Challenging behaviour, such as aggression towards oneself, others, or objects, arises in interaction with the environment and may prevent individuals from participating in society and compromise their quality of life (QoL). Literature suggests that architects can contribute to prevention, by influencing challenging behaviour before rather than after its occurrence. By conducting a case study at a very-intensive-care facility, we explore how architecture can contribute to the QoL of intellectually impaired (and autistic) individuals showing challenging behaviour. The case study is based on interviews with residents and care providers, and direct observations of their daily life. Preliminary findings confirm the relevance of architecture in influencing challenging behaviour. They suggest that the residents are dependent on the (visual and auditory) connection with the care provider. Also, care providers confirm the importance of this connection for the quality of the care they provide. At the same time, residents may experience anxiety triggered by fellow residents and their challenging behaviour. Residents may also feel stress when faced with unexpected situations and this may lead to an onset of challenging behaviour. Sensory sensitivity, specifically to noise and heat is also relevant for their QoL.The findings will be further substantiated through multiple triangulation with available data (personal files, incident reports, photographs). Future research, specifically focused on intellectually impaired individuals showing challenging behaviour, is needed to better understand the similarities and differences between their needs and the needs of autistic people.
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Introduction Treatments such as eye movement desensitisation and reprocessing and (narrative) exposure therapies are commonly used in psychological trauma. In everyday practice, art therapy is also often used, although rigorous research on its efficacy is lacking. Patients seem to benefit from the indirect, non-verbal experiential approach of art therapy. This protocol paper describes a study to examine the effectiveness of a 10-week individual trauma-focused art therapy (TFAT) intervention. Methods and analysis A mixed-methods multiple-baseline single-case experimental design will be conducted with 25–30 participants with psychological trauma. Participants will be randomly assigned to a baseline period lasting 3–5 weeks, followed by the TFAT intervention (10 weeks) and follow-up (3 weeks). Quantitative measures will be completed weekly: the Beck Depression Inventory-II, the Mental Health Continuum Short Form, the Resilience Scale, the Rosenberg Self-Esteem Scale and the Self-expression and Emotion Regulation in Art Therapy Scale. The Post-Traumatic Stress Disorder Checklist-5 will be completed at week 1 and week 10. Qualitative instruments comprise a semistructured interview with each individual patient and therapist, and a short evaluation for the referrer. Artwork will be used to illustrate the narrative findings. Quantitative outcomes will be analysed with linear mixed models using the MultiSCED web application. Qualitative analyses will be performed using thematic analysis with ATLAS.ti. Ethics and dissemination This study has been approved by the ethics committee of the HAN University of Applied Sciences (ECO 394.0922). All participants will sign an informed consent form and data will be treated confidentially. Findings will be published open access in peer-reviewed journals.
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In this paper the Feltscaping-method is described, its characteristics and requirements, and some examples of how it was used and further developed. In doing so this paper aims at embedding feltscaping into the existing discourse of arts-based research. Furthermore, it will reflect on possibilities for further development of the Feltscaping method.The development of the method started seven years ago, as Cora Jongsma as a way of delving into the different layers of the landscape connected with the landscape. The product of this process is a feltscape, a representation of the landscape made up of several layers of wool that tells a story about a specific area. The layering in the feltscape, in the beginning, was purely the result of interaction between the creative process, conversations with land users, landscape research and visual experience, drawing a parallel to the formation process of the landscape. Starting as a personal search of the artist on how to connect the feltscapes to the landscape, after a few years, developed into an instrument to stimulate good conversation with people that in one way or another are connected to the landscape. In this way, feltscapes enable the researcher to test and exchange own sensory perceptions and to extent existing knowledge or questions about the landscape by eliciting social interactions.
