社會(huì)物質(zhì)型建筑：將整合感知功能作為解決自閉癥、神經(jīng)多樣性與包容性的方法

肖恩·阿爾奎斯特/Sean Ahlquist

王單單 譯/Translated by Dandan Wang

李若星 校/Proofread by LI Ruoxing

殘障創(chuàng)造出了超出觀念形態(tài)復(fù)雜程度的具身理論，而這些眾多的具身體現(xiàn)對(duì)理解人類及其變化至關(guān)重要，涉及到生理、心理、社會(huì)和歷史層面[1]。

殘障是一個(gè)關(guān)鍵、普遍且具有多面性的問(wèn)題，但在兒童空間的設(shè)計(jì)與研究中往往并未經(jīng)過(guò)慎重思考。供特殊學(xué)習(xí)的教育空間需要仔細(xì)考慮環(huán)境、能力和學(xué)習(xí)潛力之間的相互關(guān)系。不過(guò)，在更廣泛的受眾背景下，此類仔細(xì)的考慮被擱置一旁——?dú)堈贤ǔH被理解為身體通行的需求。從醫(yī)學(xué)術(shù)語(yǔ)和物理維度狹隘地看待“能力”，使人們無(wú)法將其視作與環(huán)境有關(guān)的、具有一定變化范圍的狀況。對(duì)樓梯尺度的嚴(yán)謹(jǐn)要求與對(duì)坡道坡度的嚴(yán)謹(jǐn)要求一樣，揭示了體能的極限。然而，在這種情況下，“健全”和“殘障”便有了明確的二元性。一個(gè)人到場(chǎng)的便利性被淹沒(méi)在“無(wú)障礙”的通用術(shù)語(yǔ)中，這讓建筑對(duì)不同能力人群具有包容性成為易于實(shí)現(xiàn)的目標(biāo)。

更值得關(guān)注的是，建筑對(duì)社會(huì)和空間因素的一貫誤判將加劇普通人群和神經(jīng)多樣性特殊個(gè)體i之間的分化。包容性，作為一種社會(huì)行為，通常被視作一種歡迎態(tài)度。然而，正如薩拉·艾哈邁德在多樣性和種族主義研究中所闡明的那樣，“歡迎”即指一方并非主人翁[2]。這樣一來(lái)，觀察者和被觀察者的等級(jí)體系便迅速建立起來(lái)并開(kāi)始質(zhì)疑“誰(shuí)位于歡迎者的地位，或者，為什么一開(kāi)始這種歡迎就被視為必要”[3]。

在空間方面，建筑師的作者身份因其一成不變的產(chǎn)出變得問(wèn)題重重，因?yàn)榻ㄖ熆偸窍Ｍ渡湟环N特定的故事。可是，此類從建筑師兼導(dǎo)演的狹隘視角所出發(fā)的不變性破壞了位置、行為、知覺(jué)與目標(biāo)所組成的潛在的美妙和諧：一種不墨守成規(guī)的身心關(guān)系中浮現(xiàn)出來(lái)的和諧。即使是關(guān)于殘障的敘述，通常也缺乏關(guān)于“身體”與“認(rèn)知”這兩種不同能力的論述。相反，建筑通過(guò)針對(duì)特定的“無(wú)能力”，而非放大特殊“能力”的變化范圍來(lái)表達(dá)身心領(lǐng)域。

總而言之，這些問(wèn)題忽視了建筑需囊括“社會(huì)物質(zhì)型能動(dòng)性”的必要性。“社會(huì)”即同等地引發(fā)參與性、表達(dá)性和創(chuàng)造力的對(duì)話。“物質(zhì)”即此類對(duì)話不可避免地交織在一個(gè)暫時(shí)的、物質(zhì)的和技術(shù)的世界里，且具有反射性。“能動(dòng)性”則為社會(huì)物質(zhì)型條件讓渡并播種了個(gè)人自主權(quán)，以便在集體環(huán)境中形成多樣的交流方式。

如果我們認(rèn)為殘疾是一種新現(xiàn)象（本質(zhì)上不可預(yù)測(cè)），通過(guò)人、態(tài)度、歷史、物體和其他空間環(huán)境特征的內(nèi)在作用而具體化，那么我們?cè)撊绾螢闅堈仙硇倪M(jìn)行設(shè)計(jì)呢[3]？

是什么定義了這種對(duì)未知的能力和認(rèn)知具有反射性能動(dòng)性的建筑？正如西蒙·潘尼這位數(shù)字文化實(shí)踐方面的藝術(shù)創(chuàng)作者所言，“互動(dòng)授予能動(dòng)性”[4]。不過(guò)，在這種情況下，“互動(dòng)”必須具備特定的意義。“授予能動(dòng)性”表示通過(guò)陌生的交流方式滋養(yǎng)新的創(chuàng)造。潘尼進(jìn)一步闡述：互動(dòng)的形式是一種雙向條件，雙方都有“ （類似能動(dòng)者）的行為，……對(duì)復(fù)雜行為的設(shè)計(jì)必然先于對(duì)交互的設(shè)計(jì)”。更確切地說(shuō)，在時(shí)空中的“另一種探索”成為了物質(zhì)化的導(dǎo)演。這與更傳統(tǒng)的交互觀點(diǎn)形成了對(duì)比，在傳統(tǒng)的交互觀點(diǎn)中每一個(gè)實(shí)例都是在指定的、有界的、編輯過(guò)的數(shù)據(jù)庫(kù)中排列好的。

