Architecture Undergraduate Thematic Portfolio: Inclusive Architecture

INCLUSIVE ARCHITECTURE Design for all Architecture Portfolio September 2021

Politecnico di Milano School of Architecture, Urban Planning and Construction Engineering Bachelor of Science Architectural Design Course A.a 2020/2021 Mona Islami

ABSTRACT The term “inclusive architecture” is derived from the broader term “Universal Design.” In its essence, it means creating projects that are accessible to all people, regardless of age, ethnicity, social class, physical ability, etc.

Despite various studies and regulations on the topic, most buildings are still not fully inclusive, if at all. In addition, there is a paradigm that surrounds accessible design, which many believe is impeding the overall freedom of the design of the project.

While designing inclusive projects is more difficult, as (future) architects, we have a responsibility to face this challenge and push ourselves to realize more inclusive projects.

The following projects showcase various aspects of inclusive design, considering different focal subjects as their topic. In architectural terms, they still remain completely in the architectural design, as the two items are not necessarily separate. Inclusive architecture offers equal opportunities of experience and comfort to all users.

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TABLE OF CONTENTS 00. ABSTRACT 01.

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INCLUSIVITY IN PUBLIC PROJECTS

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| WITHDRAWAL PAVILION

This chapter deals with how public projects can be inclusive for people with different

physical abilities, whilst giving everyone equal opportunities to understand the space.

02. INCLUSIVITY FOR THE ELDERLY

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| A REFLECTED NATURE

This chapter deals with how dwellings can be inclusive for the elderly even with minimum

dimensions. Focuses on the “openness“ of the plan.

03. INCLUSIVITY FOR HANDICAPPED PEOPLE

03.A | THE INFINITE WORKSHOPS

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This chapter deals with the design of a Russian Avantgarde building whose centrail idea is

endless and effortless vertical circulation.

03.B | OLYMPIC VILLAGE

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This chapter deals with a hotel for hosting the olympic athletes to be converted later in a

student dormitory. About 40% of the rooms are designed for handicapped people.

04. CONCLUSION 05. BIBLIOGRAPHY

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INCLUSIVITY IN PUBLIC PROJECTS WITHDRAWAL PAVILION

This was a one week exercies where we had to design a pavilion imagined according to a gesture.

This gesture was “to withdraw”, conceived as an act of silence and concentration.

The pavilion is a small building of 20 sqm in floor plan with a 3 m height. Located inside an enclosure given by a trapezoidal area of 200 sqm with two closed sides up to a height of 8 meters. There is no fixed location. The resulting space between the pavilion and the enclosure of the project area can be considered an “open-air interior”.

The elements and colors were chosen and placed to provoke the human sensations and psyche. The dimensions of the objects were designed to adapt to different physical proportions while imposing the same intensity of psyche.

Original full project COURSE INFORMATION

Course: Interior Design Studio - 099462 Professors: Colombo Cristina Federica, Mastromateo Antonella Yuri Group members: Individual exercise Site Location: Undefined 4

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“THE WALL LINE“

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“THE PILLAR LINE“

DUALITY OF COLORS AND SPACES:

1 White pillars with black tainted glass (Open). Vertical elements (Pillars and the sculpture) reveal light and movement.

VIEW FROM THE SITTING POINT FACING THE SCULPTURE / YOURSELF

2 Black wall with white cardboard (Open). Horizontal elementsa (Mirrors and glasses) conceal.

3 Opened (visually (window) and spatially) and closed.

The “journey” consists in the study of 2 elements: you and society.

Before entering the pavillion you and society see each-other.

When the pillars line is reached the gesture grows. Your identity is now hidden from society (tainted glass), you can see them but they can’t see you.Light and shadow interplay is imminent.

As you reach deeper, a (tainted) mirror is placed in front of you but you can’t see yourself. You have now withdrawn from yourself.

