Exploring Sensory Preferences Living Environments for Adults with Andrew Brand and Katie Gaudion About the research partners

The Kingwood Trust Kingwood is a registered charity providing support for adults and young people with autism. Its mission is to pioneer best practice which acknowledges and promotes the potential of people with autism and to disseminate this practice and influence the national PIONEERS IN AUTISM agenda. Kingwood is an independent charity and company limited by guarantee. www.kingwood.org.uk

Helen Hamlyn Centre for Design, Royal College of Art The Helen Hamlyn Centre for Design provides a focus for people-centred design research and innovation at the Royal College of Art, London. Originally founded in 1991 to explore the design implications of an ageing society, the centre now works to advance a socially inclusive approach to design through practical research and projects with industry. Its Research Associates programme teams new RCA graduate with business and voluntary sector partners. www.hhcd.rca.ac.uk

BEING BEING was commissioned by The Kingwood Trust to shape and manage this ground breaking project with the Helen Hamlyn Centre for Design. BEING is a specialist business consultancy that helps organisations in the public, private or charitable sectors achieve their goals through the effective application and management of design. www.beingdesign.co.uk Contents

2 Foreword

3 Expert Reference Group

4 Introduction

6 Context

Research 8 Methods 10 Findings

12 Design Elements

14 Visual Support Cards

Sensory Props 20 Design ideas 26 Making your own

Design Guide 32 Creating sensory-focused spaces and activities

40 Conclusions

41 Footnotes

42 Bibliography

44 Acknowledgements

1 Foreword Lady Hornby, Chair, Kingwood

At Kingwood we support people with autism. We also learn from them and together we pioneer best practice. Research is a vital part of the process and this report illustrates the way in which Kingwood staff, the people we support and Royal College of Art researchers work together.

In Exploring Sensory Preferences the four of the people we support at two researchers were Andrew Brand Kingwood at their home in Reading. and Katie Gaudion, graduates of the There are pages of ideas for families Royal College of Art and research and support workers to use to find out associates in the Helen Hamlyn the sensory preferences of the people Centre for Design. The study came they support. There are illustrated about as a result of our previous work cards to act as prompts to those with the Centre which researched who find it difficult to articulate Housing Design for Adults with Autism. their preferences and step-by-step This report has been widely published instructions on how to make a and already adopted as official variety of sensory props and hold guidance by the governments of a stimulating session. Canada and Wales. We are grateful to the researchers, During the research into housing to Kingwood staff and the people design it became clear that we needed we support and to all who have to know much more about how people contributed to this report. We hope with autism experience the world it will increase understanding of how through their senses, how they people with autism experience the respond to sights and sounds, world through their senses and help textures, touch and smell. them to enjoy a better quality of life.

This report builds on research to give practical guidance for families and support workers. This was tested in sessions with Kingwood staff and with

2 Expert Reference Group

The role of the Expert Reference Group was to provide to informal meetings and consultation with individual guidance and support for the project, broaden its members of the group, formal meetings were held at the perspective and assess the findings and results. In addition Royal College of Art in London in March and July 2011.

Name Role Organisation

Sue Osborn Chief Executive The Kingwood Trust, UK Kevin Charras Scientific advisor ARTZ, Artists for Alzheimer's, France

Monica Cornforth Media Relations Consultant Independent, UK Parent of adult with autism Valerie Fletcher Executive Director Institute for Human Centered Design, USA Matthew Goodwin Director of Clinical Research MIT Media Lab | Autism & Communication Technology, USA Derek Hooper Inclusive Design Advisor Commission for Architecture and the Built Environment (cabe), UK Richard Mazuch Director of Design Research Nightingale Associates, UK and Innovation Marc Sansom Director International Academy of Design & Health, UK Richard Seymour Director Seymour Powell, UK Frances Sorrell Chair Sorrell Foundation, UK Teresa Tavassoli Doctoral Scientist , , UK Ad Verheul Founder of De Hartenberg Center, The Netherlands John Zeisel President Hearthstone Alzheimer Care, USA

3 Introduction

Adults with autism often live in environments that Kingwood Trust. The two partners do not take into account their different and unusual are working together on a long-term research programme to learn more responses to sensory input. about how design can improve quality of life for adults with autism. If their sensory responses and processing in over 90 per cent of the preferences are undersood better, participants2. For many people with Key findings of the Sensory then their families and the service autism, normal everyday sensations Preferences project are published providers who support them, may might be experienced at unbearable here for a wide readership – from be more able to create housing that levels, lead to excessive interest or housing providers, architects, meets individual needs. appear not to be noticed at all, making designers and academics in the field their way of interacting with their to service providers, support workers, Autism is a lifelong and complex environment unique. Some adults with as well as people with autism, their neurological condition that affects autism seek out sensory experiences, family and friends. the way a person communicates and whilst others try to avoid them. It relates to other people and the world is therefore essential to provide This publication is the second around them. As a spectrum condition, environments in which the visual, in a series. The first, Living in the it affects people in different ways. acoustic, olfactory and tactile qualities Community, by Andrew Brand was People with autism might have rigid can be modulated to suit a person’s published in September 2010. It routines and special interests, they preferences and to eliminate their provided guidance on the design of can be very sociable or find social sensory dislikes. residential accommodation for adults relations difficult; some have learning with autism following a detailed disabilities whilst others possess high This publication describes a design observational study of people in their levels of intellectual ability. With an research project aimed at developing homes. Brand’s work was timely and estimated prevalence rate of one in ways to support adults with autism well-received. The estimated shortage 100 people1 autism is not rare. to better manage relationships of housing for adults with autism in the with their home environments UK is in excess of 10,000 homes3; a In addition to difficulties with and other people by creating living deficit that was addressed on a communication and social interaction, accommodation that is more sensitive strategic level by the Autism Act of people with autism often display to their sensory needs. Exploring 2010, but which is unlikely to be unusual responses to sensory input. Sensory Preferences is the work of the resolved in the near future due to Studies using sensory profile Helen Hamlyn Centre for Design at the financial cutbacks, poor access to questionnaires with people with Royal College of Art in collaboration support for many adults with autism autism have shown special sensory with the leading autism charity, The and a lack of guidance about what

4 types of housing are needed. Brand’s project took a first step in dealing with the last of these challenges.

Our senses are in constant dialogue with our surroundings. The colour of a wall, the texture of a chair cover, the intensity of lighting, the build-up of odours, or the breeze from an open window are examples of sensations that we can experience at the same time.