如果互動(dòng)是個(gè)體實(shí)現(xiàn)自我表達(dá)能力的時(shí)刻，那么這便是“過(guò)程”。接受“另一種”動(dòng)機(jī)的重點(diǎn)是超越建筑學(xué)學(xué)科傳統(tǒng)邊界的過(guò)程擴(kuò)展。待解決的矛盾存在于對(duì)精確性的需要和對(duì)未知的囊括之間：（1）精確性是確定一個(gè)建筑系統(tǒng)所必需的；（2）對(duì)未知的囊括是讓渡出去轉(zhuǎn)變建筑自身意義和表達(dá)的能力；（3）尤其是在無(wú)數(shù)不健全的社會(huì)能動(dòng)性背景下。

1 包容性拓?fù)鋵W(xué)

作家梅蘭妮·耶爾蓋是一位自閉癥學(xué)者，著有殘障研究和酷兒修辭學(xué)。她描述了對(duì)自閉癥的普遍看法：

“自閉癥患者被描繪成以自我為中心、盲目、不合群的人，學(xué)者和公眾均認(rèn)為自閉癥是一種非自愿的疾病。他們習(xí)慣服從于非自閉癥患者的控制和定義的權(quán)力。”[5]

盡管自閉癥患者被貼上了不合群的標(biāo)簽，但它暴露了殘障反常的社會(huì)成分：通過(guò)解釋在集體中確立地位，成為社會(huì)結(jié)構(gòu)的一部分。這種病態(tài)的包容性形式在治療和教育中無(wú)處不在，試圖將離群者塑造成自閉癥患者。身份可以被肯定，參與則不被允許。

1 2019年4月印第安納州哥倫布市哥倫布展覽時(shí)的“感官游樂(lè)場(chǎng)”。在測(cè)量小原型每個(gè)區(qū)域的感官互動(dòng)范圍時(shí)，兒童的個(gè)體能動(dòng)性通過(guò)塑造功能的自由來(lái)表現(xiàn)/SensoryPlayscape[EC],Exhibit Columbus, Columbus, Indiana, April 2019. In measuring the range of sensorial interactions across each region of the small prototype, the capacity for a child's individual agency is shown through the freedom to shape functionality（肖恩·阿爾奎斯特供圖/Courtesy of Sean Ahlquist）

Disability creates theories of embodiment more complex than the ideology of ability allows,and these many embodiments are each crucial to the understanding of humanity and its variations,whether physical, mental, social, or historical[1].

Disability is a critical, prevalent and multivalent issue, yet, often disproportionately considered when engaging in the design and study of spaces for children. An educational space for specialised learning may closely examine the linkages across environment, ability and learning capacity. But,in the context of a more general audience, such scrutiny is set aside and disability often only registers as requirements for physical access. The narrow view of "ability" along medicalised terms and physical dimensions blinds its consideration as a spectral condition related to circumstances. The strict measurements of a stair are equally a sign of the limits of physical ability as is the slope of a ramp designated for wheelchair use. Yet, a clear binary of the abled versus disabled is applied in this circumstance. The facilitation of one'spresence,submerged in generic term "accessibility", is but lowhanging fruit for architecture to claim identification of spaces as inclusive to the differently-abled.

Of more profound concern is architecture's consistent miscalculation of the social and spatial factors that exacerbate the division between the normative population and the neuro-divergent non-conforming individual.Inclusion, as a social activity, is often celebrated as awelcoming. Yet, as illuminated by Sara Ahmed in studying diversity and racism, to welcome is to implicate one party as being "not at home"[2]. This quickly establishes a hierarchy of observer and observed, questioning"who is positioned as doing the welcoming, or why that welcome has been deemed necessary in the first place"[3].

In spatial terms, the architect's authorship becomes problematic in its production of unrelenting fixedness - the desire to project a particular narrative. Yet, such invariability, dictated through the narrow lens of the architect-auteur,undermines the would-be wondrous orchestrations of position, demeanor, perception and purpose that emerge from the intervening nonconformist bodymind. Even a narrative concerned with disability commonly lacks a discourse of divergent abilities that are bothphysicalandcognitive. Instead,the architecture represents this domain of bodymind by targeting specificincapacities, rather than magnifying a spectral range of extraordinarycompetencies.

Collectively, these issues overlook the necessity for architecture to embrace asociomaterial agency.Social- being party to the many dialogues that equally engender participation, expression and creativity.Material- that such dialogues are inextricably enmeshed within and reflexive to a temporal, physical and technological world.Agency- wheresociomaterialconditions cede and seed individual autonomies for shaping diverse means of communication within a collective environment.

If we accept that disability is an emergent phenomenon (essentially unpredictable), one that materialises through the intra-actions of people,attitudes, histories, objects, and other ambient features of a space, how do we design for disabled bodyminds[3]?

What defines an architecture of such reflexive agency towards competencies and perceptions unknown? As stated by Simon Penny, an author on digital cultural practices within the arts, "interaction confers agency"[4]. But,interaction, in this case, must have specific meaning. To confer agency will mean the affordance of novel creation through unfamiliar modes of communication. Penny elaborates further:interaction takes form as a two-way condition with"(agent-like) behaviour onbothsides, … (where) the design of sophisticated behaviour necessarily precedes the design of interaction." Anotherlymotivation, or more specifically, an otherlyexplorationin spacetime becomes the auteur of materialisation. This contrasts a more conventional view of interaction whereby an instance is queued from within a prescribed, bounded and authored dataset.

