection. High contrast furniture allows for pure understanding when seen
through the lens of visual impaired.

49 50
303.3. Entourage / Landscape A sensory garden is a working lot of land
that is developed with the goal of activating all of the senses; sight, taste, smell,
sound, and touch. It is a well received skill set for the visually impaired as well
as adds to the experiential qualities of the place in which it is located. Locat-

Sight
ing the garden adjacent to a space with operable windows as a barrier allows
for those qualities to bleed into the interior of a space. The careful curation of
plants and water features activates all of the senses.
Butterfly Weed Cockscomb Sunflower

David Graper, a horticulture Specialist & Master Gardener Program Coordina-

tor, gives a thorough list of plants that should be used in sensory garden. The
article states which plants are best for each sense. For sight; Bleeding heart,

Smell
ButterflyWeed, Cockscomb, Delphinium, and Sunflowers are some of the top
picks as they produce large and vibrant colors after they bloom. Anise Hys-
sop’s produce a black licorice scent when rubbed with the fingers.The leaves
can also be used in a tea. This plant can appeal smell, taste, and touch. False Catmint Creeping Thyme Lily of the Valley
Indigosappealtothesenseofhearingasit“producesbrownseedpodscontain-
ing seeds that create a rattling sound when shook”.5 Switchgrass also makes a
pleasant sound when hit with a breeze.There are many plants that can appeal
to taste as plants are used as spices and produce. Chives, mint, and Nasturtium

Taste
are a few examples that are easy to grow and can be used in the kitchen. Lambs
ear, Wooly thyme, and Satiny Wormwood appeal to the sense of touch as in
their maturity they have soft and silky leaves and hairs. It is not advised to
plant any plants with thorns such as roses or hollies. Chives Anise Hyssop Nasturtium

Afterselectingandplantingtheflowersandbushes,theincorporation
of a water feature and / or wind-chimes can further enhance the sound quali-

Sound
ties of the space.These are consistent year round where some of the plants are
only active for a few months out of the year. In the end the garden will activate
all senses and benefit all who experience it.
Balloon Flower False Indigo Switchgrass
Touch

Lambs Ear Satiny Wormwood Wooly Thyme

5 Drietz, Rachel. Graper, David. “Creating a sensory garden”. SDSU Extension.

51 52
 Entourage
-Furniture to have contrasting colors
-Plantings / water outside window to activate senses inside
-Lighting to face focal point
-Fixtures to contrast surrounding materials
-Maintain obstacle free pathway

Lighting throws light on Furniture to have Plantings placed

table instead of eyes contrasting colors outside of window

53 54
Conclusion

Architecture is ultimately experienced through the body, yet the ma- touch and provides a haptic joy when physical contact is made.When ventila-
jority of architectural design focuses primarily on the visual qualities of space tion is integrated into the design it is important to allow air to be blown onto
and form.The community of people that live with a visual impairment such as people in moments of transition as a way to touch the body and express the
lowvisiondoesnotbenefitfromthisnarrowfocus.Architecturaldesignshould change in place.
take in all aspects of sensory cues such as touch, sound, and smell.This can be
achieved if the designer chooses to incorporate these aspects of the body into All of these principles when demonstrated will bring a multi-sensory
theirarchitectural vocabulary andunderstanding.The practice should look at experience to a space.The space will become an extension of the body and an
policies such as the ADA standards as well as the seven principles of universal individual will experience a haptic understanding of architecture. It will bring
design and add an experiential quality to the design.With this mindset, archi- pleasuretothehumanbodyasopposedtopurelyaccommodatingitandmake
tecturewilltrulybedesignedforthebodyandbringaclearunderstandingand a strong impression to not only those with a visual impairment, but to every-
joytotheindividualsthatinhabitthespace.Bycategorizingdifferentelements one who inhabits the design.
as vertical, horizontal, and fixed, we can prescribe principles to each category
that will amplify the multi-sensory qualities of the overall space.

The horizontal elements such as the floors provide an understanding

ofway-findingthroughspace.Thematerialschosenforgroundsurfacesshould
provide a sensory cues such sound and smell. A ground surface, if constructed
with a material like gravel, will make an individual more engaged in the expe-
rience as it will produce a sound with each step and involves the whole body
to interact with it as the surface is essentially uneven. A level ground surface
shouldproducesoundthroughitsechoesandshouldabsorblighttoavoidany
kind of glare. It should also have a wayfinding technique where grooves are
addedasatoolforthosewithcanesanddifferentmaterialsreflectthespacesin
which they define.

Vertical aspects of design such as walls, windows, and stairs bring a de-
lineation of space or threshold through space.Walls should be treated similar
to floors in that the materials chosen provide a pleasant aroma, absorb light,
and incorporate an understanding of wayfinding. When a window is added
then it is best to let the inside into the outside by incorporating operability and
acousitictransparency.Doorsshouldbedesignedergonomicallyasthisisone
of the consistently touched elements of a building.

The Entourage such as handrails, seats, and tables should have clearly
defined edges as well as contrasting materiality and color. They should also
have raised signage incorporated into the element when necessary to add to
theunderstandingofoneslocationinaspace.Furnitureshouldbedesignedto
express its use by its materiality.The materiality of objects invites the action of
55 56
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