You follow the end of the path and take a sit in front of a glazed opening. (The stool is moveable to adapt to wheelchair users, and there is an indication where the sitting should take place). In front of you there is an angel statue that is sitting. It’s face is covered with a mirror held by its wings, where you see your reflection instead. Withdrawal has ended.

As you leave the room, you are part of the society. You can leave a sign in the board while exiting.

PICTURES TAKEN FROM THE MAQUETTE: TOP VIEW WITH REMOVED ROOF

SIDE VIEW WITH A REMOVED WALL

SIDE VIEW WITH THE TAINTED GLASS AND PILLARS

HIDDEN SIDE VIEW WITH THE SCULPTURE

Interior Design Studio | Inclusivity In Public Spaces | Professors: Colombo Cristina Federica, Mastromateo Antonella Yuri | Individual exercise

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INCLUSIVITY FOR THE ELDERLY A REFLECTED NATURE

Located in the art gallery of Villa Panza in Varese, Italy, the project serves as a minimal living space for an artist who would be inspired by it. It should be there during two weeks of summer/spring and be removed during the year. Therefore it is designed as a detachable and transportable modular project with built-in furniture.

The dwelling should evoke an artistic sense as in Villa Panza to inspire the artist. The mirrors are a central piece of its design recalled from the gallery. Man-made and nature-made materials juxtapose together in creating one object, which is the dwelling itself.

The project is designed with an elderly artist in mind, therefore the “openness” of the plan and material selection were impacted by this consideration.

Original full project COURSE INFORMATION

Course: Interior Design Studio - 099462 Professors: Colombo Cristina Federica, Mastromateo Antonella Yuri Group members: Eva-Maria Grafova, Francesco Antonio Ravazzani Site Location: Villa Panza, Varese, Italy 6

MASTERPLAN 1:400 The outdoor area is designed to highlight the relation between the dwelling and the site. This is achieved through a series of alignments in plan and section.

Mirrors have been placed in the fake windows of Villa Panza on the left, and reflective material on the trees on the right. The path of the artist is therefore reflective in 3 directions when going inside, and views only nature from the inside out.

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PAVIMENTATION

Greenery has been placed at the back of the dwelling as a private relaxing area, which can be later used by the workers when the dwelling is not there.

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COMPLETION

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Using the border Services Wall Interior Design Studio | Inclusivity For The Elderly | Professors: Colombo Cristina Federica, Mastromateo Antonella Yuri | Group members: Eva-Maria Grafova, Francesco Antonio Ravazzani

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FURNISHING MODULES | OPENED AND CLOSED

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STOOL STORAGE

The dwelling is made of modular units that can be transported separately or joined.

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The interior is made with wood for acoustic and aesthetic reasons. The walls are cut out to give extra storage space. Curved walls and storage spaces are designed as a connection to Villa Panza, as well as to minimize the risk of bumping into them. There is only one big opening which serves as a sliding door in both directions, as well as allows light to flow in uniformly.

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OPENED PLAN

The stool is designed as both a sitting object and carry-on storage. Inspired

by Le Corbusier.

CLOSED SECTION 8

OPENED SECTION

KEY PLAN

Interior Design Studio | Inclusivity For The Elderly | Professors: Colombo Cristina Federica, Mastromateo Antonella Yuri | Group members: Eva-Maria Grafova, Francesco Antonio Ravazzani

EXPLODED AXONOMETRY

T he facade is designed with aluminum sheet panels while the interior is made with wood. Lightcolored wood is used on the outside of the furnishings, whilst darkcolored wood is used on the inside for contrast, to emphasize the “built-in“ typology.

ASSEMBLY

PERSPECTIVE PLAN AND SECTION

Interior Design Studio | Inclusivity For The Elderly | Professors: Colombo Cristina Federica, Mastromateo Antonella Yuri | Group members: Eva-Maria Grafova, Francesco Antonio Ravazzani

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INCLUSIVITY FOR HANDICAPPED PEOPLE A. THE INFINITE WORKSHOPS The studio required the design of a closed and open-air museum in Moscow, with different facilities in the style of the Russian Avant-Garde school of Vkhutemas, as it reached its century mark in 2020.