If interaction is the moment by which the individual materialises their own expression of ability, then this speaks ofprocess. Fundamental to acceptingotherlymotivations is the expansion of process beyond the conventional borders of the discipline of architecture. This raises the pivotal conundrum for an architecture that tries to relay a more expansive and nuanced template for abilityand inclusion. The conflict to resolve is (1) the precision commanded to specify an architectural system against (2) the embrace of unknowns that have been ceded as capacity to transform the architecture's own meaning and expression, in(3) the context of an indeterminate number of illdefined social agencies.

1 A Topology of Inclusion

Author Melanie Yergeau, an autistic academic with writings on disability studies and queer rhetoric, describes the prevailing sentiment of autism:

"Autistic people are portrayed as egocentric,mindblind, and asocial. … [S]cholars and lay publics alike represent autism as an involuntary condition. …[T]hey are conditioned to submit to the control and definitional power of non-autistic people"[5].

Despite tagging the autistic as asocial, it exposes the perverse social component of disability:casting interpretation so as to set position within the collective, as part of a societal structure. This ill-suited form of inclusion pervades therapy and education in efforts to shape the outlier into the allistic. Status is granted. Participation is not.

There might or might not be meaning;there might or might not be symbolic linguistic formation or representational intent; but there are rhetorical effects, there is invention at work, there is rhetoricity. In the words of Lennard Davis, there is a there there[6].

Individuals with autism spectrum disorder(ASD) and their advocates have taken the mantle for advancing a more intricate understanding of diversity. This involves shifting from a narrow focus on dis-ability towards support of functional, albeit divergent, and conventionally termed "atypical",abilities. In respect to "higher-functioning"individuals, this involves adopting a "more positive,humanising, identity-first language, … rejecting negative language such as 'disorder', 'deficit', and'impairment'[7]". This more positive view can be expanded to the entire spectral landscape of autism,beyond the "high-functioning", if we examine the interconnected social structures in a more refined manner.

這可能有意義，也可能沒(méi)有意義；可能存在，也可能不存在符號(hào)語(yǔ)言構(gòu)成或具象意圖；但一定有修辭效果，有在發(fā)揮作用的虛構(gòu)，有修辭學(xué)。正如倫納德·戴維斯所說(shuō)，那里存在一個(gè)“那里”[6]。

自閉癥譜系障礙（ASD）患者及其擁護(hù)者已經(jīng)承擔(dān)起推進(jìn)深刻理解多樣性的重任，這涉及從狹義地關(guān)注能力缺陷轉(zhuǎn)向支持功能性能力，盡管尚有分歧且常被稱為“非典型”。對(duì)于“高功能”的個(gè)體而言，這包括采用“更積極、更人性化、特性先行的語(yǔ)言，拒絕‘紊亂’‘缺陷’和‘障礙’等負(fù)面語(yǔ)言”[7]。如果我們以更精細(xì)的方式來(lái)審視相互關(guān)聯(lián)的社會(huì)結(jié)構(gòu)，這種更積極的觀點(diǎn)可以擴(kuò)展到整個(gè)自閉癥的廣闊領(lǐng)域，而非僅限于“高功能”。

自閉癥通常被標(biāo)記為一種“隱形”或“隱性”障礙，許多自閉癥的特征可能只有身處社會(huì)環(huán)境中才會(huì)顯現(xiàn)出來(lái)。刻板的觀察結(jié)果可能含有“不同步”的笨拙天性，或明顯缺乏情緒自律。渴望包容將重塑一個(gè)人以上的性格特征——從“問(wèn)題”變?yōu)樯鐣?huì)各方之間平等的“差異性”談判。對(duì)于那些被認(rèn)為具有“高功能”的患者來(lái)說(shuō)，這種強(qiáng)烈的認(rèn)知更容易促進(jìn)直接對(duì)等的互動(dòng)。不過(guò)，要考慮到自閉癥的所有異質(zhì)性，簡(jiǎn)言之，包容就是在一個(gè)更大、更多樣化的“社會(huì)網(wǎng)絡(luò)”中獲得定位。

這種社會(huì)結(jié)構(gòu)的關(guān)鍵是構(gòu)建“分布式”拓?fù)鋵W(xué)的網(wǎng)格。由于“無(wú)”中心樞紐，扁平的組織結(jié)構(gòu)能夠在單一的平面內(nèi)吸收所有同類和支持者（人類的和技術(shù)的）所構(gòu)成的多樣性——這些人是遭受社會(huì)歧視的當(dāng)事人、見(jiàn)證人。這使得人們不再關(guān)注“神經(jīng)正常”團(tuán)體和“非典型”個(gè)體之間的二元性。一旦每個(gè)節(jié)點(diǎn)都有了能動(dòng)性，囊括一定范圍的頻譜視角便誕生了。對(duì)網(wǎng)絡(luò)中不同輻射的情緒做出反應(yīng)的能力定義了一種產(chǎn)生包容性的能力，這種能力是一種動(dòng)態(tài)的、臨時(shí)的狀態(tài)。之后，社會(huì)功能的水平可以從家庭、教育和技術(shù)成分中所需的節(jié)點(diǎn)數(shù)量以及通過(guò)這些節(jié)點(diǎn)輻射出的不和諧或和諧程度來(lái)理解。