The second publication in the series, Exploring Sensory Preferences, co- authored by Brand with Katie Gaudion, builds on the work of the first project, and suggests ways to identify and design for sensory needs as a route to improving quality of life for people with autism. There is particular focus on working with adults with autism and learning disabilities. Responding to an individual's sensory preferences in a research activity

The project has three main outputs: a development workshop for support profiling tool that helps adults with workers on the theme of ‘Ready Terminology autism play a more active part in Steady Make’, which promotes The term autism is used through- expressing their sensory preferences; the development of skills in out this publication to refer to a collection of sensory props and understanding sensory challenges all Autistic Spectrum Conditions design guidance to show how lighting, and making sensory props. including Asperger's syndrome. fabrics and other materials may be The report refers specifically used to create temporary, affordable to people with Asperger's when and adaptable sensory-focused referring only to individuals who spaces for occupational play within have this diagnosis. the home environment; and a staff

5 Context

Research into the unusual sensory responses of people with and Statistical Manual of Mental autism is becoming increasingly common. In many ways, Disorders (DSM-5), due to be published in May 2013, makes researchers are rediscovering a recent history of successful significant revisions to the diagnostic sensory interventional methods. criteria for autism, including statements relating to unusual Many people with autism experience perceptual difficulties in children with responses to sensory input4. special reactions to sensory inputs, autism – ‘unusual responses to which affect the way they perceive the sensory input’ has not been included This project sought to extend world around them. Living in a world in the clinical criteria for diagnosing knowledge through a design point that does not take into account their autism. Perhaps as a result of this of view rather than a scientific or particular sensory responses can give omission, sensory differences in sociological perspective. It builds rise to high levels of anxiety, which in people with autism has remained a on pioneering work in the field. turn may trigger unusual behaviours relatively neglected area of research in the form of aggression, self injury, and there are few empirical studies. ‘The distant noises on the main road repetitive actions or disruptive and Scientific studies that have been that ran about sixty metres from our destructive behaviour. It is recognised conducted have focused on house were always present. They that these behaviours are largely perception and on the integration of sloshed against the day-day sounds involuntary and may also be caused perceptual input rather than the of my own home in sort of wave-on-the by communication challenges. whole sensory experience. shore effect. I could feel the sensation of cars and a newly laden truck pass, This project took the view that The pioneering work of Delacato and also feel my own physical response if an individual interacts with an (1974), together with a succession of to the noises that the vehicle made environment that has been adapted autobiographical accounts, has from its tyres, its engine and the wind and furnished with sensitivity to the contributed to a better understanding of its passing. That wind could suddenly

way they perceive and respond to of autism and unusual sensory drown out a nearer sound, but not sensory input, many stress and experiences, including reported consistently.'5 anxiety triggers can be minimised. insensitivity to pain and atypical Blackman (2001) responses to auditory, visual, tactile Although both Kanner (1943) and and olfactory input. Asperger (1944) described unusual reactions of their patients to sound, Clinical practitioners have responded touch, sights, taste and smell – and to the increase in research in this Wing (1969) identified sensory and area. The fifth edition of Diagnostic

6 Practical Sensory Interventions Sensory Integrative Therapy Dr A Jean Ayres (1972) Early studies into sensory processing patterns in autism gave rise to more hands-on research activities, which Sensory Integration (SI) is resulted in various practical interventional techniques. a therapeutic approach that The most widely used are described here as they provide has been adopted by many tangible reference to the outcomes of this research project. occupational therapists. According to Dr Ayres: ‘The The Montessori Method essential principle in sensory integrative therapy is to Maria Montessori (1870-1952) provide the child with experiences rich in sensory input, in a guided manner, to produce an adaptive response Although the Montessori (that is functional behaviour) deemed more effective than Method originated from previously observed behaviours’ 7. SI therapy has been Montessori’s experience of shown to decrease tactile defensiveness and address working with children with poor discrimination of body position, body movement mental disabilities, it has and tactile perception in people with autism who have been predominantly implemented in schools for typically sensory processing difficulties. developing children. Today there is a revival of interest and a realisation that Montessori’s sensory-based educational Snoezelen® or Multi-Sensory activities can benefit people with neurological conditions Environment of all ages, including adults with autism. Katie Gaudion Ad Verheul & Jan Hulsegge (1978) completed a short course with the charity Montessori Education for Autism6 as part of this project, studying The Snoezelen® or Multi- various teaching methods that emphasise the develop- Sensory Environment (MSE) ment of motor skills, hand-eye coordination, ordering was created in 1978 by two and sequencing. Dutch therapists. The MSE began in the form of an activities tent installed at summer fêtes, as a means to provide leisure and relaxation for The Wilbarger Approach adults with profound disabilities. The tents were furnished Wilbarger & Wilbarger (1991) with sensory props and equipment designed to stimulate The Wilbarger approach was the primary senses, creating a multi-sensory experience developed to address sensory for visitors. Responses to the installations were defensiveness, which is overwhelmingly positive, leading to the first permanent described as ‘a constellation MSE being constructed in 19839. Today MSEs can be of symptoms that involve found internationally in hospitals, residential homes, avoidance reactions to sensation from any sensory day centres, domestic environments, school and prisons modality’8. It involves the application of deep pressure for a wide range of care scenarios including , through a special brushing technique and an individualised obstetrics, management of chronic pain, adult treatment plan for families. Wilbarger coined the term psychiatry, stroke and traumatic brain injury, paediatrics ‘sensory diet’ to describe a treatment programme for and autism. Since 2001 research has begun to directly families to help adapt activities and their homes to meet explore the effectiveness of the MSE for people their children’s sensory needs to improve functional with autism8. behaviour.

7 Research Methods

When designing for people with autism, it is essential to A key aspect of the research was the have an understanding of how they might experience the use of sensory profile questionnaires, commonly used by psychologists and environment and perceive people and objects in it. occupational therapists, to discover and categorise sensory difficulties. Two widely used questionnaires: The project drew on a number of • Visits to three controllable sensory Professor Winnie Dunn’s Adult/ complementary research activities: environments, which have been Adolescent sensory profile ® (2002) created specifically for adults with and Dr Olga Bogdashina’s sensory- • Visits to supported-living housing to autism. perceptual profile checklist (2003), observe how people with autism are • Use and adaptation of existing were used as references for creating currently supported in their home sensory profile questionnaires. a visual card-based profiling tool. and how they respond to sensory • Prototyping of sensory props and information in their home. improvised sensory spaces. An extensive literature review of • An extensive literature review of • Planning and delivery of sensory sensory interventions for people with sensory interventions for people activities with four adults with autism was conducted (see Context) with autism and interviews with autism, each with different needs and the research team visited three experts in the field. and abilities. controllable sensory environments

SCOPE EXPLORE DEFINE DEVELOP

Site visits Shadowing and participating in Sensory activity Design and test sensory Expert interviews homes experiments with residents profiling cards Literature review Sensory profiling questionnaires Ready-Steady-Make Build sensory props Sensory props and effects workshop for staff Staff development programme

8 bend shake flip listen throw catch pull push look focus Participant interacting with sensory props that had been created specifically for aim of providing stimulating sessions ‘The props that they have used adults with autism. These included the for them that would potentially reveal during the sensory activities Golden Horn Sensory House in Solund, some of their sensory preferences. Denmark, a complex for around 200 In the planning of these activities, have been wide and varied and adults with learning disabilities, a sensory profile questionnaires were always fun to use.' sensory environment at Stars and completed for each resident as a guide Rain, China’s first non-governmental to how to dress the room and select or Support worker educational programme for children create props that might appeal with autism. to individual needs.

