School for the Visually Impaired

A Transition to Independent Living

By Christopher S. Plyler
Acknowledgements
I would like to thank everyone who believed in my success and never doubted my
dreams of receiving a degree in Architecture and those who aided me in times of
need, gave me shelter, and made sure I always had something to eat.

I would especially like to thank my Father, Sergeant William P. Plyler USMC,

my Grandparents Therman and Setsuko Rucker, my Grandfather George H. Holt
II, Roland and Geneva Kulish, my best friend Paul Kulish, my best friend Patrick
Murray, Kandle Kulish, Dan and Amanda Sutton and Family, Sheila Taylor,
Mark and Jessica Vasquez, Matt Biediger and Grace Vergara, and finally anyone
who I may have forgotten.

I would also like to thank Associate Professor Gary W. Smith and Michael T.
Martin for their expertise, professionalism, and guidance.

“It is hard to fail, but it is worse never to

have tried to succeed.”

Theodore Roosevelt

i
Preface
Many times we go about our busy lives and ignore what does not affect us. Many
never notice the struggle of those who have disabilities until it directly affects
them. What can we do to change design so that a building is responsive to the
needs of every user?

Having a disability is a challenge because the built environment often is designed

with little or no consideration for those with handicaps outside of minimum code
requirements. The minimum is not good enough and we must go above and
beyond what is required in order to create a design that is inclusive.

ii
Abstract
Theory
The integration of the theory of wayfinding and accessible design can create a
more positive and less stressful environment for visually impaired users.

Facility
The School should develop a connection and respond to the needs of the users in a
way that enhances their interactions with the environment. The facility will be
developed using the ADA1 as a guideline in an attempt to better develop solutions
that supersede those of the ADA where possible.

Context
Lubbock is part of what is called the South Plains and is the county seat of Image 1
Lubbock County. Located on Interstate Highway 27, Lubbock is 327 miles
northwest of Dallas, 122 miles south of Amarillo, and 345 miles east of El Paso. Map of the site location.

1
Americans with Disabilities Act of 1990; signed into law on July 26, 1990 by George H. W.
Bush, prohibits discrimination based on disabilities defined as "a physical or mental impairment
that substantially limits a major life activity.” It constitutes as a series of laws and a series of
requirements for building criteria of new facilities and those that are grandfathered under the new
law.

iii
Introduction
The key to this project is to redevelop the site into a usable space where the
design enriches the lives of both those who use the facilities and those of the
surrounding community. Accessibility is the first and most important concern
that must be addressed as this facility will be a learning environment for those
who have varying degrees of visual impairment.

The facility should respectfully address as many concerns related to issues of

visual impairment as possible. Developed strategies will give the opportunity for
the students to not only have the most accessible facilities, but also opportunities
to learn how to navigate other less accessible environments.

Definitions2
Blind Image 2
To be blind by definition is the inability to see or lacking the sense of sight.
A diagram of the Braille alphabet, punctuation, and
numbers.
Visually Impaired
A person who is partially sighted or has reduced vision so severe as to constitute
a handicap.

Handicap
To have a handicap is to have any disadvantage that makes success more
difficult; or a physical or mental disability making participation in certain of the
usual activities of daily living more difficult.

2
(Lexico Publishing Group, LLC)

iv
Concept
Transitioning from high school to college can be a difficult adjustment for any
student, but even more so when that student is visually impaired. Upon the
students graduation from high school they will join the School for the Visually
Impaired to ease the transition to living independently and attending college.

Students learn how to live on their own through practical learning exercises; they
learn financial independence, how to navigate different situations and
environments, how to live, cook, and clean on their own.

v
Table of Contents
Acknowledgments i Site 47
Preface ii Site Analysis 49
Abstract iii Surrounding Context 50
Introduction iv Works Cited 51
Concept v Schematic Design 52
Theory 1 Preliminary Review 53
Wayfinding 1 Structure Review 51
Accessibility 9 Qualifying Review 55
Programmatic Objectives 12 Final Review 56
Architectural Issues 13 Epilog 70
Precedents 15 Appendix A 71
Works Cited 19 Appendix B 76
Facility 21 Appendix C 77
Epistemology/Existing State 21 List of Illustrations 81
Mission Statement 23 References 83
Goals 24
Design Requirements 26
Spatial Analysis 27
Spaces Required 28
Spaces Defined 29
Design Solutions for Accessibility 36
Precedents 38
Works Cited 41
Context 42
History 42
Geographic 44
Population 44
Climate 44
Transportation 45
Theory
Wayfinding
Wayfinding is the “way people orient themselves in a given environment and
eventually find their destination” (Perkins 193). In general, it is created through
efficient design and spatial organization to avoid maze-like designs. Wayfinding
uses visual cues, effective lighting, colors and textures of materials, smells,
sounds, and efficient and legible signage to aid individuals with unimpaired or
impaired vision to help guide them throughout a space. By appealing to the
senses, the occupants within a space can begin to involve them and create a
navigable space for them.

It is crucial to design in a manner that develops a strong design solution that is not
only navigable but appealing to the users. You must create a way for one to
navigate with confidence and develop cognitive maps3 that aids their progression
throughout the space.

Many occupants “have impairments in respect to perception, cognition, and

mobility (physical behavior), which affect their wayfinding abilities. Some of
these impairments are permanent, some are temporary; some are slight, some are
profound” (Arthur 62). People take cues from the environment in many ways and
are constantly interpreting the information; architects must design with
consideration for all possible occupants.

Considerations for possible uses of a space determine the best possible design
solution that creates a space that can guide individuals safely and efficiently
within that space. The success of a design that uses wayfinding is measured by
the ability that a person is capable in determining their location in a setting. This
Image 3

Issues with design and

wayfinding.
3
A cognitive map is “an overall mental image or representation of the spaces and the layout of a
setting” (Arthur 23).
1
is based on cognitive mapping4 and the use of visual and audible means to
navigate within a space using a cognitive map (Arthur 23).

Cognitive mapping is a never-ending process in which the individual gathers

information about their surroundings based on environmental influences, both
indirect; such as maps, and direct by observing ones’ surroundings (Mollerup 41)
(See Image 4). Essentially we are developing cognitive maps anytime we go
Image 4
somewhere, we may be making new cognitive maps or we may be adding to
previously created cognitive maps. Three views from a cognitive map of a road. It
shows how we attach visual cues to a cognitive
When we are creating cognitive maps we remember landmarks by the way they map in order to recall direction and location.
look, their correct location, and correct orientation; this gains importance when
we use landmarks that look the same as long as the surrounding or orientation in
respect to one another differ (Jonsson 31-32). Kevin Lynch in his book The
Image of the City lists five categories of elements from which people use to map
their environments:5

x Paths = channels of movement

x Edges = boundaries that break or contain or run parallel
x Districts = areas of recognizable identity
x Nodes = places of intense activity
x Landmarks = points of reference that are visually distinguishable
Image 5
This gives us the ability to tell the difference between one building and another
when they appear to look the same (See Image 5). Eureka Springs, Arkansas

So how do we develop strategies in order to navigate our environment?

According to Mollerup, the key is to develop a progression of spaces as a
“problem solving process” (Mollerup 27). The idea is to develop a cognitive map

4
Cognitive mapping is the “mental structuring process leading to the creation of a cognitive map”
(Arthur 23).
5
(Perkins 193-194)
2
or “mental representation of an environment” that one can easily recall using a
wayfinding process.

The Wayfinding Process (according to Mollerup):6

Planning

1. Origin – Decision to move

2. Seek Information
3. Check internal information
4. Check external information
5. Complete alternative routes
6. Select eligible routes
7. Choose criteria
8. Evaluate eligible routes
9. Choose route
10. Mental solution – Plan

Execution Image 6

11. Search/Decide/Move The photo illustrates the difference in

12. Physical solution – Journey completed materials making it easier to discern
main circulatory spaces from secondary
circulatory spaces.
Mollerup’s “wayfinding process” explains our experience during this process with
important steps in the process being the origin or decision to move, the mental
solution or plan, and the physical solution which is the completed journey. These
represent the major objectives that one is attempting to attain when wayfinding.

When designing circulatory space according to Denise Levine, “at least one key
circulation node to help people understand where they are in the building through
that reference point” should be easily discernable during the initial contact for
users in identifying the main circulatory plan (Levine 55). Pathways that

6
(Mollerup 32)
3
constitute main circulation and secondary circulation should be designated
through the use of differing designs (See Image 6) which includes materials,
color, texture, and lighting to assist in distinguishing different areas and orienting
oneself within a space (Levine 32, 55)

Some designers have found creative ways to design signage creating a multitude
of ways to direct both those visually impaired and non-visually impaired. Image 7
Signage plays an important role in the ability for those individuals to navigate
through space who are not familiar with the environment they are in or for those Multi-media signage.
who need more specific information. Many solutions have addressed issues
pertaining to the visually impaired through the use of graphics, colors, Braille,
and tactile7 symbols and lettering8.

Developing signage that directs everyone in a manor to reduce confusion and help
develop cognitive maps is a challenge that can be successfully achieved. Issues
with both tactile information that is easily accessible and good contrast and
lighting of signage are the major concerns when developing a solution to aid in
way finding (Berger 46-54).

Although codes designate how high signs must be placed and where they can be
placed, generally signs should be located where they can be reached and read up
close (Mollerup 203). Combining Braille, tactile lettering, colors, and graphics
can not only reduce the amount of clutter on the walls but allow for everyone to
use the same signs without any feeling of special attention given to them (See
Image 7). Other possibilities for aiding in wayfinding are to apply the signage to
the ground surface as in Image 8 (See Next Page). This not only gives the
information needed to guide one to their destination but also gives a visual map of
their choices.