2 打破建筑的固定性

“從某種意義上來(lái)看，‘這個(gè)世界并非為殘障而設(shè)計(jì)’這一說(shuō)法是一種認(rèn)知和思考方式上有疏漏且無(wú)知的表述。然而，從另一種意義上看，它是一種物質(zhì)安排上有疏漏和無(wú)知的表述，即通過(guò)無(wú)意識(shí)但積累的實(shí)踐來(lái)創(chuàng)造和毀滅世界上的居民。”[8]

建筑利用關(guān)鍵符號(hào)（如幾何、比例、物質(zhì)性、序列及其組合）來(lái)傳達(dá)意義，無(wú)論是為了明確功能的實(shí)用性還是數(shù)量化到直覺(jué)性的公民相關(guān)性。學(xué)術(shù)教學(xué)法和專業(yè)文化共同支撐著這一符號(hào)學(xué)。在該領(lǐng)域內(nèi)，不同的文化表現(xiàn)可能會(huì)試圖擴(kuò)展這種方法所包含的語(yǔ)言，而不僅僅只是基于白人男性形象和心態(tài)的假設(shè)。不過(guò)，只有在專業(yè)領(lǐng)域“之外”的能動(dòng)性之中才能最終在包容性的建筑里接納神經(jīng)多樣性。

本文所概述的研究主體更仔細(xì)地審視了物質(zhì)性對(duì)個(gè)體能動(dòng)性的影響以及建筑意義的轉(zhuǎn)變。運(yùn)算設(shè)計(jì)和數(shù)字制造領(lǐng)域是建筑范疇的一個(gè)特殊領(lǐng)域，它采用了普遍的“零件配套”方法，但在制造、裝配、材料行為和空間構(gòu)造學(xué)的方面追求鞏固設(shè)計(jì)及其探索的天性。設(shè)計(jì)從接入點(diǎn)沿著該序列發(fā)展成一個(gè)建筑系統(tǒng)，最終劃定一個(gè)有趣的頂點(diǎn)。在“標(biāo)準(zhǔn)化”組件的創(chuàng)新性轉(zhuǎn)變和“定制”材料的生成之間，定義一個(gè)關(guān)鍵的傾向——從已知的、積累的和可臆測(cè)的建筑表達(dá)轉(zhuǎn)向外來(lái)的、可變的和能動(dòng)性的材料抽象性。

后者主張創(chuàng)造性，以“完成”建筑系統(tǒng)中功能和表達(dá)的敘述；而非前者排他性的一成不變（如由設(shè)計(jì)師編寫(xiě)的腳本所驅(qū)動(dòng)一般）。致力于醫(yī)學(xué)、健康、社會(huì)和美國(guó)研究的教授艾米·哈姆雷提出：非常規(guī)的身心不適源自“被已建成世界的設(shè)計(jì)所想象、隱藏和創(chuàng)造的居民身體”[8]。

控制論科學(xué)中的某些時(shí)刻，在相互且連續(xù)的反饋循環(huán)中研究人和機(jī)器，提供了一個(gè)模板。通過(guò)這個(gè)模板，能動(dòng)性可以跨越從設(shè)計(jì)和技術(shù)到社會(huì)語(yǔ)境中個(gè)人表達(dá)的界限。特別是在戈登·帕斯克名為 “音樂(lè)燈光”的裝置作品中，一個(gè)建構(gòu)新知識(shí)對(duì)話的相關(guān)框架在空間轉(zhuǎn)變的環(huán)境里應(yīng)運(yùn)而生[9]。將管弦樂(lè)聲音轉(zhuǎn)換成電信號(hào)和投射光模式的算法中，感到“無(wú)聊”是一種關(guān)鍵的能力。重復(fù)的聽(tīng)覺(jué)模式——只有在管弦樂(lè)的操作“中”才能辨別出來(lái)，會(huì)慢慢地將相應(yīng)的光模式靜音。知識(shí)僅可在“場(chǎng)所”中出現(xiàn)（在體驗(yàn)的瞬間不可分割地形成），而不是“先驗(yàn)的”（獨(dú)立于經(jīng)驗(yàn)的定義）或“后驗(yàn)的”（基于經(jīng)驗(yàn)而知）。

不僅佩妮的“能動(dòng)性”表現(xiàn)為“從兩邊”發(fā)生，而且知識(shí)的發(fā)展也誕生于所有參與者中：機(jī)器的設(shè)計(jì)者觀察其空間迭代，機(jī)器本身的算法記錄新的重復(fù)模式，管弦樂(lè)隊(duì)學(xué)習(xí)聲音、光線和氛圍的相互作用。這種能動(dòng)性交叉的關(guān)鍵是諾伯特·韋納的必要多樣性原則——根據(jù)系統(tǒng)所包含的組合可能性數(shù)量來(lái)確定對(duì)環(huán)境條件的適應(yīng)程度。進(jìn)一步來(lái)說(shuō)，這個(gè)系統(tǒng)是否具有n個(gè)組合能力——如“音樂(lè)燈光”裝置跟蹤重復(fù)模式的能力——去轉(zhuǎn)變未知?jiǎng)訖C(jī)的能動(dòng)性，這種能動(dòng)性來(lái)自于一個(gè)由行動(dòng)者和行動(dòng)構(gòu)成的未知網(wǎng)絡(luò)。如果真是如此，這將構(gòu)成一個(gè)社會(huì)物質(zhì)系統(tǒng)，可引起行為的共鳴并成為新型交流模式的媒體。知識(shí)并非通過(guò)經(jīng)驗(yàn)來(lái)確認(rèn)，相反，建筑是其從經(jīng)驗(yàn)中收獲的參與者。