To complement this broad overview, a Each activity focused on stimulating series of sensory props were designed the primary senses and the process and prototyped ahead of a series of of simply engaging with objects sensory activities undertaken with rather than achieving specific tasks. four adults with autism, who are Levels of engagement were carefully supported by Kingwood. monitored. These sessions were then repeated twice to check the results, Each of the participants had different to pilot new methods for support staff needs and abilities, but all have to engage and, ultimately, facilitate profound communication difficulties. similar activities. They were invited to participate in an improvised sensory space with the

9 Research Findings

A series of sensory activities involving four adults with had often found it difficult to remain autism and learning disabilities showed that settings focused and rarely occupied the same space. The activity was repeated and props that respond directly to an individual’s twice and compared to the results sensory preferences may help to improve concentration, of the first. In the repeat sessions, high levels of engagement and communication and social interaction. concentration were again recorded.

A central thrust of the research was activity for participants and their The sensory activity pilot revealed to conduct a sensory activity pilot support workers that could be a number of important factors: with four adults, who are supported repeated ad-hoc in their home. • Sensory profiling can help identify by Kingwood. During the session, • Encourage both verbal and non- an individual’s preferences in individual participants were invited verbal communication, socialisation advance of creating a sensory space to interact with various sensory props. and interaction between or activity, but an individual could be Inexpensive props that offer a range of participants and support workers. more actively involved in expressing sounds, smells, textures, shapes and their likes and dislikes. colours were selected or created. The entire sensory activity experiment • Providing the right sensory props in The intention of each prop was to was filmed and the footage analysed. the most appropriate sensory stimulate one sensory modality over The results were very positive. setting for the individual can and above the other senses, to help Participants showed enhanced promote concentration and social participants focus and engage without and, in some cases, new levels of interaction during the activity having to filter out other sensory concentration, communication and • Residential support staff may need information. social interaction as measured by to be encouraged and instructed the accumulative time, in which they how to facilitate sensory activities. The aims of the sensory activity pilot showed these behaviours. Three of were to: the four residents participated These findings influenced the • Verify results from Bogdashina’s and throughout the whole activity, development of a range of design Dunn’s sensory perceptual profile spending up to two hours engaged outputs from the project. questionnaires and help identify with the sensory props and other gaps and ambiguities in the participants. Support staff, some of questionnaires. whom had known participants for • Establish participants’ sensory many years, reported that conduct thresholds and abilities. during the activity was both atypical • Provide a stimulating, ‘physical’ and unexpected, as the participants

10 11 Design Elements

The research has generated three main design outputs, which have been piloted as part of the project: • A profiling tool that helps adults with autism to express their sensory preferences in partnership with those supporting them (below). • A collection of sensory props and design guidance to show how lighting, fabrics and other materials may be used to create temporary, affordable and adaptable sensory spaces for occupational play within home settings (above right). • A staff development workshop for Ready Steady Make sensory props residential care workers and family members on the theme of ‘Ready Steady Make’, which supports the development of skills in mapping sensory preferences and making sensory props (opposite page).

Together these outputs form a holistic, design-led approach to creating home environments that are sensitive to the sensory needs of adults with autism, embracing the identification of sensory difficulties and the development of support staff skills in this area. Visual sensory profiling tool

12 Ready Steady Make workshop

13 Visual Support Cards

To help identify the sensory preferences of adults with autism, the research team designed a set of 75 cards, entitled What Do You Like? Each card shows a different type of sensory experience, which is described in simple words and illustrated by photographic images.

The cards act as visual prompts Research has shown that people with for adults with autism, who may be autism may receive visual information unable to verbally articulate their from the world around them all at the preferences. Together with a family same time. They may be unable to member, friend or support worker, filter this information and develop the cards may be used by an individual coping strategies to minimise the to express whether he or she likes, amount of visual stimuli they must dislikes or is neutral about the subject process, which may manifest as of each card. This activity aims to ‘fragmented perception’, ‘singular involve adults with autism in their own attention’ or monotropism10. The card sensory profiling as active participants images try to accommodate these rather than relying on others to abnormalities by reducing the amount express preferences on their behalf. of visual information and by amplifying the characteristic that is being Top: The reverse sides of the cards are Once categorised into groups of 'likes', questioned through use of colour, colour-coded by sensory system, providing 'dislikes' and 'neutral', the cards contrast, composition, line quality a quick-reference, visual indication of the create a visual sensory profile of an and line intensity. participants' preferred sensory system(s) individual that may be used to make Above: An individual participants' selection decisions about their support and For family members, friends, support of sensory experiences and activities which housing options. Photographs are workers or design professionals who he likes used in a literal way rather than drawn may be facilitating the use of this illustrations, in order to make it easier sensory profiling tool, tips and for participants with communication guidance on how to ascertain, difficulties to understand what is interpret or respond to participants’ being asked of them. sensory preferences are shown on the reverse side of each card. In

14 some cases, the participant may not know or have revealed his or her preference in relation to a particular experience. When this happens, those facilitators are charged with helping the individual to create the sensory experience and discover together whether he or she likes, dislikes or is neutral about that form of stimuli. This process may lead to ideas for conducting sensory activities.

The sensory inputs and activities depicted on the cards are derived from various sensory profile question- naires and from the experiences of the researchers. A key focus is on characteristics that may lead to useful insights for designing the living environment. Thus topics that are unrelated to variables in the built environment have been excluded, for example, food preferences.

In addition to using the What Do You Like? visual support cards, it is important for support staff to establish an individual’s ‘sensory history’ by communicating with them, their family members and previous care-providers, as these conversations may reveal information that may not be articulated from using the cards.

15 Visual Support Cards

The sensory preference cards actively involve the adult When the cards were tested in situ with autism who may be unable to verbally articulate their with residents, feedback from support workers was positive. preference in building their own sensory profile. They also provide simple information on which interior design ‘The pictures seem to make what we should be asking more precise, which decisions can be made. makes me feel more confident about providing an answer. I also like how the Once sensory likes and dislikes have with other people. By providing more picture cards will help towards involving been agreed through interaction seats than the number of people that the people we support. It is about them between participant and support may use this communal space, people after all, and it’s important to give them worker or family member, the results will have more choice of where to sit, the tools to be heard and to contribute can be translated into a profile for providing a greater sense of freedom. opinions and input.’ making interior design choices. For Inserting thin slivers of mirror between Support worker example, if a card selection reveals bookcases or shelving can make that a resident prefers his home to be reflective light dance, which may neat and tidy, that he is sociable and provide subtle forms of visual stimuli likes being with people, and that he and encourage the individual to enjoys listening to music and looking explore and appreciate their home at twinkling lights, shiny surfaces and environment. reflections, then those cards form a ‘mood board’ to adapt living space A further development, beyond the to meet his sensory needs. scope of this project, may be the assembly of the sensory profile Using this information, simple created by the What Do You Like? changes can be made to the home visual support cards in digital form environment that may improve a that could be sent immediately to person’s quality of life. For example, in service providers and designers who communal spaces, specifying seats are working within the individual’s that provide different sitting positions circle of care. and can be repositioned to create smaller seating areas may encourage the individual in question to participate in social activities

16 Sensory profiling cards

17 Visual Support Cards

Bright natural light Listening to music

Bright natural light Listening to music

People who are drawn to bright natural If there are types of music that you light may benefit from using sunlight lamps, espe- enjoy listening to, list them here: cially in winter months.