7
Tactile symbols are symbols made from everyday ordinary objects that represent the days of the
week, places, emotions, food, and etc. They must be touched and felt by hand in order to
determine what the object is or what is trying to be said.
8
Consists of raised lettering so that it can be felt by hand to determine what is being said.
4
Using sounds, smells, colors, textures, or special lighting conditions at main entry
points of spaces can help individuals, especially those who are visually impaired
to connect with and remember from where they entered. Using this method can
empower the individual and give them a sense of security and independence
granting them a similar experience to that of any other occupant. Smells can be
introduced into a space mechanically,9 and can be emitted by plants or flowers, or
come from a shop; like a bakery.

Using our olfactory’s10 creates a strong connection with certain space or spaces
and therefore we are more likely to associate a smell with a specific point of entry
or space. This can be a strong method of influence on individuals because of the
instant feedback between our olfactory organs and our brains which leaves less to
visual interpretation for everyone. Smells can tell us many things, they can
remind us of childhood memories, or they can tell us of danger, such as smells
that are associated with a foul or less than appreciated smell.

Sounds can also be used and introduced into a space to invite and guide occupants
into, out of, and within a space. Sounds can be introduced in a couple of ways,
such as through music which is neither loud nor offensive or white noise.11 Music
can be powerful as it can increase activity in an area or greatly reduce it because
of the type of music and the volume. The type of music can affect an occupants’
mood and habits based on the genre:
Image 8
With grunge rock music, significant increases were found in hostility,
sadness, tension, and fatigue, and significant reductions were observed in “Hopscotch for wayfinders” Hiromura Design
caring, relaxation, mental clarity, and vigor. In contrast, after listening to Office, Tokyo, Japan
designer music (music designed to have specific effects on the listener),
significant increases in caring, relaxation, mental clarity, and vigor were

9
Smells can be introduced by means or aerosols or evaporative methods like fragrance oils and
water-based liquids and aromatherapy which can increase activity or help to relax individuals
depending on what essential oil is used.
10
An organ of smell (Neufeldt 944).
11
A sound containing a blend of all the audible frequencies distributed equally over the range of
the frequency band (Neufeldt 1524).
5
 measured; significant decreases were found in hostility, fatigue, sadness,
and tension. The results for New Age and classical music were mixed
(Atkinson 75).

Considering the venue that is being designed and choosing an appropriate genre
of music can greatly affect the occupants’ experiences and increase activity.
Classical music effects adults and teenagers in opposite ways; in adults it reduces
tension, stress, and sadness and increases relaxation and vigor and in teenagers an
opposite effect occurs where fatigue increases and sadness increases as well as a
loss in energy levels is noted (Atkinson 79).

An apparent trend between both adults and teenagers is that “designer music”12
has the best results and effects on the listeners and is the best choice for positive
mood reinforcement and mood manipulation (Atkinson 75-79, 82-83). By
reducing stress, anxiety, and tension, occupants are more apt to enjoy their
experience within a space. If music of differing tempos, styles, genres, and sub-
genres are placed strategically within a space, such as one type at an entrance and
another at the intersection of two hallways, an individual can begin to navigate by
sound. This can have great influences on the blind or visually impaired
experiences and aid in their ability to navigate successfully.

Using white noise in some spaces can be very powerful and soothing. White
noise can be used to drown-out city noises and other non-preferred sounds and
can begin to help alter moods and make navigation easier. A common way of
producing white noise is through the use of waterfalls and fountains. The key is
to use this method to subdue undesired noises and flood a space with sound that is
soothing and more desirable and relaxing. Placing white noise at points of entry
or to emphasizing a particular element in a space or a space can give occupants an
auditory landmark and can guide occupants to and from these spaces. Auditory
cues can used in this method can anchor each space of importance and begin to
connect the spaces just as hallways and visual landmarks do.

12
A term “coined by the music industry to describe a type of music intentionally designed to have
specific effects on listeners” (Atkinson 82).
6
The use of lighting in a space can also be effective in setting moods, ushering
people in the right direction, and helping to determine the difference between
public and private spaces. Lighting can help to determine the most important
spaces by having brighter and more colorful lighting effects within those spaces
and lower lighting for less important or intimate spaces. The use of lighting can
help set moods within a space and can affect how the user experiences the space.

At Morimoto Restaurant (See Appendix A) in New York City, Architect Tadao

Ando uses light like music; it has a rhythm and a tempo that delineates his
expression of space and spatial concepts. Tadao Ando uses light to express the
function of each individual space and sub-space of Morimoto. Light and
materials create a visual and textural symphony that helps guide occupants
through the spaces and create both public and intimate areas within the restaurant
Image 9
(See Images 9 and 10).
View of Dining Room and light and water
He combines two entities, light and water, into a unique glimmering wall of LED wall
lights and water bottles that closely resembles glacial ice; this creates a calming
and intimate feeling when entering the restaurant. The wall is set on an angle
which guides one into the space. The wall also guides one down into the lower
level of the restaurant as it penetrates the floor and down into the lower level. It is
an unmistakable and awe-inspiring gesture emphasizing not only the delicate
nature of the food created by Chef Morimoto, but by creating so prominent a
feature patrons cannot forget that it was near the entrance. This feature is an
extraordinary piece of art and architecture and a great solution to help guide the
patrons to and from the entrance no matter their abilities or disabilities.

Using light to guide occupants to the location of the entrance and making a unique
architectural expression can ensure that occupants unmistakably know and
remember from where they entered. Using light to help route traffic through what
is intended to be a public space, such as a pathway or hallway can have more
intense lighting than that of less important paths or areas of a space.
Image 10
Lighting of these spaces with brighter lights influences movement because of
human natures’ caution to avoid dark and low light spaces. Tadao Ando uses up- View of light and water wall

7
lighting to light the stairway of Morimoto Restaurant to guide patrons down to the
lower level where the bar and lounge are located. In doing this, he accentuates
the tectonic form of the concrete stairs and this in-turn defines the public nature of
the stairs. Accentuating public spaces with more or somewhat intense lighting
gives hints that a space is safe and passable. Using this to their advantage,
architects can help to guide occupants using their intuitive nature to move
amongst a space.

8
Accessibility
It is imperative that navigability be a strong concern for the architect; especially if
wayfinding is to be successful for all occupants regardless of their abilities.
Looking for different approaches and solutions we can look at examples of what
is required, what is being done to solve additional accessibility issues.

Accessibility requirements and codes are only minimums and should never be
accepted as just “good enough” when designing; that’s why they are minimum
code requirements. It is the responsibility of designers to never accept anything
but the very best and make every attempt to exceed code requirements.
Image 11
As we become more aware that a design can either decrease or increase the Avoiding tapered risers can reduce the risk of
physical barriers that make it difficult for handicapped and disabled individuals to tripping for everyone.
interact with the built environments, we can begin to make a positive effort to
satisfy the needs of these individuals. Most people do not ever realize the effects
that access, or the lack thereof can have on these individuals, but the “physical
barriers are compounded by social and attitudinal barriers which tend to regard
disabled people as inferior and of little value” (Hall ix).

Architects rarely gave consideration to the design for inclusion of the

handicapped or disabled and that “biases against particular types of disabled
people are reinforced by the practices of architects and the design features that
they routinely seek to incorporate into building design” (Hall 96-97). The
attitudes of designers must change to benefit everyone in order to usher in a new
era and to break down the physical and social barriers of architectural design.

Designing so that barriers are non-existent or near non-existent can affect our
culture as a whole if everyone was to consider universal design as “lifespan
design” (Welch 3). Thinking in this manor, everyone will benefit from accessible
Image 12
and universal design because of our progression in age and health from childhood
to old age that affects us in many ways (Welch 3). Because we are always aging Open risers should be avoided as
and changing, our needs are always changing and these changes in life drive the they can be confusing and hazard
for the visually impaired.

9
need for better designs that can aid us as we age and make us feel as though we
are part of a community rather than separate.

Considerations for accessibility are a necessary part of universal design and are
not stringent enough. Traditionally the intention is to produce built forms that are
usable by all people and are only intended for the general population (Levine 16).
Universal design can be used as a part of design in combination with other ideas,
concepts, and requirements to create better accessible designs. Universal design
can be explained through seven principles (See Appendix B). These principles
constitute what universal design is; they are equitable use, flexibility in use,
simple and intuitive, perceptible information, tolerance for error, low physical
effort, and size and space for approach and use (Levine 17-18). We can use these Image 13
principles in conjunction with accessibility codes and requirements and creative
designs to make a design better, more successful, and more suited for the Adding visual contrast to the nose of the stair tread
purposes of including all users no matter their age, health, height, limitations, and makes the edge of the stair more easily
distinguishable.
handicaps or disabilities.

For both the visually impaired and non-visually impaired, it can be difficult to
navigate from within a space to find an exit or find the way to important or public
spaces. Some designers, compensating for those who have visual impairments
have, through inspiration begun to challenge the other senses through sounds,
smells, and textures to help guide occupants and give them a better experience
and navigability within a space (Evamy 16).

What this means is that changes are being made in how we establish meaning and
direction to a space. Many efforts have been made to make the built environment
more accessible and navigable by means of audible signals at pedestrian
crosswalks, alterations to paving or paving materials to warn pedestrians of
potential dangers like curbs or train platform edges and crossings, and Braille
labeling (Evamy 85).