2 2019年11月密歇根州安娜堡市安娜堡兒童手工博物館展出“感官游樂(lè)場(chǎng)”。游樂(lè)場(chǎng)原型的結(jié)構(gòu)系統(tǒng)由3個(gè)主要組件組構(gòu)成：（1）波浪狀的中密度纖維板底座，（2）彎曲活性強(qiáng)化玻璃纖維塑料結(jié)構(gòu)梁，（3）無(wú)縫數(shù)控針織三維紡織品/SensoryPlayscape[TT], Ann Arbor Children's Hands On Museum,Ann Arbor, Michigan, November 2019. The structural system for a playscape prototype consists of three primary components: (1)contoured MDF base, (2) bending-active glass-fiber reinforced(GFRP) structural beam, and (3) seamless CNC-knitted 3D textiles（肖恩·阿爾奎斯特供圖/Courtesy of Sean Ahlquist）

3 感知的維度

在傳統(tǒng)上，建筑在那些需要技術(shù)、社會(huì)或環(huán)境支持的時(shí)刻（且此類時(shí)刻須加以關(guān)照）片面地以“脆弱性”來(lái)表現(xiàn)殘障——已在物理維度（輪椅通道設(shè)施）或空間效果（限制感官過(guò)載的經(jīng)驗(yàn)法則）中予以描述。然而，這忽略了從針對(duì)缺陷轉(zhuǎn)向促進(jìn)特殊能力這一絕對(duì)關(guān)鍵的“雙向”屬性。雙重敏感性的表現(xiàn)取決于環(huán)境條件，即其社會(huì)和技術(shù)因素，它可能被定義為“差異敏感性”，也可能被稱為“環(huán)境敏感性”。由于被認(rèn)為是一種“不均衡的神經(jīng)生物學(xué)敏感性”，其結(jié)果可能是“非常糟糕或異常積極的健康和發(fā)展軌跡”[11]。

這種行為觀將個(gè)體與環(huán)境以一種復(fù)雜而微妙的方式聯(lián)系起來(lái)，它在沒(méi)有對(duì)環(huán)境的彈性的前提下，可能塑造出“神經(jīng)正常”群體的特征。可是，它嚴(yán)格界定了個(gè)人獲得“極端”利益之能動(dòng)性的能力。當(dāng)高反應(yīng)性個(gè)體在環(huán)境刺激的異常積極軌道上運(yùn)行時(shí)，多項(xiàng)研究的綜合結(jié)果表明：與對(duì)環(huán)境因素表現(xiàn)出漠不關(guān)心的彈性個(gè)體相比，高反應(yīng)性個(gè)體能產(chǎn)生更好的結(jié)果[11]。博伊斯和埃利斯用“‘蘭花之子’的比喻來(lái)抓住這一點(diǎn)，反映出他們因環(huán)境而產(chǎn)生高度可變的結(jié)果；并以‘蒲公英之子’表明他們有能力在最惡劣的環(huán)境中茁壯成長(zhǎng)”[12]。

Often tagged as an "invisible" or "hidden"disorder, many of the traits of autism may only become apparent within social circumstances.Stereotypical observations might include an "outof-sync" nature of awkwardness, or a perceived lack of emotional discipline. To desire inclusion would recast such characterisations of one's traits from beingproblemsto being an equal negotiation ofdifferencesamong social parties. For those deemed higher-functioning, this heightened level of awareness would more readily facilitate interaction on a direct peer-to-peer level. But to consider the full heterogeneous range of autism requires, in simple terms, that inclusion is a registration of awareness across a larger and more diversesocial web.

Key to this social construct is imagining a mesh ofdistributedtopology. With no central hub, a flat organisational structure has the ability to absorb within a single plane the diversity that constitutes all those - peers and supports (human and technological) - who are party, witness and subjected to the effects of social stigmatisation. This destructs the binary between the "neurotypical"masses and "atypical" individual. A spectral view emerges once agencies are afforded to each node.The ability to shape response to the sentiments that radiate differentially across the network begins to define a capacity for generating inclusion as a dynamic temporal condition. Level of social function could, subsequently, be understood in the number of nodes necessary - in familial, educational and technological constituents - and the degrees to which discord or harmony radiates through these nodes.

2 Breaking Architecture's Fixity

"'The world was not designed with disability in mind' is, in one sense, a statement about omission and ignorance as ways of knowing and thinking.In another sense, however, it is a statement aboutomission and ignorance as material arrangements,ways of making and unmaking the world's inhabitants through unintentional but accumulated practices."[8]

Architecture utilises key symbols - geometries,proportions, materialities, sequences and combinations thereof - to communicate meaning,whether pragmatic for explicit function or scalar to intuit civic relevance. Academic pedagogy and professional culture sustain this symbology.Diverse cultural representation within the field may seek to expand the languages contained in this methodology, beyond assumptions based largely on the white male figure and mentality. But, it is only in the yield of agencybeyondthe professional realm that can, ultimately, embrace neurodiversity within an inclusive architecture.