People who avoid bright natural light may be over-sensitive to visual stimulation. Small changes to the home environment, such as the addition of dimmable lights, black-out curtains, shutters or self-adhesive window film, can make a difference to their comfort. Wearing sunglasses may also help.

© Copyright 2012 Kingwood - All Rights Reserved © Copyright 2012 Kingwood - All Rights Reserved

18 Getting messy The colour pink

Getting messy Colours

People who dislike getting messy or having In shared spaces, different visual preferences things on their hands or feet may be over- and sensitivities can be satisfied by using muted, sensitive to tactile stimulation. matt and harmonious colour schemes. Colour can be added as appropriate by using decorative Gradual introduction of different material objects, pictures and textiles. surfaces may help these people to gain confidence in anticipating the sensations they In private spaces, people can experiment with will get from touching different objects. their use of colours.

© Copyright 2012 Kingwood - All Rights Reserved © Copyright 2012 Kingwood - All Rights Reserved

19 Sensory Props Design ideas

Sensory props have a key role to play in enhancing the living transfer newly acquired skills environment for adults with autism. to practical situations. Sensory props are objects that sensitivities in a safe, fun and relaxed Based on research gathered stimulate the primary senses. For manner. Sensory props can also be throughout the project, the research people with autism, who often display created to help develop skills in motor team generated a large number of unusual reactions to sight, hearing, movement, cognition, communication concepts for sensory props. These smell, taste and touch, the process and socialisation. concepts were assessed against the of simply engaging with objects rather qualities shown in the table below than having to achieve specific tasks Through this occupational play, people and shortlisted to produce a collection can help them explore and test the with autism of all ages and ability may of props that appeal to the range of boundaries of their sensory gain confidence and ultimately sensory systems and can be used in the development of the listed skills.

Concept Name Curvy Vibro-Block Zzzip Sheema Fiddle DIY Props Selected concepts were then taken Curtain Block forward and developed into physical propositions. Sensory System Visual With the exception of Curvy Curtain, Tactile which was developed for an exhibition Audio at the Royal College of Art, prototypes Olfactory of these pieces of equipment were Proprioception successfully tested with residents at Vestibular one of Kingwood’s residences.

Skills Concepts included do-it-yourself Fine-motor movement props, which led to the development Gross-motor movement Visual tracking of a creative workshop for people Audio tracking with autism and their support staff Interaction / Communication to teach skills in how to make their Creativity own sensory props. Proximity

Hand-eye coordination Left: The Table showing how the selected Independence props relate to sensory systems and Relaxation skill development.

20 Fiddle-Brick Inspired by the building blocks and construction games devised by Friedrich Froebel and Maria Montessori, Fiddle-Brick invites participants to stretch, push, pull and rotate the individual brick elements to create novel shapes. More bricks mean more people can join in!

Vibro-Block Wrapping your arms around Vibro-Block makes it vibrate. Designed for people who enjoy squeezing, stroking and tapping objects and resting them on their lap. Original sketch of concept for Vibro-Block (far right).

21 Sensory Props Design ideas

Sheema Sheema creates a space in which a person can feel safe whilst enjoying the company of others. It comprises a series of knitted pockets that slot neatly over chair-backs and free- hanging, plush, patterned bands that invite touch.

‘During the last visit Katie showed the resident a large piece of yellow patterned knitting which had large pockets in it to place over the backs of three chairs, creating an enclosed den like space. Once he had seen Katie fit the knitted pockets over the chair backs he very quickly took charge and, using both hands, proceeded to do as she had.' Support worker

'I have supported this resident for over 10 years and have never seen him so willingly use his left hand. This has shown that, with the right props, support and encouragement, he may be able to develop greater use of his left hand. ' Support worker

22 Zzzip Zzzip is a fun prop to introduce the self-help skill of zipping. With contrasting colours it challenges and motivates the participant to visually track the directions for the zip and exercise fine motor movement.

Detail of Zzzip prototype showing zip fastener

23 Sensory Props Design ideas

Curvy Curtain (left) Hanging fabrics create interesting spaces, hide away visual detail and distractions, and reduce sound transmission. Curvy Curtain helps to transform and soften the edges of a domestic room, making it more inviting and comfortable for sensory- focused activities. The curtain has two sides – one with black fabric that darkens the space for ultra-violet sessions and the other with white fabric that provides a canvas for colour-changing lights and projected images. It also has twin rails and the rail connectors have a load release mechanism to preclude the risk of ligature.

Rattle Rack (right) Rattle Rack is a knitted textured prop filled with rice, lavender or other materials – participants are encouraged to stretch their arms and make special sounds when the prop is shaken or moved from side to side.

24 Tambour Trolley Some people with autism can be distracted or overwhelmed by the visual information from a disordered environment. So it is important to provide lots of storage. Mobile and easy to access, Tambour Trolley provides separate storage compartments for five of the primary sensory types: sight, sound, smell, touch and body movement.

Do-It-Yourself Props These objects demonstrate how to make sensory props from everyday items sourced in the home or from high street shops. These props can be created in minutes and are affordable, easy and fun to make. Interaction with physical objects and different materials can stimulate the imagination and help to improve the motor skills, communication and confidence of adults with autism. The following pages describe how a workshop activity and a quick reference guide were produced on the theme of ‘Ready Steady Make’ to encourage support staff to make their own props for assisted living.

25 Sensory Props Making your own

Ready Steady Make is a creative workshop for adults ‘I thoroughly enjoyed the with autism, service providers, support staff and workshop, you covered a lot. family members. What was so good about it was that it was formal but Ready Steady Make was developed Workshop programme as part of the project to support the 1. About Sensation and Perception not too formal because it development of skills in: 2. Introduction to Sensory Processing was quite hands-on. …it was in adults with autism • identifying sensory preferences 3. Evolution of Multi-Sensory good to have all the different • creating props that will help to Environments senses explained as it is such develop skills in motor movement, 4. Making Sensory Props communication and socialisation 5. Resources. a major part of this job and of • making small changes to the home autism.' that will make it more stimulating A pilot Ready Steady Make workshop and relaxing to live in. was tested with five Kingwood staff. Observation by a participant at the pilot The feedback was positive. Ready Steady Make workshop A key message for people attending the creative workshop is that the The following five pages describe how right home environment – one that five sensory props can be simply ‘Everything we learn we learn has been adapted and furnished assembled from everyday items. better when it seems to have with sensitivity to people’s sensory perceptual differences – can minimise no particular purpose, when certain triggers of stress and anxiety. it is pure fun and when we The recommended number of attendees for each workshop is six do not merely grasp it with people. Each attendee will need a our minds but also with our desk space for making props. At all times, attendees are encouraged hands.' to ask questions and share their Bruno Marini, Italian artist and thoughts and experiences. designer (1907-98)

26 MARBELOUS This sensory prop is easy to make. Find the ingredients below and follow the step-by-step guide to create a prop that instantly appeals to the sense of vision and equally entices touch, with its brightly coloured and bobbly textured surface.