Those with visual impairments that require the use of a cane (mobility stick) can
use the differing paving materials to guide them and help them to develop
cognitive maps of their environment. Every surface has a different sound and
10
tonal quality which can be used to help them to be safer when navigating their
environment. A great way to aid in this is to use the Pictofom system (See
Images Right) which “helps wayfinding by providing audible guidelines in open
areas” (Mollerup 204). It is a system that uses a series of raised areas in the
paving to inform the person of any changes that may occur and of direction
(Mollerup 204).

Despite the changes that are occurring and what is being done to address the
issues of the visually impaired; most efforts have been a band-aid and not an
integral part of design. If we begin to make visual accessibility a fundamental
part of design we can quickly adapt and associate certain sounds, smells, colors,
textures, and lighting conditions with different spaces, entries, and exits.

Using sounds, smells, colors, textures, or special lighting conditions at main entry Image 14
points of spaces can help individuals, especially those who are visually impaired
to connect with and remember from where they entered. Using this method can A man is navigating an intersection that uses the
empower the individual and give them a sense of security and independence Pictoform paving system.
granting all occupants and equal experience.

Image 15

An example of the Pictoform

system.
11
Programmatic Objectives
The goal is to establish a School for the Visually Impaired specializing in adult
education and independence that’s design is influenced by “wayfinding”. The
design final solution shall develop wayfinding in such a way that any person can
navigate through the space using all of their available senses.

ADA compliance (American with Disabilities Act) is a crucial component for the
design and shall be followed with the goal in exceeding the standards in order to
develop a more comfortable and accessible space.

The design should take into account the rich history and culture of Lubbock, as
well as, the architectural significance of the surrounding neighborhood in which
the school will be located.

Issues to be addressed:
x Accessibility
x Audibility
x Interaction
x Olfactory
x Safety
x Security
x Tangible
x Sight

12
Architectural Issues
Accessibility
The facility must accommodate all individuals but most importantly the visually
impaired of which is the facilities’ main focus. It should exceed ADA
requirements everywhere possible in order to better accommodate the users.

Audibility
The ability to control the types of noise that affects the users of the facilities can
create a unique experience that can not only help with learning but make the
process less stressful. Using white noise can be used effectively to help students
to block out the sounds of the urban environment. The use of different materials
can give many different tonal qualities that can be used in wayfinding.

Interaction
The faculty and students must interact with the environment and each other; this
is done by creating points-of-interest that creates situations of interaction.

Olfactory
Developing a landscape and interior design that creates an aromatic signature for
a particular point-of-entry or space so as to aid in the development of cognitive
mapping and to create a genuinely unique experience for everyone.

Safety
Creating a safe environment where faculty and students alike are free to move
about in an environment that is as barrier-free as possible; creating the best design
solutions to prevent confusion and injury.

Security
The facility must be a safe environment, protecting faculty and students from
outside influences. The facility must give the sense of security without being
overbearing with the effect of a being in a “prison”.

13
Tangible
The facility must provide texture on surfaces in order to navigate by touch. Many
different textures can be confusing, but the use of specific texture for specific
notifications such as “danger” or for the designation of a restroom, and so on.

Sight
The facility must use colors to represent different spaces and pathways that can
aid in wayfinding. The use of natural day lighting can help to define specific
spaces separating them from other spaces by the use of differing levels of lighting.

14
Precedents
IDEA Architects – Esperanza Acosta Moreno Regional Branch Library13
El Paso, Texas

A transformed site on a featureless desert plane in El Paso the new library rises
from the desert in as if it were a leaf fallen to the ground and tattered by the wind.
Creating its own contextual setting and inspiring design based on nature the
facility uses autumn hues that punctuate its features.

The designers use varied materials of stone, brick, copper cladding, and brightly
painted precast concrete panels to accentuate the metaphor of the building being a
leaf. The use of natural materials and landscape elegantly blend this facility into Image 16
its desert surroundings.
Exterior View
The facility was designed with the community in mind offering spaces for use by
the general public for events like plays and community gatherings. Large
openings allow for an abundance of natural light to spill into the public spaces
which reinforces the architects design concept. The main circulation path flows
in a serpentine which mimics the shape of the stem of a leaf.

The absence of doors allows for an open concept giving visitors glimpses of the
spaces as they pass by. The spaces all spill into one another giving the visitors the
ability to freely interact with one another.

The interiors varied materials, colors, textures, and lighting gives interest to a
space that could have been lifeless otherwise. The distinct colorations of the
walls and floors help one to navigate with confidence in knowing where they are
in the building at all times. The main circulation space has a tiled floor with a
Image 17

13
Soltero, Ed, AIA. "Inspired by Nature." Texas Architect March/April (2007): Floor Plans
24-27.

15
design that echoes that of the carpet floors in the adjoining spaces which makes it
easier for one to discern one space from another.

Image 18 Image 19 Image 20

Exterior View: Main Entrance Interior View: Adults Area Interior View: Main Circulation

16
Michael Graves – Denver Central Library14
Denver, Colorado

Michael Graves designs the expansion so as to not eclipse the historical value of
the original library facilities allowing for the original building to stand alone
architecturally. His architecture is a grouping of shapes and massing that
develops a cross-section of the areas architectural history. The most intriguing
aspects of the project are the use of shapes, colors, and materials. The use of
stone brings a real sense of historic being and permanence to the buildings
architectural significance.

He designed a simple Great Hall that is on an East-West axis that has an entrance
at each. A south facing rotunda creates a minor North-South axis that engages the
original library. The Great Hall is a three-level volume that is the main focal
point of the library. Tile patterns in the Great Hall help to distinguish it from
other rooms, the contrast between the field tiles and the length-wise and width-
wise tiles.

Every main space in the library has a unique architectural and interior design that Image 19
differentiates one room from another. The use of different flooring materials in
adjoining rooms gives a visual cue that they are entering another space with Floor Plans
which different functions occur within.

14
Burke, Lisa, Patrick Burke, Karen Nichols, Eds. Micahel Graves: Buildings and
Projects 1990-1994. New York: Rizzoli International Publications, Inc., 1995.

Dobney, Stephen, Ed. Michael Graves: Selected and Current Works. Mulgrave:
Images Publishing Group Pty Ltd, 1999.

Michael Graves & Associates. 18 October 2007

Image 20
<http://www.michaelgraves.com/>.
Exterior View: Southwestern Perspective
17
An open floor plan design with spaces that flow into one another creates a more
accessible space because there are less narrow hallways and far less doors to
navigate through. Natural light is used in every room possible but is used in a
manner as to not cause glare on the pages of the books visitors are reading.

Image 21 Image 22

Great Hall Entry to Ground Floor Reference Room

Image 23

Far Left - Children’s

Pavilion

Image 26

Left - Western History Reading Room

18
Works Cited
Arthur, Paul and Romedi Passini. Wayfinding. Whitby: McGraw-Hill Ryerson
Limited, 1992.

Association, Texas State Historical. The Handbook of Texas Online. 4 May 2007.
8 September 2007
<http://www.tsha.utexas.edu/handbook/online/articles/LL/hdl4.html>.

Atkinson, Mike, Bob Barrios-Chopin, PhD, and Rolling McCraty, MA,

Tomasino, BA. "The Effects of Different Types of Music on Mood, Tension,
and Mental Clarity." Alternative Therapies 4.1 (1998): 75-84.

Barker, Peter and Jon Barrick and Rod Wilson. Building Sight. London: HSMO,
1995.

Berger, Craig. Wayfinding: Designing and Implementing Graphic Navigation

Systems. Switzerland: Rotovision SA, 2005.

Blind, Council of the Schools for the. Council of the Schools for the Blind. 2007.
8 September 2007 <http://www.cosb1.org/membership/memberlist.php>.

Bright, Keith and Ann Sawyer. The Access Manual, 2nd ed. Malden, MA:
Blackwell Publishing, 2007.

Danford, Gary S., and Edward Steinfeld, ed. Enabling Environments: Measuring
the Impace of Environment on Disablilty and Rehabilitation. New York:
Kluwer Academic / Plenum Publishers, 1999.

Hall, Peter, and Rob Imrie. Inclusive Design. New York: Spon Press, 2001.

Jonsson, Erik G. Inner Navigation. New York: Scribner, 2002.

19
Levine, Denise, ed. Universal Design New York 2. Buffalo: Center for Inclusive
Design, 2003.

Lexico Publishing Group, LLC. Dictionary.com. 2007. 8 September 2007

<http://dictionary.reference.com/>.

Lubbock, City of. City of Lubbock. 2007. 8 September 2007

<http://www.ci.lubbock.tx.us/aboutLubbock.aspx>.

Mollerup, Per. Wayshowing: A Guide to Environmental Signage Principles &

Pratices. Vicenza: Lars Miller Publishers, 2005.

Neufeldt, Victoria, ed. Webster's New World College Dictionary 3rd ed. New
York: Simon & Schuster, Inc., 1997.

Passini, Romedi. Wayfinding in Architecture. New York: Van Nostrand Reinhold

Company, Inc., 1984.

The University of Texas at Austin. Perry-Castaneda Library Map Collection. 1

November 2007. 6 November 2007
<<http://lib.utexas.edu/maps/texas.html>>.

Welch, Polly, ed. Strategies for Teaching Universal Design. Boston: Adaptive
Environments Center, 1995.

20
Facility
Epistemology/Existing State
Educational facilities have always been a challenge because of the many
considerations that must be given for the many varied individuals that will use the
facilities as well as specific tailoring to the use depending on the primary age
group that is targeted for use of the facilities.

Even more consideration must be considered when the intended users are those
with physical or mental impairments that need to be addressed. Not every need
can be addressed, but to address the more common disabilities and related issues
are the only way in which one can complete such a monumental task.

