[Audio description] In this one-minute audio introduction we will meet Christopher Laing, a stylish black architectural designer in his 30s who's guiding us around his favourite building, the London College of Fashion in Stratford, which is part of the University of the Arts London.
Chris is Deaf and signs throughout the tour. The captioned translation of BSL is voiced by Kit Esuruoso.
Chris’ hair is styled in a late 80s slash early 90s short trim and he’s wearing an oversized sleeveless grey knitted vest over a white shirt and black trousers.
The multi-floor concrete building is designed in a contemporary Brutalist style. At its centre is an impressive concrete staircase that sweeps up in oval arcs through the centre of the school like an uncoiled orange peel. The upper mezzanine levels and lobbies feature glass partitions.
This is the end of the introduction.
[Voiceover] I’ve wanted to be an architect since I was eight years old.
Watching ‘Home Alone’, the film, inspired me to design my own dream home!
Architecture has made me realise there are no limits, that my ideas can become reality.
I want to design spaces for people to use.
It's important to give people from the Deaf community a safe space where they can express their thoughts on barriers in architecture.
When I’m in this building I feel happy because it uses Deaf space elements.
Most buildings don't. But I feel valued here, like I’m a part of it.
Deaf space has five principles:
‘Peripheral’
When someone walks into my view, I can see them.
This curved corner is an example of the ‘peripheral’ principle.
Most corners in buildings are angular. It’s difficult for Deaf people not to bump into other people when walking around them, as they can't hear or see others coming.
This is a perfect example. The clear line of view prevents people from bumping into each other.
This is why I love round corners!
As you can see here, I can get nervous about not being able to see who’s coming around the corner and that I might bump into them.
It would help if a mirror was added here, so I can see a reflection and avoid bumping into people.
‘Reflection’
This is when I'm standing in front of a mirror and someone behind me uses it to catch my attention when I'm not able to hear.
‘Vibration’
This is when I stand on a floor and I can feel the vibrations of people walking around me.
‘Transparency’
When I can communicate using sign language to someone in another room through a glass partition.
Here's an example of the ‘transparency’ principle.
Hey! I'll see you downstairs.
You see how we communicate through the glass partition? This is part of Deaf culture.
‘Sensory outreach’
This is when I can easily sense things in other rooms around me.
That’s an example of sensory outreach!
When all five principles of Deaf space are used, it creates a three-hundred-and-sixty-degree effect around a person.
Hearing people rely on sound. Deaf people rely on their eyes.
All five principles need to be implemented so we can get to know a space.
‘Deaf gain’ means you can communicate with people from far away.
Hearing people have to rely on their voices in noisy environments, but we don't have to, we can just sign.
We can even communicate while swimming under water!
We can easily understand body language and have stronger peripheral vision too.
This is a big part of me and my Deaf identity that I'm proud of.
We need to push for Deaf space principles to be part of the design process.
I often notice people from the Deaf community have to adapt to spaces designed by hearing people. But they might not know how to adapt, so then they just have to bear with it.
Spaces should be designed to suit us.
I want Deaf space elements to be included in building regulations, for them to be part of conversations about architecture.
More engagement with the Deaf community, that's what I hope for the future.
[Audio description] This film was directed and edited by Samuel Dore, for a series guest edited by Amy Kavanagh for Wellcome Collection. The audio description was created by VocalEyes.