Handling Marbelous causes the 01 Fill the cleaning mitt with marbles 02 Cut Velcro to the width of the cuff marbles inside to move, roll and tap against one another, providing aural stimulation. Place Marbelous on your lap or your shoulder and allow the marbles' weight to apply deep pressure to your body. For some people, the sensation of deep pressure can help develop body awareness, relax them and even improve concentration.

03 Affix a strip of hooked Velcro to the 04 Turn over the mitt and affix a strip of Tip: Experiment with a range of upper side of the cleaning mitt’s cuff looped Velcro to the lower side of the fillers for the mitt such as rice, cleaning mitt’s cuff lentils or foam to create a range of tactile and aural experiences.

You will need: Cleaning mitt Handful of marbles Sticky-Back Velcro (about 10cm) Scissors

05 Insert the cuff into the mitt opening, then close by attaching the Velcro strips

27 SNAP WRAP Snap-Wrap is a playful and reactive sensory prop; place your hand, arm or foot onto the prop to activate its snap.

Snap-Wrap can be repeatedly uncoiled and re-set, challenging fine motor skills in the process. This prop may appeal to people who like animated and surprising responses 01 02 from objects.

Tip: Experiment with different textures and weights of fabrics,

which will make Snap-Wrap react at different speeds.

03 04 You will need: Four (4) Snap Wraps Thick fabric (approximately 25 x 18 cm) Double-sided tape

05 06

1. Lay the fabric out on a flat surface and cover with double-sided tape. Remove the tape backing 2. With the fabric in landscape orientation, affix snap wraps to the left half of the fabric 3. Affix double-sided tape to the tops of the snap wraps. Remove the tape backing 4. Peel off the tape

5. Fold the fabric in half as shown and press firmly together

28 SPRINGY THINGY Springy Thingy celebrates and accentuates the unique behaviour of the slinky. Enveloped in a pair of tights, the slinky cannot become tangled and is transformed into textured plaything that invites touch and motor movements.

Stretch and release or wrap Springy 01 Using the pliers, cut the slinky to leave a 02 Cut a pair of tights in half. Insert the Thingy around your arms and legs. By compressed height of approximately 3.5 trimmed slinky inside one of the tights’ cm. Affix tape to the free ends of the legs and pull through to the end attaching the two free ends together, slinky to cover any sharp edges Springy-Thingy becomes a hoop that you can independently roll along your limbs to massage and relax.

Tip: Remove a gravy lid and place objects inside the slinky that will generate sounds when you shake or stretch Springy Thingy. Place coffee granules or lavender inside to appeal to 03 Take a gravy pot lid and fit it over one end 04 Place bells inside and attach a second your sense of smell. of the slinky gravy pot lid to the other end of the slinky

You will need: Two (2) Gravy pot lids Tights Handful of small bells Slinky (approximate diameter of 7 cm) Electrical tape Sticky-Back Velcro Pliers 05 Affix Velcro to each gravy lid. Press Scissors together to create a ring

29 FLIP FLOP Tap, press and squeeze Flip-Flop to watch it wobble; roll it along the floor or play throw and catch with a friend.

We’ve used bright colours, which look fascinating as Flip-Flop springs back 01 and forth, but may be overwhelming for some people. Flip-Flop is an excellent prop for developing your 02 vestibular (balance) system.

Tip: Place a marble inside the egg cups before you fix them together to create noise as 03 04 Flip-Flop wobbles.

You will need: Pair of flip-flops Two (2) metal spiral egg cups Strong tape Clear tape Scissors 05

1. Remove bands from flip-flops. Draw one circle; slightly larger than the diameter of the base of your egg cups; onto each of the flip- flops. Neatly cut out two discs 2. Place and align an egg cup to the centre of one of the flip-flop discs 3. Affix the egg cup to the flip-flop disc with strong tape. Trim the tape, removing loose ends 4. Repeat steps 2 to 4 for the other egg cup and flip-flop disc

5. Affix the two pieces at the tops of the egg cups with clear tape

30 PINGY THINGY Pingy-Thingy provides visual stimulation and makes a wonderful boing sound in response to flicking, flipping or tapping. Its fabric cover provides a soft textured handle through which you can feel the subtle vibrations of the spring.

Pingy-Thingy may appeal to people 01 Using the threaded end of a door stop, 02 Wrap double-sided tape around the walls who like light pressure and those who puncture a hole in the centre of the base of the gravy pot of the gravy pot. Screw the door stop enjoy making sounds with musical into the hole instruments and household objects.

Tip: Before step 3, place objects inside the sock that will generate sounds when you shake or flick Pingy-Thingy.

03 Remove the gravy pot lid. Remove tape 04 Insert the loose end of the sock into the You will need: backing and fit sock over the gravy pot gravy pot Gravy pot Sock Doorstop Double-sided tape Scissors

05 Place the lid back on the gravy pot

31 Design Guide Creating sensory-focused spaces and activities

This section offers basic However it may be more appropriate to There are a number of advantages in instruction and ideas for how provide space within or around the home using a sensory-focused activity space that can be transformed into an area rather than, for example, a kitchen or people with autism, their where very relaxing or highly stimulating garden: ‘sensory-focused’ activities can take families and support staff, • Unexpected and unplanned stimuli place and where the level of stimuli can may be minimised, helping can create sensory-focused be modulated to meet the needs and participants to relax, focus and preferences of individuals. spaces and activities within concentrate on the activity. their home environment. In schools and specialist facilities, this • Stimuli can be presented more clearly. space may be called a Multi-Sensory • A sensory-enriched environment that Environment (MSE). A multitude of MSE is new and exciting may be provided. Introduction equipment is available from various It is beneficial for adults with similar specialist suppliers, but in general this sensory needs and abilities to live in equipment is not practical or the same building, or in cases where an economically viable for domestic adult has extreme sensory sensitivities, settings. But a ‘sensory-focused’ to provide a single-person household. activity space can, be readily achieved However the access to suitable at reasonably low cost and look like it accommodation and locations is limited belongs in a home environment. This in the UK. Thus adults with very different section provides guidance and tips on sensory preferences may find them- how this might be achieved. selves living together in small groups. A sensory-focused space can be a room Communal spaces in shared or part of a room that is accessible to accommodation should be designed residents at all times. Providing space(s) and furnished to meet the preferences in which the lighting, acoustics, furniture of the most sensitive residents. This and layout can be easily controlled gives may result in uniform and low-arousal the person a sense of empowerment and interiors that simply do not provide the a place for satisfying his or her individual level of sensory input sought by other sensory needs without disturbing other residents. Naturally, residents should be residents. It also provides space for semi- encouraged to personalise their private structured activities, in which support spaces, such as bedrooms, in the way staff can help adults with autism to they want. develop their sensory responses.