The current trends are that of renovation and additions to current schools and a
trend to make schools much safer places for the students. Attempts are being
made to reduce the class sizes in order to better teach and evaluate students and
prepare them for life beyond high school and college (Stevenson 2). With a
trends towards smaller schools and in some cases specialized schools
communities are finding lower costs associated with smaller schools rather than
large schools (Stevenson 2).

The digital age has firmly planted itself within our culture and lives, and has
worked its way into schools. Less and less paper materials are being used in
classrooms as schools and districts are able to afford the upgrade to electronic
services. It not only saves the school money and space needed for storage of
books, but is also lessening the demand on natural resources and energy used to
produce the materials needed for the schools.

Almost all special-needs programs in schools are in separate wings or pods from
the main portion of campus and students “who do get included in standard
classroom activities often travel from one end of the school to the other to get to
their classrooms” (Stevenson 4). To solve this problem some schools have the

21
special education teacher teach from within a regular classroom. The biggest
problem with this is “when a special education teacher attempts to work with a
mainstreamed special-needs child in a classroom setting, the lack of appropriately
designed space creates conflicts with the ongoing instructional activities of the
primary teacher” (Stevenson 4).

Currently there is a real problem with this educational gap between teaching
students with special needs and including them within the structure of a normal
school setting. A seamless design that includes rather than excludes these
students is needed and should be designed to better assimilate them into society.

22
Mission Statement
The school will provide exceptional education for the visually impaired offering
education to adults, especially those who have lost their sight due to injury,
disease, or aging. The school will provide opportunities and for the development
of skills needed for students to become independent.

23
Goals
The two problems that need to be addressed are circulation and wayfinding as
pertaining to facilities planning and design. The idea is to solve these problems
by addressing the issues of accessibility, audibility, interaction, olfactory (smell),
safety, security, tangible (touch), and sight in order to meet or exceed building
codes, ADA requirements, and still look and feel aesthetically pleasing to the
user.

The facility will be primarily used by those visually impaired individuals who
need educative assistance beyond youth education. Typically schools for the blind
are focused on educating children ages 5-21 and thus the need for a school for
adults who have lost their sight because of injury or other sight loss causes such
as disease or aging.

The school will provide services that will give the students skills needed for living
independent through active and innovative learning. Typical services provided by
a School for the Visually Impaired are:15

x Evaluation of Capabilities – determines specific impairment problems and evaluates the

level and type of instruction needed.

x Braille and Low Vision Instruction – learning to read and determine objects by touch or
sight.

x Living Skills – how to groom, cook, clean, and dress.

x Orientation and Mobility – developing balance and instruction on using mobility aids
such as a cane or seeing-eye dog.

x Financial Management – how to manage finances and using cash and ATM’s.

15
Information based on commonalities of programs gathered from the websites of State Schools
for the Blind.
(Blind)
24
x Adaptive or Assistive Technologies – learning the different types of assistive
technology and how to use them.

x Transition – transitioning from the school environment to the home environment and
applying what has been learned.

x Residential Services – assistance in-home

x Pre-vocational Skills – learning skills that are job specific.

x Career Education – professional development

x Health Services – medical services on-site

x Occupational Therapy –aiding mobility.

x Recreation – group outings and confidence building activities.

x Outreach – community involvement and activities in support of the visually impaired.

25
Design Requirements
The facility must be designed following requirements that are projected to
develop the best design solution for a school for the visually impaired.

1. Accessibility – the facility must meet or exceed when possible ADA

requirements.

2. Sustainability – the facility must be designed to have the lowest

ecological impact as possible.

3. Natural Lighting – the facility must allow for natural lighting in order to
save energy use as well as to have a facility more connected to nature and
the surrounding environment.

4. Context – the facility must honor the context of the site while developing
a character of its own.

26
Spatial Analysis
The spaces planned for the facility showing their relationship to one another:


Image 24

27
Spaces Required
Space requirements are generally based on four (4) questions that must be
answered:

1. How will the space function?

2. Who will use the space?
3. When will the space be used?
4. How much space is required in response to these answers?

List of Spaces (alphabetical)

Public Spaces: Non-Public Spaces:

Administrative Offices Janitor’s Closet(s)

Cafeteria/Kitchen Storage Room(s)
Classrooms Utility/Mechanical Room(s)
Commons
Faculty Lounge
Mock Apartment Exterior Spaces:
Library
Meeting and Conference Rooms Outdoor Spaces
Medical Treatment Office
Fitness Center
Restrooms
Student Lounge(s)
Vestibule

28
Spaces Defined16
Administrative Offices
The Administrative offices serve as the “heart” of the school and therefore must
be located close to the entrance and centrally located so it can be easily located
and offer the best security for the faculty and students.

225 SF minimum
The Superintendent must be a single and private office that can accommodate a
desk, file cabinets, bookshelves, and a small meeting area for at least four (4)
people.

300-400 SF
The Senior Secretary should be adjacent to the office of the Superintendent. The
office space shall have seating for 4-8 people and accommodate a desk and file
cabinets.

125 SF minimum
The Secretary should share the same office space with the Receptionist and be
located near the Office of the Senior Secretary. The office space shall
accommodate a desk and file cabinets.

125 SF minimum
The Receptionist should share the same office space as the Secretary and must be
visible to all guests and be the first contact with guests. The office space shall
accommodate a desk and file cabinets.

16
(Auburn University)
(Perkins 1-62)
29
225 SF minimum
The Student Counselors, Social Workers, and Psychologist/Psychiatrist must be
single and private offices that can accommodate a desk, file cabinets,
bookshelves, and a small meeting area for at least four (4) people.

225 SF minimum
The Director of Special Programs must be a single and private office that can
accommodate a desk, file cabinets, bookshelves, and a small meeting area for at
least four (4) people.

125 SF minimum
The Office of the Accountant must be a single and private office that can
accommodate a desk, file cabinets, and bookshelves.

125 SF minimum
The Office of Student Financial Services must be a single and private office that
can accommodate a desk, file cabinets, and bookshelves.

Cafeteria/Kitchen
15 SF minimum/person
The cafeteria/kitchen should provide faculty and students a place to enjoy meals
as well as catering for special events and functions.

Classrooms
1,538 SF minimum per classroom
The classrooms will function as the main learning environment for the students
and typically be used during normal operating hours. The classrooms should
offer natural lighting and be a stimulating learning environment.

Each room should contain at least two (2) means of egress for use during
emergency situations.

30
Attached restrooms that can be share between classrooms can aid students in
saving time when the need arises. These restrooms should be accessible for not
only the visually impaired but for those with limited mobility, especially those
bound to wheelchairs. They should include a sink, lavatory or lavatories,
changing room(s), and possibly a shower.

In typical non-disabled youth educational facilities, space requirements for

classrooms are 108 GSF17/Student for Elementary to 175 GSF/Student for High
School. This shows an obvious progression in the amount of space as the students
grow and get older (See Appendix C), we can then assume that as we get older
our spatial needs increases.

Because this is a school for handicapped individuals other considerations for

space must be considered. The classrooms can be set-up to perform different
functions relating to the degree of visual, physical, and mental impairments that
the students have in order to better meet the needs of the students. Special
education classroom space requirements vary from state-to-state, and classroom
sizes vary from 6-12 students to 12-15 students per class (See Appendix C) with
varying amounts of space from based on either the maximum capacity of students
or a set amount of space per X-number of students.

On the collegiate level, classroom spatial requirements can be determined by the

use of formulae. The formula used by Auburn University18 to determine their
typical classroom size can be used as an example (See Appendix C):

Space Required = [Space Factor] x [Student Clock Hours]

Where there Space Factor is 0.79, which is derived through the following
calculation:

17
Gross Square Feet
18
(Auburn University)
31
 Space Factor = Student Station Size / ([Average Weekly Room Hours] x
[Student Occupancy Ratio])

Using this formula and calculating for one (1) classroom of ten (10) students with
a minimum of 100 SF per student we can assume the minimum amount of space
required per classroom would be:

Space Factor = 100 / ([35] x [65%]) = 4.4

Space Required = [4.4] x [350] = 1,538 SF

Commons
1600 SF
The “Commons” essentially is a gathering space that connects all other spaces to
one another.

Faculty Lounge
1200-1600 SF
The faculty lounge is a room for faculty to relax, interact with other faculty, and
have meals. A resource room will include photocopy machines, computer
terminals, standard supplies, and resource manuals and books. A unisex restroom
will be included.

Mock Apartment
600-800 SF
The apartment is a learning environment for students to practice normal daily
tasks in order to prepare for unassisted living.

32
Library
4000 SF
The Library should accommodate storage for books, audio and video media,
computer terminals, and workspaces. A reading room should have natural
lighting. The library should be built large enough to anticipate future growth. The
space should accommodate twenty-five percent (25%) of the student population
with 50 SF per student allotted.

Meeting/Conference Rooms
800 SF minimum
Conference rooms shall be divided into two groups, small and large. For the
small conference rooms there should be a minimum of two (2) of no less than 200
SF. For the large conference room there should be at least one (1) of no less than
400 SF.

Medical Treatment Office

600 SF
The medical treatment office should be located near the administrative offices. It
should include a waiting room with direct visual contact. The medical treatment
office should have exam tables and or cots for treatment and resting. There
should be at least one (1) restroom available (if only one restroom is available it
should be a unisex restroom).

Fitness Center
4000-6000 SF
Offering physical and occupational therapy, weight room, massage therapy, and
pools for students.

33
Restrooms
50 SF per stall
Restrooms should be available for public use; they can be unisex or separate –sex
restrooms.