The body of research outlined in this article examines more closely the ramification of materiality on individual agency and the transformation of architectural meaningfulness. This specialised territory within the field of architecture -computational design and digital fabrication-adopts the general "kit of parts" approach, but seeks to entrench design, and its exploratory nature,within the efforts of fabrication, assembly, material behaviour and spatial tectonics. Design's access point along this sequence towards an architectural system demarcates an interesting apex. Between the novel transformation ofstandardisedcomponents and the generation ofbespokematerials defines a critical tilt from architectural expression of the known, accumulated and inferred towards a material abstraction of the foreign, mutable and agentic.

The latter pleads for creativity in order tocompletethe narrative of function and expression in the architectural system, as opposed to the exclusionary fixedness of the former, as driven by the designer-authored script. Aimi Hamraie,a professor of Medicine, Health, & Society and American Studies, describes the ill-fittingness of the unconventional body-mind as being born of "inhabitants' bodies [that]are simultaneously imagined, hidden, and produced by the design of built worlds"[8].

Certain moments within the science of cybernetics - the study of the man and machine within a mutual and continuous feedback loop -provide a template by which agency crosses the boundaries from design and technology to individual expression within a social context. Particularly in Gordon Pask's work with a device calledMusicolour,a relevant framework for a dialogue of constructing new knowledge emerges within the circumstances of spatial transformation[9]. Among the algorithms translating orchestral sounds into electrical signals and projected light patterns, getting "bored" was a key capacity. Repetitive auditory patterns - only discernedduringthe orchestral actions, would slowly mute corresponding light patterns. Knowledge is only able to emergein situ(inextricably formed in the moment of experience) rather thana priori(defined independent of experience) ora posteriori(known on the basis of experience).

Not only is Penny's version of agency exhibited as occurring "frombothsides" but the development of knowledge occurs amongst all participants -the designer of the machine in viewing its spatial iterations, the algorithms of the machine itself in marking new patterns of repetition, and the orchestra in learning the interplay of sound,light and atmosphere. Key to this crisscrossing of agency is Nobert Weiner's principle ofrequisite variety- determining the degree of adaptivity to environmental conditions based on the number of combinatory possibilities in which the system contains[10]. Taken further: is the system constructed with anncombinatorial capacity, such as Musicolour's ability to trace repetitive patterns,to transform through an agency of unknown motivations from an undefined (née indefinable)network of actors and actions? If so, this would pose a sociomaterial system that resonates action and becomes media for novel modes of communication.Knowledge is not confirmed through experience,rather architecture is participant to its acquisition from experience.

3 Sensorial Dimensions

Traditionally, architecture one-sidedly characterises disability byvulnerabilities- the moments necessitating technological, social or environmental supports that must be accommodated.This is portrayed in physical dimensions -accommodations for wheelchair access - or spatial effects - the rule-of-thumb guidelines to limit sensory overload. But this misses an absolutely criticalbidirectionalnature that shifts from the targeting of deficiencies to the facilitation of exceptional capacities.A dual sensitivity where performance is contingent upon environmental conditions - their social and technological factors - is defined asdifferential susceptibility, also referred to as contextual susceptibility. Considered a "disproportionate,neurobiological sensitivity", outcomes can emerge with "remarkably poor or unusually positive trajectories of health and development"[11].

自閉癥的神經(jīng)多樣性頻譜及其與環(huán)境因素對(duì)應(yīng)關(guān)系的曲線范圍非常大。這條曲線上的點(diǎn)通常是無(wú)法比擬的，致力于特殊教育的自閉癥教授斯蒂芬·肖爾提出：“如果你遇見(jiàn)了一名自閉癥患者，那么你只是見(jiàn)到了一名自閉癥患者。”放棄從傳統(tǒng)的設(shè)計(jì)領(lǐng)域定義環(huán)境的能力似乎是獲得個(gè)體能動(dòng)性的唯一途徑。當(dāng)大衛(wèi)·卡茨討論將觸覺(jué)區(qū)域的整合作為刺激感官系統(tǒng)的一部分時(shí)，他闡述了為了辨別環(huán)境而進(jìn)行“刺激”的必要性：

“我們周圍的觸覺(jué)屬性不會(huì)像它們的顏色那樣對(duì)我們喋喋不休，它們會(huì)在我們讓其開(kāi)口說(shuō)話之前一直保持沉默。”[13]

詹姆斯·J·吉布森在其生態(tài)心理學(xué)著作中進(jìn)一步明確了感官領(lǐng)域的習(xí)得過(guò)程。在卡茨的例子“施加的刺激”中，顏色是通過(guò)外部輸入刺激被動(dòng)個(gè)體的感覺(jué)器官。“獲得的刺激”是由“他自己的行動(dòng)，在行動(dòng)過(guò)程中”產(chǎn)生的， “有目的地”將感覺(jué)效應(yīng)器官朝向刺激源[14]。由此，我們將“感官能動(dòng)性”定義為“在構(gòu)建一個(gè)包括互動(dòng)參與者‘注意行為和反應(yīng)’在內(nèi)的環(huán)境描述時(shí)，增強(qiáng)、排除、定向及調(diào)節(jié)感官刺激的能力”[9]。

3 縫合結(jié)構(gòu)、圖案和材質(zhì)的變化在無(wú)縫的數(shù)控針織紡織界面內(nèi)生成了一系列觸覺(jué)特性/Shifts in stitch structure, pattern and materiality generate a range of tactile qualities within the seamless CNC-knitted textile interface