32 Space Plan Hanging fabrics can also be used to environment. By providing plenty of • A sensory-focused activity space does block visual distractions such as accessible, fixed storage for sensory not have to be an entire room. It may patterned or brightly-coloured equipment, activity spaces may be be a corner or portion of a room which surfaces, windows and doors, and kept free of clutter. Storage may be is partitioned from the rest. Sensory- provide tactile surfaces on to which built into architectural features such focused activities are likely to be colour and imagery can be projected. as under stair spaces or used as a conducted one-to-one so the allocated • The placing of furniture can be used room partition. To help maintain a floor space may be reasonably small: to define smaller spaces within a low-arousal visual environment, 3m x 2m is sufficiently large for room, but it is equally important to storage units may be covered or relaxing sessions and activities that arrange objects so that movement is fitted with doors. focus on fine motor abilities and not obstructed. By providing different • Sensory equipment may need cleaning cognitive skills. types of seating – some low and after each activity so it is helpful to • Noise and unplanned interruptions relaxed and some upright to promote have cleaning products stored in or may be minimised by locating the alertness – residents are given choice near to the sensory activity space. sensory-focused activity space away and can exercise their preference. If • For ease of access during sensory- from main circulation spaces, items of furniture are easy to move focused activities, it may be helpful communal rooms and utility areas spaces can be reconfigured for to separate equipment by the sensory such as the laundry. different types of activities. modality that each item appeals to: • A larger space may be required for • Specifying furnishings that are visual, audio, tactile, olfactory, and activities that incorporate large body toxin-free will ensure safety for those balance and movement. movements such as jumping, pacing who may put objects in their mouth. and dancing. These activities are likely Similarly, materials with strong odours to generate noise, which may be may make the space unbearable for distressing to some residents, so it is those with an over-sensitive sense of good practice to locate the more smell. It is therefore good practice to physical activity spaces on the ground select inert materials that will not give floor and away from bedrooms. off gas. Fabrics can be coated with • Activity spaces should be accessible odourless flame retardant sprays for to all residents. improved safety.

Furniture and Finishes Storage • Hanging fabrics can be used to • People with autism may lose focus and redefine larger spaces and soften hard concentration when there is a large features such as room corners. amount of detail or disorder in their

33 Design Guide Creating sensory-focused spaces and activities

Floor Coverings • Fitting recessed downlighting provides • Choosing floor coverings that are an unobtrusive appearance on the suitable for the function of the space ceiling. Fitting non-flickering lighting and will reduce maintenance and such as electronic ballast fluorescent extend the life of the covering. In lamps, which flicker at an imperceptible spaces for more relaxing sessions, a frequency, is less likely to aggravate floor covering that is easy to walk on light-sensitive individuals. and is comfortable to sit on may make • Provision of a digital mini-projector is the space more inviting and give more very valuable as it allows colours and choice in where to sit or stand. Spaces moving images to be projected onto for highly stimulating activities may any surface in the room. require more durable and waterproof floor coverings that are easy to clean Acoustics and slip resistant. • It may be necessary to minimise • Different floor materials, textures and noise transmission both to and from colours can be used to define spaces sensory-focused activity spaces. within a larger room. Soft, porous floor The noise reduction performance materials may help to reduce noise of a building can be enhanced by transmission. separating floors and walls, using suspended ceilings, sound absorption Lighting and Projection materials, cavities, sound resistant • Using multiple, directional light plasterboard or acoustic tiles. sources with overlapping light beams Acoustic glass may be required for creates a soft and bright effect. road-facing windows. Indirect lighting on reflective surfaces will minimise glare, which some people Ventilation may find to be distracting. Providing • Using a whole-house mechanical colour-changing lights throughout the ventilation system will augment space and easy-to-reach control passive systems. Specifying central switches enables everyone to adjust ventilation systems and acoustic light levels and modify the colour of insulation will minimise extractor the whole environment. For best fan noise. effects, use neutral colours on walls and off-white fabric hangings.

34 From space to activity is a shared experience and is about building relationships so participants A well-designed sensory space provides should not be left alone. The role of the an ideal facility for conducting semi- facilitator is to: structured, non-directive sensory- • Create an environment suited to the focused activities in which support temperament and needs of the workers can help adults with autism to participant that is clean and safe develop their sensory responses through • Take an enabling and non-directive interaction with props, such as the ones approach to encourage the participant described in this publication. This next to explore the space and sensory section presents suggestions for how equipment at their own pace to prepare for, conduct and respond to • Record and respond to observations sensory-focused activities. • Be creative and have fun!

The ways in which participants with Preferably, the facilitator is someone extreme communication difficulties who is known to the participant. If the respond to stimuli during sensory facilitator also supports the participant activities can provide valuable clues and on a regular basis, then he or she is more sensory-based reasons for what helps likely to make links between everyday them to relax or become enthusiastic, observations and events that happen as well as what may trigger unusual during sensory activities and vice versa. behaviours. This information may help Above all, the facilitator must be calm, adults with autism, their families and patient, enthusiastic and empathetic. support staff to anticipate reactions to certain situations and events inside and There is no standardised training for outside of the home. conducting a sensory-focused activity. The guidelines described here are Conducting a sensory-focused activity inspired by the work of Ad Verheul (2007) In addition to creating the right and on the personal experiences of the environment and choosing appropriate research team. sensory equipment, it is essential that sensory activities are attended by another person, whose task it is to facilitate the session. A sensory activity