Student Lounge(s)
200 SF per lounge
The student lounge should be a place for students to relax and interact with their
peers outside of the classroom.

Vestibule
100-200SF
The vestibule is the main entry to the facility; it connects to the commons room.
It is an enclosed room that protects interior spaces from the weather.

Janitor’s closet(s)
15-25 SF per closet
The janitor’s closet should be able to house all of the supplies needed to supply
the bathrooms and store cleaning supplies.

Utility/Mechanical Room(s)
800 SF
The utility and mechanical room should house all of the required systems to
supply electricity, gas, domestic water service, hot water, HVAC, and fire
protection.

34
Storage Room(s)
200 SF per storage room
The storage rooms should be located near the cafeteria in order to serve as storage
for tables and chairs and any unique items needed for catering and special events.

Full Scale Urban Training Area

The urban training area is a safe environment where students can learn to navigate
an urban environment.

Outdoor Space(s)
The outdoor space(s) are places of interest used for outdoor learning and a place
for refuge.

35
Design Solutions for Accessibility
Careful consideration and respect must be given to those that the school will be
designed for. Solutions to problems for the blind must be innovative and
functional first and foremost, then aesthetically pleasing for those who have the
gift of sight.

Baseboards
Distinguishing the walls from the floors can be aided by using a unique solution
that can be seen by those who have acute sight loss to near complete blindness by
creating a baseboard with an easily discernable shape with definition and use of
color, as well as a tonal quality that differs from both the floor and the wall.

Bathrooms
All restrooms adjacent or shared by classrooms shall be totally ADA compliant.
They must contain a lavatory, sink (and in some cases a shower and changing
Image 28
room). They must have a waterproof floor that is slip resistant.
View of the sight from the corner of Avenue X and
Handrails 6th Street.
Handrails must have a unique shape and detail so that they are easily
distinguishable from other features. They must not protrude into the space in such
a way as to cause injury primarily, and secondarily, should be aesthetically
pleasing.

Ramps
If ramps are used they should comply with ADA guidelines for ramps. They shall
include a way for users to determine the direction of the slope.

Signage
Every effort shall be made to give visual and tactile cues so that no mistake is
made as to where one is in space. Visual cues other than normal types can be
shape, color, and size. Tactile cues other than Braille can be textured, projected,
inset, hot, warm, and cold.

36
Stairs
If stairs are used, there must be an attempt to give notice by visual and audible
means to prevent injury.

37
Precedents
Colorado School for the Deaf and Blind19
Colorado Springs, Colorado

Located in Colorado Springs the Colorado School for the Deaf and blind campus
consists of 16 buildings currently on 37 acres. Originally the school’s focus was
vocational training, and today they focus on the students’ strengths which they
use in preparing students for a productive life. The school offers a strong
academic background with social and emotional development and recreational
activities. They offer a post-secondary program for those individuals that graduate
so that they may transition into the post-high school work environment. The
school has facilities for dormitory living for student to live on campus.

It is laid out in plan pretty much as any other campus would be laid out. There is
an overwhelmingly amount of car travel that interrupts the campus’ design that Image 29
could pose potential dangers to those students who are either blind or deaf. There Map of the Colorado School for the Deaf and Blind
is a lot of space between buildings which is bifurcated by vehicle travel and this is Campus
a design problem, especially for students who are younger or new to the program.
Also many of the buildings are spread out in a manner that makes it inconvenient
for students to visit different buildings on the campus. The student health center
and cafeteria are located in the center of the campus but is a long distance from all
of the classroom and most of the dormitories.

There is a substantial amount of parking offered in the interior of the campus and
buildings seem to be strewn about the campus in plan. This could be a negative
as far as convenience for students to travel from one building to another, but it
also could be seen as a tool in their training for urban navigation.

19
Colorado School for the Deaf and the Blind. Colorado School for the Deaf and
the Blind. 2002. 18 September 2007 <http://www.csdb.org/>.

38
Western Pennsylvania School for Blind Children20
Oakland, Pennsylvania

Located in Oakland, Pennsylvania it is a school that had dedicated itself to the

training and education of visually impaired children. It is a private institution that
educates 175 students annually between the ages of 3 – 21 from 242 school
districts within the western Pennsylvania region.

The school is specifically geared toward the education of the visually impaired,
although it handles many students who have multiple illnesses and conditions
other than visual disabilities. The campus itself is split into two sections; the
Main Campus in includes the elementary, preparatory, and transitional Image 30
departments while across the street is the new Early Childhood Center (ECC).
The main campus building
The new ECC is a 30,000 sq ft state –of-the-art facility designed specifically to
meet the needs of children from infancy to age six. A new technology offered in
the new wing includes voice activated computers for learning and
communication. The new facility (ECC) is of a modern design using a unique
brick patter that is unmistakable by using two-tone coursing. This actually mimics
stone coursing on the administration building on the main campus.

Large interior spaces for recreation, physical activity, and other functions is
provided with ample natural lighting balanced with artificial lighting to help
reduce as much glare as possible. Handrails are provided in hallways and have an
unmistakable shape and form to them so that students may use them to guide them
from space to space. Also a larger baseboard provides protection for the walls
from canes but also distinguishes the wall from the floor through sound and sight.
Image 25
A large covered porticoché allows for ample space for not only busses but also for
mobility in, out, and around vehicles for those with visual impairments. The Early Childhood Center

20
Western Pensylvania School for Blind Children. 18 September 2007
<http://www.wpsbc.org/index.php>.

39
Colors, light, and patterns and shapes are important as it helps students with low
visibility interested and helps with navigation. Areas for interaction and growth
learning are keys to stimulating the young children’s’ minds with group settings
key to students’ interaction and educational growth. Music education is very
important as it helps in the growth of a child and develops interactive skills with
instant feedback.

Physical therapy is the key to the students’ mobility and freedom which includes
stretching and flexibility, exercise and the use of pool exercise that offers easier
mobility and fun.

Image 32

Remodeled hallways of older facilities

Image 26

Swimming pool for exercise and leisure

40
Works Cited
Auburn University. Space Planning & Management. 8 September 2007
<http://www.auburn.edu/administration/campus_planning/space_management
_standards_guidelines.htm>.

Blind, Council of the Schools for the. Council of the Schools for the Blind. 2007.
8 September 2007 <http://www.cosb1.org/membership/memberlist.php>.

Perkins, Bradford. Building Type Basics For Elementary and Secondary Schools.
New York: John Wiley & Sons, Inc., 2001.

Stevenson, Kenneth R. "Educational Trends Shaping School Planning and

Design: 2007." National Clearinghouse for Educational Facilities (2007): 1-8.

41
Context
History21
In 1876 Lubbock County was officially organized and named after Thomas S.
Lubbock who was a former Texas Ranger. As early as 1884 a post office had
been established in what is now northeastern Lubbock in the Yellow House
Canyon.

Lubbock was founded on the result of a compromise between community

promoters Frank E. Wheelock and W. E. Rayner. The fall of 1890 the two groups
had left their respective settlements “Old Lubbock” and “Monterey” to begin a
new settlement on December 19, 1890. Lubbock eventually became the county
seat of Lubbock County.

At the time Lubbock was established, the local jail was serving many duties
besides its intended use housing the school and religious services held by the
Quakers, Baptists, and Methodists. Within a few years Lubbock had established
itself as the hub of the South Plains in this largely agricultural region where Image 34
farmers could bring their crops to market.
Map of Lubbock, Texas with the site location
On October 29, 1909 the Santa Fe Railroad began its first regular passenger and denoted by the green arrow.
freight trains from Plainview in the North to Lubbock in the South. On March 16,
1909 Lubbock was officially incorporated; by 1910 the population had grown to
1,938 residents and by 1920 it had grown to 4, 051.

The first hospitals were established in 1917: the West Texas Sanitarium and the
Lubbock Sanitarium, which was the predecessor to the Methodist Hospital. One
of the early neighborhoods bears the name of one of the physicians during those
beginning days; Dr. Marvin C. Overton, and is respectively referred to as North
Overton and South Overton.
21
(Lubbock)
(Association)
42
In 1923 Lubbock won the bid for the Texas Legislature authorized establishment
of Texas Technological College (now Texas Tech University). The college has
had a huge economic impact bringing students from all over the State of Texas,
The United States, and the World.

During the 1930’s because of the ability to irrigate farmers of the South Plains
began producing cotton and sorghum culture. The South Plains has become one
of the major premium cotton producers in the United States and the World.
Lubbock had over sixty (60) wholesale outlets and a largely increasing number of
manufacturing plants, and by the 1980’s there were two-hundred and ninety-two
(292) industrial establishments including Texas Instruments. Image 35

Well established, Lubbock became the hub for the wholesale trade for fifty-one View of the statue of Will Rogers and his horse
(51) West Texas and eastern New Mexico Counties and the world’s leader in the Soapsuds with Texas Tech University’s’
Administration Building in the Background.
cottonseed industry.

Lubbock is most famous for one of its residents, rock and roll legend Charles
Hardin Holley, known as Buddy Holly by many. On Saturdays in the fall you can
hear the sounds of the Texas Tech Goin’ Band from Raiderland who won the
Suddler Trophy in 1999 and fans cheering on the Texas Tech football team to
victory in their now well known high power throwing offense headed by Head
Coach Mike Leach. The games have a large economic impact on the city,
especially when the team plays the University of Texas and their rivals, Texas
A&M University, to which much continued controversy occurs. Lubbock has
lured one of the most well known and controversial basketball coaches in the
NCAA, Coach Bobby Knight to coach the Red Raider Men’s basketball team.

