Draft Speech

First Draft 

Mikaela: 

What do you think of when I say, ‘the sound of silence’? For some, that would mean serenity, peace, relaxation perhaps. However, for many the reality of silence is being confined to one's thoughts. Trapped in a space where pure assumption is a form of survival. The most curious thing about hearing deprivation is the fact that no one can see it. Living in an ocular centric world, we assume we can adapt critical information about another by simply seeing them. Those whom suffer know in themselves that they are deaf, however the world seems to be deaf by blindness. Cognitively dissecting this, it seems odd that this is the fundamental bearings of the human interaction with people, architecture and our habitus.   

Today within architecture, informed design judgement is required more than ever. Capturing the lived, embodied experience that is infused into a space, is essential in creating an environment that invites not only the occupant, but all their senses. Through the rise of the technological era, architecture has formed a notion unlike this towards the visual realm, a narcissistic approach, seeking to pleasure the aesthetic desire. This view is buffered from the idea of sensory design, in which we will introduce and explore within today’s presentation.  

This investigation will involve an inquiry into how the senses can determine our connection with a space, and how the loss of a sense affects daily interactions. This will be conducted in the form of an experiment, followed by an interview, which will be analysed and examined against research from a case study and the book, “The Eyes of the Skin”.  

These findings and observations, drawn from our investigation, will further educate our design judgement and allow our attitude to become more in tune with creating spaces that promote inclusivity and invigorate the senses.  

Bronte: 

The objective of the experiment was to gain knowledge and insight from a personal stand point about the daily experiences of the hearing-impaired community. The inability to use a highly relied upon sense brings many uncertainties, therefore the requirement of the experiment was a necessary step in becoming mindful and well-versed with the subject.  

The experiment was pre-planned and completed in a knowing space to ensure safety, however challenges were still encountered. The Junction Café, outside G23 at the Gold Coast Griffith University campus was used as the setting for the experiment, where the participant had earbuds and noise cancelling headphones on and was tasked to order and collect a coffee at the café. 

The experiment made it clear that the loss of hearing creates a barrier between the individual and their surroundings. The participate noted post experiment that the overwhelming feeling of vulnerability shadowed them the entire time. The absence of reassurance caused her to overanalyse everything, therefore debilitating her other senses rather than heightening them. This left her feeling judged, uncomfortable and excluded within the space. This was prevalent through the constantly shifting direction of eyesight, reliance on others and uncertainty to proceed.  

Social withdrawal was noticeable throughout the experiment due to the instinctive body language of the participant. She mentioned that throughout the experience she felt out of sorts as her habitus ensures she is quite social, open and polite with the staff at the café and typically starts a conversation with them. However, due to the lack of her hearing she was unable to do so.  

The participant also called attention to the architectural design of the space, which when experiencing without one sense caused chaos in terms of interacting with and utilising the café. The large open area at the counters is a mix of an area to wait and collect coffee, and a place to order. This big undefined space caused her to feel vulnerable and open, whilst the placement of the tables positions people to face towards the café, causing those ordering to feel further pressure and judgement.  

These observations broadened our insight into the world of hearing and sensory impairments and where but also how is it has an impact. In order to carry our new found knowledge over and apply it to a real-world example, we decided to interview someone with a hearing impairment, to continue to inform our design judgement. 

Mikaela: 

For our experiment, we approached a participant named Nancy White who has a hearing impairment. The 81-year-old woman had 20% of their hearing remaining, and the hearing loss started at the age of 35.  

We asked her a range of questions inquiring about her daily life and how her sensory impediment affects her, specifically relating to her ability to interact with people and spaces. Nancy expresses her ability to rely on sight as a predominant sense, as she is able to read their lips and recognize emotions through body language, therefore she can interpret situations and respond accordingly.  

 
 
 

Designers, when creating a public environment do not take into consideration that the loss or impairment of hearing can greatly affect the occupant's connection with the space, this then reflects Nancy’s ability to immerse herself within the environment.  

Nancy states that these public spaces do not cater to hearing loss, specifically in relation to business retail environments and hospitality venues. Music is frequently at a high volume, kitchens are not closed off to eating areas, the sound is trapped within the structural barriers, which in term creates an unbearable situation. Due to the participants habitus being formed by her upbringing in 40’s and the correlation to Nancy’s sheltered, reserved life, she finds it extremely difficult to integrate herself into these fast paced, sensory overloading environments.  This is reflective of Merleau Ponty’s theory, that the senses mediate our bodies understanding of our actions. 

Our findings from this interview have provided a deep insight into the aesthetically driven architecture, where we are faced with a singular perspective. The sensory capabilities of its users are not taken into considering when designing these spaces and this negligent approach is creating exclusion and isolation. 

Bronte: 

By conducting both the experiment and interview, we were able to identify a clear correlation between two. It would appear that in this case, humanities ocular centric tendencies almost compliment the navigation of public interactions. However, these simple systemic responses are redundant beyond a certain point when our emotional needs, comfortability and safety, are not being met.  

This is evident in the case when the participant stated that she was withdrawn from her surroundings, extremely self-aware and had a lingering uncertainty that was almost debilitating. Likewise, Nancy had a similar perspective, except it is lived out in her daily life. She mentioned that if her hearing had completely diminished, she simply couldn't bear the thought of going outside in any public setting at all. 

In this case the eye has been suppressed in a way that capitalises on the nihilistic and narcissistic view, which is concreted in architecture as a means of survival, but not in an idealistic or functional mean. 

Bronte:  

A doctor's surgery is a great example of a place that whilst occupying, majority of people feel vulnerable, uncomfortable and on display. During the experiment the participant expressed her concern with the positioning of the tables that were directly facing the café, as this caused her to feel exposed and out of place. This spatial layout directly correlates to the environment and atmosphere generated at the EastBrooke Medical center in Southport.  

This surgery is extremely cold, uninviting and a stressful environment to occupy. It follows the same formula of every basic medical center, and they have evidently attempted to make the waiting room inviting and pleasant, although have failed to do. The rows of chairs are facing each other and when being called upon for your appointment everyone is aware of your presence. This shows that this space is purely designed for optical fulfillment rather than taking into consideration the sense and the experience of its users.  

Mikaela: 

Through this analysis it is evident that the interaction between our senses and modern architecture is somewhat distant and underdeveloped. It was deducted that when hearing was deprived within an environment that had limited control, sight exhibited dominance and our habitus intuitively was engaged. By this simple investigation, not only are we able to cognitively make better intentional judgments when it comes to design choices, but we are able to tap into what it means to feel excluded and included psychologically within a space.  

It is recommended in order to improve the daily interactions of those with sensory disabilities, that public spaces are designed with more than an ocular centric view in mind. 

These architectural sites have to contain elements that engage with all the senses, and not only invite the eyes but communicate with the tongue, play with the ear drum, and tickle the nostrils, performing physical artistry that connects with one’s emotions. Life-enhancing architecture is a movement that will include all users, exercising the true purpose of design.  

As it was said in The Eyes of the Skin, “When experiencing a work of art, a curious exchange takes place; the work projects its aura, and we project our own emotions and precepts on the work.” Because for what good is a beautiful space when it only emits its beauty to the eyes?  

Thank you.