35 Design Guide Creating sensory-focused spaces and activites

Before starting an activity people, and what they can and cannot and space, then it may be appropriate In preparation for a sensory activity, see. Consider what the participant might to present props in combinations. it is good practice not to wear scent or wish to look at during a session and Recreating similar experiences by using clothes with patterns and bold colours, ensure they can clearly see the exit. the same props over several sessions as these can be distracting for the will provide continuity for the participant participant. Taking off shoes helps During an activity and help to verify his or her responses facilitators and participants feel more The start of an activity can be signalled by as genuine preferences and not simply relaxed and experience the textures of playing the same music at the beginning a one-off event. floor coverings; it also helps to reduce of each session. Encouraging participants transport of dirt and unwanted germs to explore the space and choose sensory If the participant becomes fixated with into the sensory space. When preparing equipment at their own pace, with no a particular prop, then it is good practice the space, consider how the participant pressure or expectations, promotes t to encourage them to disengage with is feeling and create a total environment heir free choice and independence. that particular object by introducing that reflects their mood. It may be a different prop. Before removing any appropriate to produce either a very Participants may take time to absorb, prop, the facilitator must assess if the relaxing or a highly stimulating session register and respond to new sensory participant is using it to help to alleviate – the choice of music and lighting and experiences; so it is essential to be tension, as taking away props at the layout of the space will have significant patient, introduce each prop one at a wrong time may increase anxiety. effect on this. time, and give the participant sufficient time to engage with each prop before Presenting participants with two objects To help establish the participant’s removing them. of different qualities may encourage colour preferences, try using different active choice making. Another method coloured lights or filtering elements If one piece of equipment is introduced for fostering choice making is to place as appropriate. Selecting audio with at a time, then it makes it easier to props to the side, but within the reach appropriate tempo, rhythm, and relate the individual’s responses to of the participant. melodic motion and pitches can set specific objects or events. In addition, by the atmosphere for the activity. If presenting participants with equipment Activities are always led by participants, playing music, consider the cultural and sequentially, the facilitator can more who decide the duration of a session personal relevance to the participant. readily respond to changes in their and indicate in their own way when attention or tolerance to a particular form an activity should end. However, as a The placing and types of seating of stimulation. Participants’ sensitivity rule of thumb, a good session will last determine the participant’s body thresholds may change from session for up to 45 minutes. Once the activity positioning, their proximity to sensory to session, or even during a session. has finished, remember to clean the equipment, the facilitator and other If a resident is familiar with the props equipment and fill out the logbook.

36 Notes of caution accounts of what happened in each • Beware of taking a participant from activity will enable trends to be dark to light suddenly and vice versa identified as well as unusual events. • Flashing lights may cause seizures These notes help guide towards building • Ultraviolet light can cause damage a sensory profile for the participant and to the eyes and headaches. Use indicate how sensory activities might be for approximately 5 to 10 minutes. developed for them, in terms of choice Where there is risk of seizures, some of props and how the space is curated. physicians advise against the use of UV light It is helpful to have a logbook for each • Some participants may be very individual. This logbook can simply sensitive to certain sensory inputs be a diary or scrapbook. There is a and find activities to be variety of ways in which one can record uncomfortable. It is important to note observations, through writing, drawing and act upon negative responses. or taking photographs. The key things to record are: After an activity • Names of facilitator(s) It is essential to observe how • Start time and duration participants interact with props, the • The participant’s temperament at the environment and other people during start of, during and after an activity. sensory activities. By watching the ways • Patterns of use and connections in which people engage with stimuli – between the sensory qualities of visually, by tapping, stroking, smelling objects that may have been heavily or other – insights into their individual used or discarded. sensory preferences might be revealed. The information gained from sensory Consider ‘use’ in terms of a hierarchy activities will be rich and plentiful, of engagement: Awareness – Attention but facilitators must be mindful that & Response (passive) – Engagement the causes of certain behaviours (active) – Interaction. and responses will not always be immediately apparent. Patience and some detective work will be required. Recording observations is important. Being able to refer to documented

37 Design Guide Creating sensory-focused spaces and activites

Tips for conducting a Audio relaxing session • Minimise noise from external sources and from neighbouring rooms.

• Play audio at a low volume. Use sounds Space Plan with a low tempo, a gentle rhythm and • Entering a big space can be intimidating. contain few high-pitched, shrill notes. Create a feeling of security by reducing the size of the space the activity will Props take place by using space dividers, such • Reduce the amount of visual as hanging fabrics or moveable furniture. information in the space by storing • Provide a choice of comfortable away props. Introduce each prop one seating, such as big cushions and at a time and give the participant beanbags, which can be readily moved plenty of time to engage with it before by the participant. These types of introducing something new. Though seating also provide a large contact some people may enjoy buzzing and area with the participants’ body, which flashing lights, be cautious when using may help to develop body awareness. props that are brightly-coloured and • It is important that the participant does those that behave in surprising ways, not feel too enclosed so place seating such as buzzing or lights flashing. so he or she can clearly see the exit. • Use fabrics and furnishings with soft Aroma textures to create a comfortable • Introduce subtle, relaxing smells such environment; these materials will help as lavender. One way to achieve this is to reduce noise transmission. by placing scents inside props that

Colour and Lights may be used during the session. • Some participants may feel more comfortable entering a brightly lit Facilitator space, then gradually dim the lights. • Speak softly, quietly and slowly. Use target lighting to focus attention. • Try not to make unexpected or sudden • Use mute, matt and harmonious movements. colours; beware of using geometric or • Introduce various forms of stimuli repeating patterns gradually. • Project slow-moving imagery, such as • Offer one prop at a time, with gentle nature scenes, onto different surfaces. transitions from one prop to the next.

38 Tips for conducting a and from neighbouring rooms. This will also help to minimise noise stimulating session transmission from the sensory activity, which could disturb other residents. • Play audio that has higher tempo and Space Plan strong rhythm and minimal high pitch • Provide a clear floor space so there is content. sufficient space for people to move

around. Mirrors on the wall can help to Props make the room feel more spacious. • Introduce a variety of props that move • Provide seating that promotes good in surprising ways or create unusual posture, alertness and allows the sounds and visual effects. participant to move easily. • Props that invite the participant to solve problems or create his or her Colour and Lights own games may encourage interaction. • For sessions that may involve large Introduce large and weighted props to body movements such as jumping and promote gross body movements such dancing, ensure the space is clearly lit. as bending and stretching. Stimulating sessions may also include the use of ultra violet lighting. Before Facilitator turning off the main lighting, it is • Be prepared with plenty of props important to ensure the participant to give participant new experiences. is seated. • Be enthusiastic. • Consider using bright, vibrant colours in the lighting and projected imagery and in the selection of props. • Using projections with moving imagery and repositioning target lighting and projections within the space promotes visual tracking and may encourage the participant to explore different parts of the space.

