The Kuwait Pavilion, titled 'Rethinking Rethinking Kuwait,' at the 18th International Architecture Exhibition — La Biennale di Venezia, delves into innovative architectural and urban design methods arising from space and time. The project is an ongoing exploration addressing the consequences of modernist urban planning, which erased much of Kuwait's historic built environment.
The ramp is one of the architectural elements that, besides facilitating movement between different heights and floors, provide greater accessibility to spaces. In Brazil, a series of decrees and regulations seek to ensure citizenship rights and promote equality and social inclusion of people with disabilities, which permeates issues related to their mobility and freedom to come and go. Architecture plays a key role in this inclusion, by devising strategies to ensure that these people can transit, participate and interact in any environment, whether public or private.
Contrary to what we might believe, hearing loss is not always congenital, but could sooner or later happen to any of us. According to the WHO, almost a third of people over 65 suffer from debilitating hearing loss. Yet from a certain perspective, hearing loss could be considered more of a 'difference' than a 'disability'. Although the spatial demands of people with hearing disabilities are not as noticeable as spaces for the blind or for those who experience reduced mobility, the reduction of hearing capacity does entail a particular way of experiencing the environment. Is it possible to enhance this experience through interior design?
The Youtube channel Never Too Small boasts 2.25 million subscribers — a platform featuring the imaginative manipulation of space in tiny footprints. Videos of micro-apartments, in Paris, London, and beyond, get views in the millions. Clearly, there is a demand for content geared towards living small, as a global housing crisis has precipitated the ever-dwindling availability of affordable, larger-footprint residences in urban areas. Architects, working in this constrained contemporary reality, have been necessitated to make the most out of limited space, configuring sub-40 square-meter floor areas to create a non-claustrophobic spatial experience.
Created by the American architect Ron Mace in the 1980s, the concept of Universal Design deals with the perception of the projects and environments that we design and inhabit, considering the possibility of its use by different user profiles: from children to the elderly, including language limitations and people with disability or temporary limitations.
Discussions of architectural form demonstrate how disability is negatively imprinted into the field of architecture. In architectural theory and the history of architecture, “form” typically refers to the physical essence and shape of a work of architecture. In the modern idea of form, it is a quality that arises from the activity of design and in ways that can be transmitted into the perceptions of a beholder of architecture. Form provides a link between an architect’s physical creations and the aesthetic reception of these works. It occupies a central place within a general understanding of architecture: the idea of the architect as “form-giver,” among many other turns of phrase, conveys the sense of some fundamental activity and aesthetic role of form within architecture, what architects create, and how people perceive works of architecture.
Earlier this year, I witnessed an intriguing situation. I followed, via an architect friend, the negotiation for the contracting of an architectural project for a single family home. The land owner, a public school teacher, sought professional help to build her dream home, estimated at about 60 square meters. It was a challenging terrain, with specific cutouts and a very steep topography that was compensated by the view of the city. The limited budget and the owner's history indicated that this would be the seaside version of the famous Vila Matilde House by Terra e Tuma.
The design and functionality of public spaces in cities are always under scrutiny. Whether its accessibility to public parks and green spaces, the distance people live from public transportation, or the ways that spaces can be designed to make city life more safe and equitable. But now a new issue and one that lives at a smaller scale is starting to arise- where did all of the public seats go?
Cities with disabilities are those that present spaces and environments that impede or make it difficult for citizens to access, participate and interact, regardless of any loss or abnormality related to their psychological, physiological or anatomical structure or function. I invite readers to, with me, change the focus of the approach on disabilities, transferring to cities and built environments the inability to meet in a dignified and effective way the diversity of abilities and capacities inherent to human beings.
In the architectural conversations taking place today, sustainability is a key topic of interest. Architecture firms embrace the term as a key part of their design ethos, and architecture schools globally have integrated designing “green” architecture as a core component of their curriculums. This sustainability conversation has also filtered down into more individual actions one can take within their immediate context. Online, for instance, guides abound on how you can make your home more eco-friendly and energy-efficient.
A corridor that is too narrow, a poorly located switch or a simple unevenness can go completely unnoticed to many, but they can also be insurmountable barriers for someone with a disability. We all have a family member or acquaintance with mobility difficulties and, possibly, we might also experience them at some point in our lives. Architecture has the power to create truly inclusive spaces so that people with disabilities can have the autonomy to perform all necessary daily tasks, without needing the help of others. Integrated into architecture, technology can play an important role in this context, making the spaces in which we live even more accessible to everyone.
Maria Montessori began to develop her educational method at the beginning of the 20th century. In general terms, the method is a scientific pedagogy that promotes an education that positively contributes to the development of children's brains, respecting their individuality and stimulating their autonomy, self-esteem, and self-confidence.
Although the method was created in the last century, science is currently beginning to test much of the information investigated by Maria Montessori. For this reason, it is increasingly being applied to architecture for children’s educational spaces, improving the quality of children's learning and development and providing them with better tools for their future lives.
Accessibility is one of the most important considerations in architecture, ensuring that the built environment caters to people of all abilities. However, popular conceptions of what disability and accessibility look like remain limited, and often encompass only physically disabled people such as wheelchair users. Among architectural designers especially, it is common to visualize accessibility as adding ramps, wide corridors, and elevators. However, disability can take many different forms, some less visible than others; accordingly, accessibility in architecture means much more than accommodating just wheelchair users. For the visually impaired, incorporating specific tactile elements in architecture and urban design can vastly improve the navigability of a foreign space. In this article, we talk about tactile paving specifically, including its different forms, its history, and its means of implementation.
Systematica has just released a case study on access to green areas and the public realm in the city of Milan. Focusing on the availability of these gathering spaces for residents, the research, particularly relevant in this time of the pandemic, also highlights open and not crowded public spaces, convenient for a safe social life.
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