A design model: the Autism Spectrum Disorder Classroom Design Kit

Architects and designers have a responsibility to provide an inclusive built environment. However for those with a diagnosis of Autism Spectrum Disorder (ASD), the built environment can be a frightening and confusing place, difficult to negotiate and tolerate. The challenge of integrating more fully into society is denied by an alienating built environment. For ASD pupils in a poorly designed school, their environment can distance them from learning. Instead, if more at ease in their surroundings, in an ASD-friendly environment, the ASD pupil stands a greater chance of doing better.

However a difficulty exists in that most architects are not knowledgeable in designing for those with ASD. Any available design guidelines for architects tend, because of the inherent difficulties associated with a spectrum, to be general in their information. Therefore, if wanting to provide an ASD-friendly learning environment, there is a need to ensure that teachers, as the experts, can most clearly and effectively impart their knowledge and requirements to architects.

This paper sets out the challenges and difficulties inherent in the design process when designing for ASD. It then sets out an alternative strategy to the usual method of drawing-centric dialogue between teacher and architect by using models instead as a basis for a more common language. An ASD Classroom Design Kit was designed and developed by Queen’s University of Belfast Architecture students. It was then used by ASD teaching staff from the Southern Education and Library Board in Northern Ireland as a case study to trial its effectiveness. The paper outlines how the study was carried out before concluding with reflections by both teaching staff and architect on using the ASD Classroom Design Kit.

It is hoped that this paper will firstly highlight the need for better dialogue between expert and architect when considering ASD and the Built Environment and secondly, that it may encourage others to consider using models to convey their ideas and knowledge when designing, not just for ASD, but for other Special Educational Needs and disabilities.

Odile Decq'i Anlamak

This is an interview with the well-known French architect Odile Decq.

Cast Offs (Touchstones in Practice)

The working process of an architect is not often shown publicly, as the finished buildings, more particularly images and publications on them tend to dominate how architecture is communicated. In this there is something lost. The experience of the building, which is its most valuable aspect, is only possible by being there physically. Photography and other means of representation of architecture can tend to an overly perfected and artificial read of both the building and how the design was produced. In truth the design process for a building is a complex one, full of chance discoveries, multiple abandoned ideas, and refinement which is lateral as well as rational.

When we were asked to exhibit it struck us that we should address this deficit in some small way. These are models made as part of the design process for four projects (an arts centre, a womens refuge, a villa and four artists studios). An important part of our work method is to try to explore the material qualities of the buildings we are working on. To advance this we commonly make models to allow us to make discoveries and to advance the project so that the finished building is imbued with material and spatial character. These models are not made to show the final design of the building but to highlight an aspect that we are interested in exploring, in some cases this is about a space, in others about texture and its relationship to form. We chose these four models as all in some way allowed us to make discoveries about the project being explored. This discovery, once made, is what we value. The model itself serves only to produce this, and once made we can cast off the model and move on. We show them, not as architecture, but as touchstones for ideas out of which architecture may come.

After & Since: Strand Lamps

A tribute to the Wexford born internationally acclaimed Irish designer and architect EILEEN GRAY and an intimate look at the work of 10 outstanding designers, craftspeople and artists working in Ireland today.

House at Bogwest - Best House 2012 RIAI Architecture Awards:A House Loved into Existence

Full length critical peer review article about House at Bogwest, which was the winner of the 2012 RIAI Best House award, by architect Emmett Scanlon. Photographs by Alice Clancy. Photographs and plans describing House at Bogwest.

Anchored in Irish housing tradition, Bog West: Steve Larkin's rural house resonates with its surroundings and tectonically celebrates domestic life

Full length critical peer review article about House at Bogwest by architect Emmett Scanlon writing for A10. Included visit to the house and an interview with Steve Larkin. Photographs by Alice Clancy. Photographs and plans describing House at Bogwest.

North by Northwest: The Life and work of Liam McCormick:Donegal Calling

I became an architect because my father was an architect, and I returned to Donegal to practice architecture because Liam McCormick was able to make great buildings there. My father's first job after graduating was with Liam in Derry in 1958, so architecture and Liam McCormick have been with me since I was a child. When I was six years old I remember Creeslough church being completed. I remember my aunt being concerned and asking my father why the curtains were fitted in the priest's house in Creeslough before the roof was added. He explained to her it was a flat-roofed house and, as such there would be no conventional roof! I was fascinated by the idea and how such an important building could be inspired by Muckish mountain.

Cinematic Peripheries of Dublin

The term periphery is, most of the time, used with or in relation to the centre. The ‘zoning’ taken by granted by the architect is unlike the one portrayed by the director who frames the differences of places in a non-linear manner. Film offers a constructed urban experience, suggesting the city to be a local network composed of nodes and links, rather than a centre and the margin. It is possible to talk about the construction of a new kind of network in film through a temporal representation of space, of the distant as the close. In this way, film may be a tool to shift the gaze from the bird’s-eye view to the eye level to create ‘a unified perceptual image of the city’, in Christine Boyer’s words. The experienced surface of the city is two-dimensional neither in fiction nor in reality. In this chapter, the nodes of Dublin are examined through two Irish films, Goldfish Memory (Elizabeth Gill, 2003) and Adam and Paul (Leonard Abrahamson, 2004). Specific elements of the city of Dublin, including walls, houses, pubs, streets, bridges, and parks, are analysed to understand the nature of the network of the city composed of nodes and their connections.

TEXTILE TECHNOLOGIES IN CONCRETE ENVIRONMENTS."

Girli Concrete is a cross disciplinary funded research project based in the University of Ulster involving a textile designer/ researcher, an architect/ academic and a concrete manufacturing firm.
Girli Concrete brings together concrete and textile technologies, testing ideas of
concrete as textile and textile as structure. It challenges the perception of textiles as only the ‘dressing’ to structure and instead integrates textile technologies into the products of building products. Girli Concrete uses ‘low tech’ methods of wet and dry concrete casting in combination with ‘high tech’ textile methods using laser cutting, etching, flocking and digital printing. Whilst we have been inspired by recent print and imprint techniques in architectural cladding, Girli Concrete is generated within the depth of the concrete’s cement paste “skin”, bringing the trades and crafts of both industries together with innovative results.
Architecture and Textiles have an odd, somewhat unresolved relationship. Confined to a subservient role in architecture, textiles exist chiefly within the categories of soft furnishings and interior design. Girli Concrete aims to mainstream tactility in the production of built environment products, raising the human and environmental interface to the same specification level as the technical. This paper will chart:
The background and wider theoretical concerns to the project.
The development of Girli Concrete, highlighting the areas where craft becomes
art and art becomes science in the combination of textile and concrete
technologies.
The challenges of identifying funding to support such combination technologies,
working methods and philosophies.
The challenges of generating and sustaining practice within an academic
research environment
The outcomes to date