Audio • Minimise noise from external sources

39 6 Conclusions

The outcome of this project is a holistic, design-led on these individuals themselves needs to be evaluated in order to assess if approach to understanding the sensory challenges the results can be generalised. By of adults with autism. their nature, interventions were multi-component and so the effect There are three main contributions: here are drawn from evidence based of specific components is unknown. the first, a new card-based resource on working schemes that are currently Further studies will be required to for profiling sensory difficulties and in existence, whilst those piloted validate the impact of these factors revealing sensory preferences, which during the project will continue to be and quantify how specific design uses visual supports so that adults evaluated. elements and activities translate to with autism and learning disabilities functional behaviour changes in the are better able to express their needs; The methods developed throughout participants at home. second, guidance on making sensory this project serve as a series of props and on creating temporary, demonstrations that, having yielded In considering the wider application affordable and adaptable sensory- initial evidence, merit further study. of recommendations and suggestions focused spaces in domestic settings, Participants of the sensory activities made here, it will be essential to with particular focus on providing clearly enjoyed the sessions, which involve adults with autism and no tactile stimuli; and third, a series of has encouraged Kingwood to develop learning disabilities in future projects. creative workshops for Kingwood staff an informal programme of regular It is expected that guidance on to support the development of skills in sensory events with these individuals. domestic settings would be beneficial understanding sensory challenges The effects of these activities will for many of this user group, for whom and making sensory props. continue to be monitored. research and biographical accounts reveal that sensory differences may The guidance presented in this Throughout the project, observed be commonplace across the spectrum. publication is not intended to be patterns of behaviour were attributed Indeed, people in the wider population mandatory or prescriptive. Rather to sensory interventions made by the may delight from living in homes that it is hoped that the work will build research team and Kingwood staff. are laid out and decorated in ways awareness and inspire service Links between outcomes, such as that relate to their sensory providers, support staff, professional enhanced levels of concentration and preferences. designers and family members to social interaction, and variables, such consider the behaviours of adults with as the type of sensory prop or changes The next phase of this project, taking autism in terms of the way they may to the participants’ home décor, have place between October 2011 and be experiencing the world through been inferred by the individuals September 2012, will use the sensory their senses. Many of the ideas shared providing the intervention – the effect profiling cards and build on the

40 Footnotes

workshops with Kingwood staff to 1 The National Autistic Society, 8 Wilbarger J. & Wilbarger P. The develop new approaches to providing www.autism.org.uk Wilbarger Approach to Treating Sensory opportunities for leisure and Defensiveness. In Sensory Integration: 2 Leekam S R, Neito C, Libby S J, Wing L & occupation within domestic settings theory and practice, cited in Bundy AC, Gould J. Describing the Sensory for adults with autism. There will be Murray EA, & Lane S. (Eds.. Sensory Abnormalities of Children and Adults particular focus on developing skills Integration: Theory and Practice, second with Autism. Journal of Autism and and exploring the sensory potential edition. FA. Davis, Philadelphia (2002) Developmental Disorders. 37 (2001) of outdoor spaces. pp.335-341, p.335 Image: Koomar, J A, & pp.894-910 Bundy AC. (1991). Creating direct The design of residential buildings 3 Higgins B. Good Practice in Supporting intervention from theory. In Bundy AC, clearly makes a difference to the Adults with Autism: guidance for Murray EA, & Lane S. (Eds), Sensory quality of life of adults with autism, commissioners and statutory services. integration: Theory and practice, second but should not be considered in The National Autistic Society (2009) edition FA. Davis, Philadelphia, (2002) isolation. A holistic approach should pp.261–308, p.266 be taken that includes the design of 4 American Psychiatric Association, people-centred support plans, models DSM-5 Development, 26 January 2011 9 Verhuel A. Snoezelen Materials for financing accommodation and www.dsm5.org/ProposedRevisions/ Homemade. (Ed) Ad Verheul (2007) p.6 Pages/proposedrevision.aspx?rid=94 inclusion in the community – such 10 Murray D, Lesser M, Lawson W. as meaningful employment and 5 Blackman L. (2001). Lucy’s Story: Attention, Monotropism and the help developing friendships and Autism and Other Adventures. London: Diagnostic Criteria for Autism. SAGE relationships. Jessica Kingsley Publishers. p.35 publications and The National Autistic Society, 9(2) (2005) pp.131-156 No singular model of housing or 6 Montessori Education for Autism www. support will meet all the needs of this montessorieducationforautism.com population. Planners and design 7 Ayres AJ. Sensory Integration and professionals are encouraged to stay Learning Disorders. Los Angeles: up-to-date on literature in the field Western Psychological Services (1972) and consult adults with autism, their 11. Image: Koomar J A, & Bundy AC. families and service providers to meet (1991). Creating direct intervention from their individual conditions and theory. In Bundy AC, Murray EA, & Lane circumstances. S. (Eds), Sensory integration: Theory and practice, second edition. FA Davis, Philadelphia (2002) pp.261–308, p.267

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43 Acknowledgements

We would like to thank the following people for their help About the authors and support during the project: Katie Gaudion holds a Master of Philosophy in Textiles Sue Osborn of the Kingwood Trust, Colum Menzies Lowe Design from the Royal College of Art. She received the of BEING, and Jeremy Myerson, Rama Gheerawo, Ed Helen Hamlyn Design Award for Creativity in 2010. She Matthews, Margaret Durkan and Mark Byrne, at the Helen has presented her design research at a number of Hamlyn Centre for Design, Royal College of Art. international conferences including China and the USA. Katie’s specialist interest lies in co-designing with adults We would like to thank the Monument Trust for making and children with learning disabilities and neurological this work possible. conditions. She is interested in learning and discovering the latent needs of people whose perspective and The following people generously gave their time and experience of the world is individual and unique. Katie is expertise to the project: the founding member of Angles between Curves, a design research practice that focuses on materials development Members of our Expert Reference Group; Paula Ransom and people-centred design to create tactile, interactive and her wonderful team at White Barn, especially Angela and performance textiles for product and environment. Clark for her ongoing enthusiasm and insights; Eleri Booth [email protected] and her team at Beeching Way; Lucy Cox and Teresa Whitehurst at Sunfield School; Ian Wilson at the Hoffman Andrew Brand holds Masters degrees in Engineering Foundation for his inspirational stories and work; and from Loughborough University and in Industrial Design Aleksandra Szymanska for her fantastic support and Engineering from the Royal College of Art. He has worked design skills. We also thank Robert Hiscox, of HISCOX, in the automotive, medical and heavy plant industries for generous support. and is a Chartered Mechanical Engineer, delighting in opportunities to combine his technical and design skills. A special thank you to the people that Kingwood support, Andrew is a founding member of start-up company particularly Lucy Cobb, Anthony Drain, David Carn and Squease, developing smart clothing for people with autism James MacMillan for inviting us into their home. and the design collective bread, engaged in various projects from art installations to medical and consumer products. [email protected]

44 Authors: Andrew Brand and Katie Gaudion

Editor: Jeremy Myerson

Design: Margaret Durkan

Printed by: PureprintGroup www.pureprint.com Exploring Sensory Preferences - Living Environments for Adults with Autism

© 2012 Helen Hamlyn Centre for Design, Royal College of Art

ISBN 978-1-907342-49-3

British Library Cataloguing-in-Publication Data. A catalogue record for this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior consent of the publishers.

Published by: Helen Hamlyn Centre for Design Royal College of Art Kensington Gore London SW7 2EU +44 (0)20 7590 4242 [email protected] www.hhcd.rca.ac.uk Adults with autism often live in environments that do not take account of their different and unusual responses to sensory input. If it were easier for them to express their sensory preferences, then families and service providers may be able to create housing that meets individual needs and aspirations. This publication describes a design-led approach to helping adults with autism play a more active role in expressing their sensory preferences. It offers guidance on creating sensory spaces within the home and developing skills in understanding sensory challenges and making sensory props.