Inclusive architecture is born from a design that looks at the totality from the first sketch. The purpose of this approach is to educate society, transforming it into an inclusive society. With this research we wanted to include blind people in the design process, as they are experiencing a double exclusion on an architectural level: functional and aesthetic. Studying how the blind conceive space, understanding their problems, and understanding how a blind person appreciates the aesthetics of a space, has led to interesting results from a design perspective. Designing for the blind lays obligation on the designer to have an architectural approach that thinks about every detail. This type of approach has produced appreciative results on an aesthetic and functional level. Speaking of social inclusion, it was considered important to outline the rules and results translating them into a public project, in this case a Museum of Contemporary Art. Today the museum is turning into a place that caters to all aspects of art, through meetings, conferences, entertainment, workshops, and archives. Even the art contained in these spaces is being transformed; contemporary art is no longer purely visual, but multi-sensory, art is no longer an object, but an experience to be lived and as such includes people. It is precisely this characteristic of contemporary art that wants to be taken as a reference point, as a design philosophy linked to a spatial conception, conceived through the eyes of those who cannot see.

Pensare l’architettura “attraverso gli occhi di chi non vede”
 Thinking about Architecture “Through the Eyes of Those Who cannot see” / Dell'Ariccia, Simone; Percoco, Maura. - CLUSTER AA | 01:(2019), pp. 246-255. (Intervento presentato al convegno ABITARE INCLUSIVO IL PROGETTO PER UNA VITA AUTONOMA E INdIPENdENTE tenutosi a Udine).

Pensare l’architettura “attraverso gli occhi di chi non vede”
 Thinking about Architecture “Through the Eyes of Those Who cannot see”

Maura Percoco
2019

Abstract

Inclusive architecture is born from a design that looks at the totality from the first sketch. The purpose of this approach is to educate society, transforming it into an inclusive society. With this research we wanted to include blind people in the design process, as they are experiencing a double exclusion on an architectural level: functional and aesthetic. Studying how the blind conceive space, understanding their problems, and understanding how a blind person appreciates the aesthetics of a space, has led to interesting results from a design perspective. Designing for the blind lays obligation on the designer to have an architectural approach that thinks about every detail. This type of approach has produced appreciative results on an aesthetic and functional level. Speaking of social inclusion, it was considered important to outline the rules and results translating them into a public project, in this case a Museum of Contemporary Art. Today the museum is turning into a place that caters to all aspects of art, through meetings, conferences, entertainment, workshops, and archives. Even the art contained in these spaces is being transformed; contemporary art is no longer purely visual, but multi-sensory, art is no longer an object, but an experience to be lived and as such includes people. It is precisely this characteristic of contemporary art that wants to be taken as a reference point, as a design philosophy linked to a spatial conception, conceived through the eyes of those who cannot see.
2019
ABITARE INCLUSIVO IL PROGETTO PER UNA VITA AUTONOMA E INdIPENdENTE
blind; Chris Downey; scanning strategies; architectural design; mappa mentale; Orly Lahav
04 Pubblicazione in atti di convegno::04b Atto di convegno in volume
Pensare l’architettura “attraverso gli occhi di chi non vede”
 Thinking about Architecture “Through the Eyes of Those Who cannot see” / Dell'Ariccia, Simone; Percoco, Maura. - CLUSTER AA | 01:(2019), pp. 246-255. (Intervento presentato al convegno ABITARE INCLUSIVO IL PROGETTO PER UNA VITA AUTONOMA E INdIPENdENTE tenutosi a Udine).
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11573/1338520
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