Image 27

Buddy Holly and the Crickets

43
Geographic
The site is located in Lubbock, Texas (33º35’ N Latitude, 101º51’ W Longitude)
at an elevation of 3,256 feet above sea level.

Population
Lubbock is the 10th largest city in the State of Texas and with a population in
2005 of 209,120 is the largest city in West Texas. The population of Lubbock
consists of twenty-seven percent (27%) less than 18 years of age and sixty-one
percent between the ages of 18-64, a remarkably young community. The median
age is 31.4, which is younger than the state’s average median of 33.2 and nation’s
average median of 36.2. Lubbock is a diverse community with forty (40) percent
of the community being a minority, of which the largest group is Hispanic.

Climate
The climate of Lubbock is semi-arid and mild with cool nights and warm days
predominately and low humidity. Most of the annual rainfall occurs during the
months of May, June, and July. Lubbock is known for its winds and occasional
late spring dust storms.

Average Temperature (High): 80.1 ºF

Average Temperature (Low): 93.4 ºF

Average Days with temperatures over 100ºF: 85

Average Annual Rainfall: 18.23”

Average Annual Snowfall: 10.1”

Predominant Winds: From South/Southwest

Average Wind Speed: 12.4 mph

44
Transportation
Air Travel
Lubbock Preston International Airport located just north of the city offers
commercial flights from American Eagle Airlines, Continental Express Airlines,
and Southwest Airlines with over 60 arrivals and departures daily.

Personal aircraft share adjacent facilities and runways with Lubbock Preston
Smith International Airport.

FedEx and DHL operate regional distribution centers from the Westport located
to the west of the runways.

Bus Service
“Lubbock, Texas is the home office of T.N.M. & O. Coaches, Inc.,
which operates a fleet of 76 buses over routes in five states; Colorado,
Kansas, New Mexico, Oklahoma and Texas. Lubbock, Texas,
has 28 arrivals and departures daily with through service to seven
cities and connecting service nationwide with Greyhound and other
carriers.”

Freight (Trucks)
Lubbock is a regional warehousing and distribution center with future growth and
development with major companies in the new commercial district which broke
ground in early fall of 2007.

Highway
The Ports-to-Plains Corridor is a four lane interstate highway which is planned to
facilitate the movement of goods and people in an efficient manor from the
Texas-Mexico border to Denver, Colorado via West Texas. Promotion of this
corridor is ongoing and it is expected to become a reality in the near future
bringing even more tourists and industry to West Texas.

45
Passenger Train
At this time there is no passenger train services offered.

Public Transport
CitiBus is the only public transportation (Bus) offered by the city.

46
Site
The site is located in Lubbock, Texas bordered by 21st Street on the North,
Avenue U on the East and 22nd Street on the South. It is located within walking
distance of bus routes, Lubbock High School, and Hamilton Park.

The site is a collection of plots that are to be acquired from LISD and plots that
included structures that recently burned down and demolished due to arson.

Image 37

Map of the site location at the corner of Avenue U and 21st Street.

47
Image 38

View from 21st Street looking South (9:00 AM, January 2008).

48
Site Analysis
Landscaping
Currently there are few trees existing on the site and most are at the end of their
expected lifespan and should be removed and replaced under a new landscape
plan.

Wind
Prevailing winds come predominately from the South and Southwest.

Traffic (Vehicular)
Vehicular traffic occurs mostly along Avenue U heading North and South
creating some noise and pedestrian hazards.

Traffic (Pedestrian)
Currently the sidewalks are in a state of disrepair and create numerous hazards for
pedestrians. Sidewalks only run East to West and none North to South.

Image 28

Analysis of the Site and environmental

conditions.

49
Surrounding Context
The surrounding context of the chosen site consists of 1920’s clabbered style
homes, a nearby Senior Center, Dupree Elementary, and Asbery United Methodist
Church. Lubbock High School is nearby on 19th street and nestled between
Avenues T and U.

Image 29 Image 41

North Entrance, Dupree Elementary West View, Asbery United Methodist Church

50
Works Cited
Buddy Holly Photo Gallery. 8 November 2007
<http://www.morethings.com/music/buddy_holly/charles_hardin_holley_photo_g
allery01.htm>.

Google. Google Maps. 2007. 8 November 2007

<http://maps.google.com/maps?q=Lubbock,+TX,+USA&sa=X&oi=map&ct=title
>.

Lubbock, City of. City of Lubbock. 2007. 8 September 2007

<http://www.ci.lubbock.tx.us/aboutLubbock.aspx>.

51
Schematic Design
A site was chosen in Lubbock, Texas at the corner of Avenue X and Mac
Davis Lane in North Overton. Layout and relationships of spaces were
being determined. Possible architectural expressions were being formed
and explored.

Review

Attended by:
Associate Professor Gary W Smith
Michael Martin

Option 1
Comments were made that Option 1 was too linear in design and lacked
possibilities of challenging the students learning capabilities. It was very
institutional and better solutions were better.

Option 2
Comments were made that Option 2 was disorganized, confusing and
difficult to navigate.

Option 3
Comments were made that Option 3 was the better of the three designs
because it used the better component s of Options 1 and Options 2. A
better connection of the mock apartment to the main building could be
achieved instead of being so isolated.

Other Comments
A new site should be located that has some history and context that the Image 42
current site does not have that can challenge not only the design but the
students.

52
Preliminary Review
Attended by:
Associate Professor Gary W Smith
Michael Martin

Notes taken by:

Jessica Vasquez

Suggestions:
Separate the functions of the building, i.e. administrative vs.
educational spaces. It was suggested that the library should
be a moved to the second floor with the classrooms to help
with the separation functions. Security is a concern and
separating the public spaces from the educational spaces
could these issues.

The entrance was insignificant and difficult find along with a

design that is institutional in appearance. Recess the entrance
and create an enclosed vestibule. A better approach would be
to relate better with the surrounding neighborhood. The scale
needs to be broken down to a human scale as the massing is
overwhelming.
Image 43
The design is very rigid and does not flow well. Intermixing
of offices and conference rooms would better serve the Note: A new site was chosen and a
schools’ administration new design scheme had to be
developed. All new site analysis was
There is no need for such large mechanical/utility room. The created and contextual references
structure of the facility can be a hybrid of steel and masonry noted.
(CMU load bearing).

Label each space rather than making a list, the list makes it
hard to understand what each space’s function is.
53
Structure Review
The structure was a hybrid structural systems using typical steel
construction on the ground level and CMU load bearing masonry
on the second level.

It was suggested to simplify the structure by using CMU load

bearing as the main structure and steel whenever needed.

The layout seemed to work better than during the preliminary

review. Better organization structure has been achieved by
separating the functions.

Image 44

54
Qualifying Review
Comments:
The Site section needs to show a map of Texas with location
marked, then the City of Lubbock, and finally the block
location.

Site plan needs to have the roof plan and not the ground level
plan on it.

Elevations should be clearer and color would help to portray

the idea.

The section is too small and the detail should be detailed.

The exterior perspectives should be exactly that, not aerial

views.

Make the roofs express the architecture more by adding more

sloped roofs and less composite roofing structures.

Image 45
55
Final Review
Revisions of Design Requirements:
In the final design the kitchen/cafeteria space was increased by 100% doubling
the 15 SF minimum/person to 30 SF minimum/person.

The library decreased from 4000 SF to roughly 3000 SF after consideration was
given to the advancements in technology and less need for storage of books and
other tangible materials.

The Physical/Occupational Therapy center square footage was increased from

6000 SF to 10500 SF after as considerations for mobility, organization, equipment
sizes, and locker rooms were designed.

Utility and Mechanical rooms were split into three categories: utility/mechanical,
specialized mechanical, and computer server. Each spaces SF is tailored for the
specific needs of the equipment sizes, future growth, and space for easier
maintenance.

Significant Design Features:

Exterior:
- Contrasting materials with unique textures are used for crosswalks.
- Full length ramps in disabled parking spaces for easy access.
- Brick façade color choices based on context.
- Use of brick for banding, corbelling, and projections.
- Unique water collection for irrigation (roof to cistern).

Interior:
Image 46
- Limited access doorway for protection of students.
- Tile floor using differing colors and textures guides visually impaired Site and Roof Plan
students with contrasting colors, texture (felt with cane), and sound (heard
by the use of a cane).

56
- Unique handrail, chair rail, and baseboard design.
- The easing of or inset or doorways for visual interest and queue signifying
a doorway.
- All student accessible spaces use 42 in wide doorways.

57
Ground Level Floor Plan
As you enter the school you are greeted by the receptionist and secretary into an
inviting space known as the “commons” that has glass on the both the North and
East façade.

If you head west from the “commons” you enter the administration corridor where
the Senior Secretary, School Superintendent, Student Counselor, Social Worker,
Psychologist, Director of Special Programs, Office of the Accountant, and the
Office of Student Financial Aid, and three conference rooms are located. At the
end of the administrative corridor are the computer server room, utility and
mechanical room, and the mock apartment.

From the “commons” heading south through the limited access doorway you enter
the main corridor where the cafeteria/kitchen and student fitness center are
located.

Image 47

Ground Level Floor Plan

58
2nd Level Floor Plan
The second level consists of four (4) classrooms with each containing an
accessible restroom and the library.

Student lounges spaces can be found on the 2nd level corridor.

Image 48

2nd Level Floor Plan

59
Sections and Details

Image 49 Image 50

Section A-A Section B-B

Image 51

Section A-A Detail

60
Structural and Mechanical Plans
Structural:

The structure consists of load bearing CMU

(concrete masonry units) walls with wide flange
steel columns and beams when loads exceed the
bearing capacity of the CMU.