4 2019年11月密歇根州安娜堡市安娜堡兒童手工博物館展出“感官游樂(lè)場(chǎng)”。作為密歇根大學(xué)阿爾奎斯特實(shí)驗(yàn)室的一部分，無(wú)縫流形幾何結(jié)構(gòu)由先進(jìn)的數(shù)控編織技術(shù)實(shí)現(xiàn)/SensoryPlayscape[TT], Ann Arbor Children's Hands On Museum,Ann Arbor, Michigan, November 2019. Seamless manifold geometries accomplished through the use of advanced CNC-knitting technology, as part of Ahlquist's lab at the University of Michigan

5 在一系列的“感官游樂(lè)場(chǎng)”原型中，通過(guò)視覺(jué)、觸覺(jué)、本體感受和前庭探索的跨感官能力，空間和材料的交互作用生成了必要多樣性/Evident across a range ofSensoryPlayscapeprototypes, a requisite variety of spatial and material interactions emerges through cross-sensory capacities for visual,tactile, proprioceptive and vestibular exploration

（3-5 肖恩·阿爾奎斯特供圖/Courtesy of Sean Ahlquist）

4 表演性的設(shè)計(jì)空間

缺乏包容性可以簡(jiǎn)單地等同于缺少能動(dòng)性，而能動(dòng)性則誕生于表達(dá)、溝通、創(chuàng)造力和說(shuō)服力。定義個(gè)體能動(dòng)性的界限、參數(shù)和特性較為困難。因此，迎合不同高位的能動(dòng)性更是如此。從差別敏感性模型中可以清楚地看到，不和諧的環(huán)境會(huì)對(duì)“蘭花之子”產(chǎn)生不利影響。正如本人所見(jiàn)——我的女兒是11歲還不會(huì)說(shuō)話的自閉癥兒童。不過(guò)，這樣的不和諧“會(huì)”激發(fā)出創(chuàng)造性的回應(yīng)。我們并不缺乏克服困難的意愿，但不幸的是這種努力耗盡了她的創(chuàng)造力，幾乎沒(méi)有什么能讓她表達(dá)真實(shí)的自我。從規(guī)范化條件和模式化觀念的偏見(jiàn)之中浮現(xiàn)出的只有壓抑與依然迷失方向的個(gè)性。

對(duì)于格特弗里德·森佩爾而言，在定義“服飾原則”時(shí)，紡織品體現(xiàn)了“材料、構(gòu)造和裝飾的關(guān)系以及建筑形式發(fā)展中技術(shù)和文化實(shí)踐的合作關(guān)系”[15]。因此，為了探索敏感性領(lǐng)域的積極部分，紡織品提供了一個(gè)合適的媒介，以激發(fā)感官上的疑問(wèn)。森佩爾的技術(shù)與文化之“合作關(guān)系”提供了一座橋梁，而這兩座橋梁均非解釋的唯一仲裁者。類似地，建筑“服飾”的觀點(diǎn)要求其“穿著” 屬于身體，因此與它的特征及其轉(zhuǎn)換成交流、創(chuàng)造力、表達(dá)和社會(huì)意義的語(yǔ)言密不可分。

我們的研究采用先進(jìn)的計(jì)算機(jī)數(shù)控編織（CNC）作為基本的制造手段。從文化角度來(lái)看，針織工藝品讓人聯(lián)想起服裝的親切感，從漁民毛衣到精致的長(zhǎng)襪都是這種情況下親切感的源頭。然而，有兩個(gè)因素可戲劇性地讓編織媒介重新語(yǔ)境化并打破任何“先驗(yàn)”的象征或假設(shè)。首先，充分利用所有“可設(shè)計(jì)的”材料尺度，以便特殊的并列關(guān)系出現(xiàn)。第二，從服裝到建筑尺度的思維轉(zhuǎn)換，將材料的親切感應(yīng)用到張力表面的結(jié)構(gòu)邏輯中。弗雷·奧托作品的一個(gè)分支和互反曲形式可追溯到自然系統(tǒng)有效構(gòu)造表面材料的方式。

社會(huì)物質(zhì)型建筑的概念體現(xiàn)在讀取表面輪廓和壓力感應(yīng)投射的視覺(jué)導(dǎo)航中，觸感——在纖維和縫線的“掌握”中，本體感——在與壓力的彈性對(duì)抗之中。每一個(gè)感官探索層次中的重大變化，定義了感官能動(dòng)性所產(chǎn)生的特定個(gè)性化的“必要多樣性”。建筑構(gòu)成確定了即將出現(xiàn)的空間軸線，但邊界的范圍僅當(dāng)它在場(chǎng)所中獲得其行動(dòng)價(jià)值時(shí)方可被定義。感官干預(yù)作為建筑構(gòu)成的擾動(dòng)因素，必須被視為設(shè)計(jì)的知情行為。行為的“過(guò)程”便演變?yōu)榻ㄖ＝ㄖ宰越M織溝通的形式變成激發(fā)創(chuàng)造力的引擎，這有助于將該頻譜中的有益部分定義到一個(gè)完整的社會(huì)網(wǎng)絡(luò)的節(jié)點(diǎn)。

6 在Unity編程環(huán)境中開(kāi)發(fā)的技術(shù)平臺(tái)支持觸摸和壓力敏感交互，可配置成一系列紡織形式和圖形界面/Technology platform, developed in the programming environment Unity,enables touch- and pressure-sensitive interactions, configurable to a range of textile forms and graphical interfaces（肖恩·阿爾奎斯特供圖/Courtesy of Sean Ahlquist）

This view of behaviour links the individual to circumstances in a complex and delicate manner,operating without the resiliency to environment that might characterise a "neurotypical" population.Yet, it critically defines the capacity for an individual to attain an agency ofextremebenefit. When the highly-reactive individual is riding the "unusually positive trajectory" of environmental stimulation,a composite of multiple studies indicated the production of better outcomes as compared to the resilient individual exhibiting indifference to environmental factors[11]. Boyce and Ellis captured this in the metaphors of the "'orchid children',reflecting their highly variable outcomes contingent upon environment, … and 'dandelion children',signifying their capacities for thriving in all but the very worst environments"[12].