The 2nd level floor is supported by open-web steel

joists with a composite deck with a5 inch concrete
slab.

The roof is supported by open-web steel joists.

Mechanical:
The HVAC (Heating, Ventilation, and Cooling)
units are located on the roof and ducted through the
roof and through either a vertical pipe chase or a
horizontal bulkhead.

Image 52

Top Left: Roof Structural Plan

Image 53

Top Right: Ground and 2nd Level Structural Plan

Image 54

Bottom Left: 2nd Level Mechanical Plan

Image 55

Top Right: Ground Level Mechanical Plan

61
Elevations

Image 56

North Elevation

Image 57

South Elevation

Image 58

East Elevation

Image 59

West Elevation

62
Exterior Perspectives

Image 60

Northeast Perspective

Image 61

Southeast Perspective

63
Exterior Perspectives (continued)

Image 62

View of inner courtyard looking

towards the mock apartment entrance;
notice the Braille cut into the support
post.

Image 63

View of inner courtyard looking

towards the faculty lounge and
cafeteria; notice the cistern in the
foreground..

64
Interior Perspectives
Image 64

View looking out to the east.

Image 65

Notice the handrail inset into the wall

prevent students from running into the
handrail that normally would protrude
from the wall.

65
Interior Details

Image 66 Image 67

Handrail Baseboard

The handrail is set into the wall to better incorporate The concept of the baseboard is to create slight
accessibility within the design. shadows, color, and shade differences for those who
are capable of some sight.
Braille is incorporated in the chair rail at important
doorways. The Braille says, “Classroom 1” The three (3) notches at the base are to help create
sound when a cane is run or bumped against the
baseboard so that anyone with visual impairments
can guide themselves along corridors.

66
Model

Image 68

Northeast Perspective

Image 69

Southeast Perspective
67
Final Review Comments:
Attended by:
Associate Professor Gary W Smith
Michael T Martin

Both Assoc. Professor Smith and Michael Martin had positive things to say about
the final product.

Site organization complemented the neighborhood by addressing the curb appeal

using landscaping and pedestrian walkways. Addressing disabled parking with a
progressive and innovative ramp concept was well received.

The use of differing hardscape materials for easier pedestrian navigation was not
only a must but a well thought out application.

Organization of the spaces; separating the administration from the student

oriented areas was commented as a strong organizational feature. The separation
of student oriented areas from more public areas by means of a limited access
doorway was an important feature that was commented as good forethought.

Sections and details were commented as good and well detailed.

Both Assoc. Professor Smith and Michael Martin expressed great interest and
intrigue with the renderings, especially the interior courtyard views, the main
corridor views, and the Southeast perspective.

68
Final Presentation Board

Image 70

69
Epilog
After working on my thesis for two semesters I finally feel relieved that it is
complete. I had great guidance from both Associate Professor Gary W Smith and
Michael T Martin. Both really helped me when I became stumped and
encouraged me when I needed it and obviously pushed me when I was reluctant.

When schematic review was over I had to search for a new building site location,
as the site previously chosen was a less than desirable site location for many
reasons. There were a number of reasons as to why a site change was in order
which two main reasons were a lack of context and it was not a good learning
environment. Once a new site was found it was just a matter of playing catch-up;
creating a new site analysis, determining new setbacks, and collecting new site
photos and CAD files.

Many ideas that I had for the project evolved and I think the design has become
even more than what I originally expected.

Hopefully my design illustrates and applies the ideas that are written in this
program in a successful manor in a way to help my fellow man. My intentions for
the School for the Visually Impaired were to be as respectful as possible and look
out for the life, safety, and welfare of those with disabilities.

This is for my Father who inspired me to do better for those with disabilities and
who are less fortunate.

LIVE . LEARN . TEACH

70
Appendix A
Case Study – Morimoto Restaurant, Tadao Ando/Architect

Project: Morimoto (Restaurant)

Location: New York, N.Y.C.

Architect: Tadao Ando Architects and Associates

-Tadao Ando, principal

-Masataka Yano, project architect

Associate Architect: Stephanie Goto Design Group

-Stephanie Goto, principal

Engineers: Leslie Robertson and Associates, structural

Thomas Polise, m/e/p

Langan, geotechnical

Sq. Ft.: 13,000

Project Cost: $6.5 million

Image 71

Morimoto Floor Plans

71
Introduction
Moritmoto restaurant in Manhattan borders the Chelsea Market which is a popular
food market buzzing with patrons looking for gourmet food and chic
accoutrements in this wholesale market. The Chelsea Market was renovated in
the late 1990’s and now contains the market and many TV Networks including
the Food Network and kitchens. This is a prime location for the restaurant given
the rejuvenated second-wind of activity this neighborhood is now receiving.
Owner and Chef, Masaharu Morimoto (most notably known from the TV series
Iron Chef) commissioned Tadao Ando to create a masterpiece to create a distinct Image 72
harmony with Chef Morimoto’s unique style of Neo-Japanese style of cooking
Exterior: Grand Archway
and emphasize the history of the Chelsea Market and current trends in New York
City.

Brief History
The Chelsea Market was once known as the National Biscuit Company and
produced products near and dear to Americans hearts such as Premium Saltines,
Vanilla Wafers, and Oreo’s. The buildings were constructed in the early 1890’s
in the Romanesque-style by Romeyn & Stever. Originally at the base, stone
anchored the building to the ground as it rose above the sidewalks with its’ red
brick, and cornice treatment between the first and second floors, and an
entablature capping off the top of the façade. However the façade has been
altered and renovated by Vandeburg Architects, which commenced in 1998.
After the renovations the southeast facade (9th Avenue) now adorned woven brass
spandrels that according to many “looks like a Triscuit” and a glass and steel
canopy that trickles down the façade and ungulates across the front main entrance.
Image 73
Method View of light and water wall
Tadao Ando makes use of the existing façade curiously melding the original red
industrial brick and blackened façade with a grand arch spanning 50 feet long and
of a beautiful dark brown earthy color. Hung from the arch is a swath of
persimmon fabric known as a noren (which is used in Japan to indicate that a
shop is “open for business”) designates to the individual that the entrance is
located there. It draws the individual in by curiosity and by its definite inviting
posture suggesting without a doubt entering here will lead you on a journey. With
72
its’ bright colored entrance one knows where they are heading and where they
came from.

As you enter the interior, Tadao Ando drifted from his signature use of concrete
in what some consider extreme and possibly overwhelming and carefully used
concrete in a gentle persuasion most notably in the stair descending below ground
to the lounge and bar. His use of interior lighting guides one from public areas to
the more subdued and private seating areas of the restaurant. The most notable
example combines light and water into a two-story high wall that resembles a wall
of glacial ice. The wall comprises 17,400 half-liter water bottles filled with water
and attached to couplings that resemble electric sockets and are attached to
vertical stainless-steel rods while brackets hold LED lights horizontally within the
wall system producing a backlit shimmering effect that stimulates the senses and
creates texture and movement within the space. The individual can follow this Image 74
shimmering wall into the subterranean level of the restaurant to the lounge and
View of Dining Room and light and water
bar. One can associate the shimmering wall with the way in which to make their wall
exit without being confused after a few too many drinks.

Tadao Ando uses fabric in swag across the entire ceiling of the main level of the
restaurant and is subtly lit with light that cascades from its edges and up lights
that graze the faces of the interior columns. Light is a key to defining spaces
within the space by subtle suggestions of light in the areas of pathways and more
subdued and mostly light bleeding from those pathways to the areas of dining.

In the lower level of the restaurant where the lounge and bar are located he has an
even more dark space with pillars of light that emphasize key components of the
space. Light adorns the thick resin bar-top as it resonates from within. Light
illuminates the floor below the bar and the wall behind the bar denoting the
importance of the happenings of this space. A horizontal layered wall of cedar
wall panels is stained a bright crimson and lit with red lighting that gives the wall
a glow as if it were radiating neon characteristics. This glowing wall of “red”
designates the dividing line between the public spaces and the private spaces of
the restaurant patrons and staff.

73
The interiors use color in a beautiful suggestion with shades of taupe’s and crème
on the ceilings which could be interpreted to represent the sky and the floors of
dark stained hardwood and concrete can be interpreted to represent the earth.
Thought was given to every detail, such as the exact placement of the form-ties
that were used during the pouring of concrete columns in the interiors and the way
glass guard rails make a connection with the stairs. These details extend to the
interior furniture that have a very strong massing and permanence to the way they
appear by the use of wood and the construction of the furniture. Chairs look
inviting and comfortable with their perfect proportions and curvilinear shape; they
beckon for one to stay and enjoy their visit while enjoying a meal prepared by one
of the World’s best chefs. Large, squared-off, cracked Douglas fir logs are used
as a counter; they anchor the space giving the interior an organic element that
brings nature closer to a city that is a vast metropolis of busy streets and high-rise
buildings. All of the elements can enhance the mood and experiences because of
the attention to detail and sensory concepts that are plentiful within this space.
Image 75

View of stairway to Lower Level

Image 77

View of the Bar Image 78

Image 76 View of Lower Level

View of stairs and light and water wall

74
Works Cited

Amelar, Sarah. “Record Interiors 2006.” Architectural Record Sep. 2006: 98-
105.

ChelseaMarket.com. “Chelsea Market.” October 20, 2006.

<http://www.chelseamarket.com/enter/concourse/info.html>.

ChelseaMarket.com. “The National Biscuit Company Complex: From Oreos and

Mallomars to Today’s Chelsea Market.” October 20, 2006.
<http://www.chelseamarket.com/enter/history/history.html>.

Tom Fletcher’s New York Architecture Images. “Chelsea Market.” October 20,
2006. Ed. Tom Fletcher. < http://www.nyc-
architecture.com/CHE/CHE033.htm>.

75
Appendix B
Principles of Universal Design (Levine 17-18):

Equitable Use: “The building’s design should make it equally usable by everyone. The building
must never employ means that isolate or stigmatize any group of users or privilege one group
over another.”

Flexibility in Use: “The building’s design should allow people to use its design features in more
than one prescribed way. It should accommodate both right-and left-handed use and be
adaptable to the individual pace. The building’s design should have the built-in flexibility to
be usable even when it is employed in an unconventional or unanticipated manner.”

Simple and Intuitive: “The building should make it easy for everyone to understand the purpose
of each design feature and how to use it.”

Perceptible Information: “The building should provide all essential information in a variety of
modes to ensure effective communication with all users regardless of their sensory abilities.
The information provided must be presented with sufficient contrast to surrounding
conditions so that it is distinguishable from its context and decipherable in all its various
modes of presentation.”

Tolerance for Error: “Ideally, the building’s design should eliminate, isolate or shield any
design features that could prove hazardous to or inconvenience any user. When potentially
dangerous conditions are unavoidable, users should receive warnings as they approach the
design feature. The building’s design should also anticipate accidental or unintended actions
by any user to minimize the inconvenience and/or protect the user from harm.”

Low Physical Effort: “The building’s design should employ design features that require little of
no physical force to use them.”

Size and Space for Approach and Use: “A building’s design features should provide an
adequate amount of space that is appropriately arranged to enable anyone to use them. In
addition, the space needs to be arranged to provide a clear path of travel to and from
important design features for all users.”

76
Appendix C
Typical Gross Square Foot per Student22

School GSF / Student

Elementary 108
Middle 156
High 175

Size Requirements for Special Education Classrooms23

State Requirements
New York 770 NSF24 classroom for a maximum capacity of 12 students.
440 NSF classroom for a maximum capacity of 6 students.
Virginia Self-contained classrooms for 10 students are sized at 750 sq ft.
Florida Self-contained classrooms are sized for 10 students at 90 to 100
NSF per student.

Special education space requirements (High School):

Requirements for classroom sizes vary depending on the level of care given and
the student-teacher ratio. The space required for each classroom is directly
affected by the number of students; the more students there are, the more teachers
that are needed to satisfy student-teacher ratios. A bathroom suite should be
included to service every two to three classrooms for convenience and assistance
during initial training. Each bathroom suite should include a toilet(s), shower(s),
and changing room(s) in order to assure every need is met. Students in

22
(Perkins 28)
23
(Perkins 29)
24
Net Square Feet
77
classrooms needing medical attention should be located nearest the nurse or
physicians office.

x If the design calls for a classroom for 12 to 15 students (per teacher), then
a minimum of 770 sq ft is recommended.
x If the design calls for a classroom of 8 students (per teacher), then a
minimum of 550 sq ft is recommended.
x If the design calls for a classroom of 6 students (per teacher), then a
minimum of 450 sq ft is recommended

Space Guidelines for Classroom Facilities (Auburn University)

Space Required = [Space Factor] x [Student Clock Hours]

Where there Space Factor is 0.79, which is derived through the following
calculation:

Space Factor = Student Station Size / ([Average Weekly Room Hours] x

[Student Occupancy Ratio])

Student Station Size (18) - represents the standard square feet per student station
included related service areas.

Avg. Weekly Room Hours (35) – calculated by dividing the total room hours of
instruction in classrooms by the total number of classrooms. It is the average
78
number of hours that an institution's classrooms are used for instructional
purposes each week. This calculation can serve as an indicator of the adequacy of
the number of classrooms at an institution.

Student Occupancy Ratio (65%) – the average percentage of student stations

that are occupied when classrooms are in use. It is calculated by dividing the
student clock hours generated in classrooms by the potential student clock hours
for classrooms and multiplying by 100 to convert to a percentage. Potential
student clock hours is computed on a room-by-room basis by multiplying the
number of student stations in each room by the room hours of instruction
generated by the room. It indicates the number of student clock hours which
would be generated if every room were filled to capacity each time a course met
in the room. The Student Occupancy Ratio access the utilization of rooms only
when they are in use. Therefore, it is a helpful indicator of how close to capacity
an institution's courses are to the room in which they are scheduled.

Student Clock Hours – a measurement of the total weekly hours of scheduled

instruction for all of an institution's students. It is computed for each course by
multiplying the number of times the course meets each week by the number of
hours of each course meeting and multiplying that product by the number of
students.

Space per Seat Table for New Construction or Major Renovations of

Classrooms:

When planning for new construction or major renovations that involve

classrooms, the following table outlines the guidelines that are used to ensure the
appropriate amount of space per seat or per student station is provided. Actual
space per seat in a classroom may vary depending on existing room configuration
as well as type of furniture and seating used.

79
 Classroom Space Guidelines
Net Assignable Square Feet per Station

Fixed
Moveable Pedestal
Room Chair w/ or Riser Fixed
Moveable
Room Capacity Tablet Mounted Auditorium Pedestal
Tables &
Category (# Arms Seating Seating Table &
Chairs
Stations) (15”-20” with Chairs
Arms) Tablet
Arms
Seminar/
Small 0 – 25 17 - 24 17 - 16 – 26 20 – 22
Classroom
Classrooms 26 – 49 16 – 18 17 - 16 – 26 18 – 20
50 – 99 14 – 16 13 14 – 17 16 – 22 18 – 20
100 –
Classrooms - 12 – 14 12 – 15 16 – 22 18 – 20
149
& Lecture
Rooms 150 –
- - 10 – 14 16 – 22 17 – 19
299
300+ - - 10 - 14 16 – 22 16 - 18

80
List of Illustrations
Image 1 (MathIsFun.com; Google; Lubbock) Image 20 (Soltero 25)

Image 2 (The University of Texas at Austin) Image 21 (Burke)

Image 3 Personal Illustration Image 22 (Burke)

Image 4 (Jonsson 34) Image 23 (Burke)

Image 5 Personal Photo Image 24 (Burke)

Image 6 (Berger 82) Image 25 (Dobney)

Image 7 (Berger 48) Image 26 (Dobney)

Image 8 (Mollerup 290) Image 27 Personal Illustration

Image 9 (Amelar) Image 28 Personal Illustration

Image 10 (Amelar) Image 29 (Colorado School for the Deaf and the Blind)

Image11 (Bright 134) Image 30 (Western Pensylvania School for Blind Children)

Image 12 (Bright 162) Image 31 (Western Pensylvania School for Blind Children)

Image 13 (Bright 162) Image 32 (Western Pensylvania School for Blind Children)

Image 14 (Mollerup 205) Image 33 (Western Pensylvania School for Blind Children)

Image 15 (Mollerup 205) Image 34 (Google)

Image 16 (Soltero 24) Image 35 Personal Photo

Image 17 (Soltero 27) Image 36 (Buddy Holly Photo Gallery)

Image 18 (Soltero 26) Image 37 (Lubbock)

Image 19 (Soltero 25) Image 38 Personal Photo

81
Image 39 Personal Illustration Image 59 West Elevation

Image 40 Personal Photo Image 60 Northeast Elevation

Image 41 Personal Photo Image 61 Southeast Elevation

Image 42 Schematic Design Image 62 Courtyard View

Image 43 Preliminary Design Image 63 Courtyard View

Image 44 Structural Design Image 64 Interior View

Image 45 Qualifying Design Image 65 Interior View

Image 46 Site and Roof Plan Image 66 Chair Rail Detail

Image 47 Ground Level Floor Plan Image 67 Baseboard Detail

Image 48 2nd Level Floor Plan Image 68 Northeast Perspective - Model

Image 49 Section A-A Image 69 Southeast Perspective - Model

Image 50 Section B-B Image 70 Final Review Presentation Board

Image 51 Section A-A Detail Image 71 (Amelar)

Image 52 Roof Structural Plan Image 72 (Amelar)

Image 53 Ground Level and 2nd Floor Structural Plan Image 73 (Amelar)

Image 54 2nd Level Mechanical Plan Image 74 (Amelar)

Image 55 Ground Level Mechanical Plan Image 75 (Amelar)

Image 56 North Elevation Image 76 (Amelar)

Image 57 South Elevation Image 77 (Amelar)

Image 58 East Elevation Image 78 (Amelar)

82
References
American Foundation for the Blind. 15 October 2007 <http://www.afb.org/>.

Barker, Peter and Jon Barrick and Rod Wilson. Building Sight. London: HSMO,
1995.

Bright, Keith and Ann Sawyer. The Access Manual, 2nd ed. Malden, MA:
Blackwell Publishing, 2007.

Danford, Gary S., and Edward Steinfeld, ed. Enabling Environments: Measuring
the Impace of Environment on Disablilty and Rehabilitation. New York:
Kluwer Academic / Plenum Publishers, 1999.

Evan Terry Associates, ed. Pocket Guide to the Texas Accessibility Standards
(TAS). Birmingham: Evan Terry Associates, P.C., 2003.

MathIsFun.com. Math is Fun. 2005. 6 November 2007

<http://www.mathsisfun.com/braille.html>.

National Clearinghouse for Educational Facilities. National Clearinghouse for

Educational Facilities. 2007. 8 November 2007
<http://www.edfacilities.org/>.

Neuman, David J., FAIA. Building Type Basics For College and University
Facilities. Canada: John Wiley & Sons, Inc., 2003.

Passini, Romedi. Wayfinding in Architecture. New York: Van Nostrand Reinhold

Company, Inc., 1984.

83