The extents for a curve representing autism's neurodiverse spectrum and its corresponding relationship to environmental factors are vast.Points along such a curve are often incomparable,following the phrase coined by the autistic professor of special education Dr. Stephen Shore: "if you've met one person with autism, you've met one person with autism." Relinquishing the ability to define environmental circumstances from the conventional domain of design seems the only route to employ individual agency. When David Katz discusses integration of the tactile domain as a part of stimulating the sensory system, he portrays the necessity forprovocationin order to discern the environmental circumstances:

The tactual properties of our surroundings do not chatter at us like their colours, they remain mute until we make them speak[13].

James J. Gibson, in his writings on ecological psychology, further specifies these processes for acquisition in the sensory domain.Imposed stimulation, in Katz's example - the colours - piques the sensory organ of the passive individual with an external input.Obtained stimulationis produced by "his own action, in the course of action" topurposefullyorient the sensory effector towards a stimulus[14]. From this, we definesensorial agencyas the "capacity to enhance, exclude, orient, and adjust stimulation of the sensory organs in constructing a description of environment that includes the'attentive action and reactions' of the interactional participant"[9].

4 Performative Design Space

A lack of inclusion can be simply equated to a lack of agency. Agency is born of expression,communication, creativity and persuasion. Defining the bounds, parameters, and particularities of individual agency is difficult. Therefore, catering to a diversity of highly situated agencies is even more so. What is clear from the differential susceptibility model is that a discordant environment incurs detrimental effects to the "orchid child", as seen personally with my daughter, an 11-year-old nonverbal autistic. Such discord, though,willstimulate a creative response. There is no lack of willingness to overcome the lack of resiliency. But this effort unfortunately exhausts creativity and little is left to communicate her true self. Only the muffled, still disoriented, version emerges from within the bias of normative conditions and stereotypes.

In defining the "principle of dress", the textile,to Gottfried Semper, embodies the "relationship of materials, tectonics, and ornament and the partnership of technology and cultural practice in the development of architectural form"[15]. To explore the positive ends of the susceptibility spectrum, the textile, thus, suggests a suitable medium to provoke sensorial interrogation. Semper's "partnership" of technology and culture provides a bridge through which neither is the single arbiter of interpretation.Analogously, the proposition of an architectural"dress" demands its "wearing" to be of the body and therefore inextricable to its characteristics and transformations into languages of communication,creativity, expression and social meaningfulness.

Our research employs advanced computer numerically controlled (CNC) knitting as the fundamental means of fabrication. Culturally, the knitted artefact recalls the intimacy of garments from the woolen fisherman's sweater to the delicate stocking. But, two factors help dramatically recontextualise the knitted medium and pervert anya priorisymbolism or presumptions. First,exploiting all material scales as "designable" allows for peculiar juxtapositions to emerge. The finest scale of knitting with delicate elastane fibers -eluding to the sensuous and conformability of the stocking - are formed into a manifold cacophony of volumes, patterns and apertures, as distorted transformations of the seamless knitted sweater.Second, transforming the thoughts from garment to architectural scale applies the material intimacy to a structural logic of tensile surfaces. An offshoot of Frei Otto's work and the anticlastic forms traced to the way natural systems efficiently structure surficial materials.

The concept of asociomaterial architectureis played out in the navigation of the visual - in reading the contour of surfaces and pressure-responsive projections, the tactile - in the "hand" of fibers and stitches, and proprioceptive - in the elastic resistance to pressure. Through grand variation within each of these levels of sensorial exploration,this defines therequisite varietyby which sensorial agency gives rise to specific individualised relevance.The axes of an emerging design space are set by the architectural composition. Yet the extents of the boundaries are only defined once it gains its performative significancein situ. Sensorial interventions as perturbances into the architectural composition must then be seen as informed acts of design. The performativeprocessbecomes the architecture. Architecture becomes the engine to elicit creativity in the form of ad-hoc communication that helps define the beneficial end of the spectrum to the nodes of an integral social mesh.

譯注/Note from Translator

i 神經(jīng)多樣性特殊個(gè)體（neuro-divergent nonconforming individual）用于稱呼被診斷為神經(jīng)功能障礙（如雙相情感障礙、失讀癥、自閉癥等）的個(gè)體，此稱呼方式旨在呼吁將這些神經(jīng)功能障礙理解為人類基因組正常范圍內(nèi)的變化，主張這些差異應(yīng)像其他社會(huì)標(biāo)簽（如性別、種族、性傾向、身體殘障等）一樣被正視、尊重，表達(dá)了減少社會(huì)偏見(jiàn)、尊重個(gè)體本真自我表現(xiàn)的訴求。