Each member of the group had to design one facility while working together in the context.

The projects follow the teachings of the school to recall its time and ideas. The studios are placed along the line of the building while the exhibition areas are in its’ ends. The main accent of the project is the continuous change between each studio/function change and a “never-ending” circulation, as a metaphor for the eternity of the Vkhutemas school and its’ aim of defying and reinventing architecture.

The composition of the masterplan generates from the existing Tretyakov Gallery as its center. Different methods are used to achieve this relationship, such as dimensions, rhythm, proportions, etc.

Original full project COURSE INFORMATION

Course: Architectural Design Studio 3 - 0994583 Professors: Comi Giovanni, Meriggi Maurizio Group members: Melina Varbanova, Francesco Antonio Ravazzani (General areas designed together. Each had to design a individual project, respectfully: Museum, Training school.)

Location: New Tretyakov Gallery park, Moscow, Russia 10

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The project stands between the Moskva River and The New Tretyakov Gallery, reflecting both of them in opposite directions. It has two main entrances, one in the direction of the bridge / outer piazza of Tretyakov gallery, and the other towards the library and dormitory. The workshops are placed on the longitudinal external area, while the circulation is focused inside. The studios are protruded outside of the cover, therefore, being more visible.

AXONOMETRY MOSKVKA RIVER

WORKSHOPS MUSEUM

DORMITORY

EXISTING:TRETYAKOV GALLERY LIBRARY

TRAINING SCHOOL

EXISTING:GORKY PARK MUSEUM EXISTING: ART SCHOOL

Architectural Design Studio 3 | Inclusivity For Handicapped people | Professors: Comi Giovanni, Meriggi Maurizio | Group members: Melina Varbanova, Francesco Antonio Ravazzani

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SECTIONED AXONOMETRY AND DIAGRAMS

PLANS 1:1000

Vertical connections are achieved mainly through ramps that increase by 60 cm in every block. The ramp has a 6.25% slope, which is considered as the “comfortable slope“ for wheelchair users. Three of the blocks of the roof above the studios are also accessible by the public, 2 of them being wheelchair inclusive.

UNDERGROUND FLOOR- ARCHIVES

GROUND FLOOR

A rhythm is created between the columns, ramps, and studios so their composition is more strongly defined. There are 12 studios, each with a function related to the previous Vkhutemas workshops with the addition of a modern one such as lasering.

FIRST LEVEL OF CIRCULATION

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EXPLODED AXONOMETRY 12

CIRCULATION

LAST LEVEL OF CIRCULATION / THE ROOF

Architectural Design Studio 3 | Inclusivity For Handicapped people | Professors: Comi Giovanni, Meriggi Maurizio | Group members: Melina Varbanova, Francesco Antonio Ravazzani

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VIEW FROM THE INTERIOR

The architectural collage shown above is taken from the ground floor, with one of the elevator blocks behind. It shows how the floors dont have a fixed, unique level but are continuously changing.

Architectural Design Studio 3 | Inclusivity For Handicapped people | Professors: Comi Giovanni, Meriggi Maurizio | Group members: Melina Varbanova, Francesco Antonio Ravazzani

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INCLUSIVITY FOR HANDICAPPED PEOPLE B. OLYMPIC VILLAGE The Milano-Cortina was chosen as the location of the 2026 Winter Olympics. For this, Milan will provide a series of venues, both for sport and hospitality of athletes. The Olympic Village will be located in the Porta Romana railway yard, and will consist of five seven-storey buildings. After the games, the residential areas will be converted into social and student housing through modest conversion.

The studio’s aim was to design one building of the five forecasted by the CIO (Comitato Olimpico Internazionale), capable to host 200 athletes/students, including common services and facilities. The building should include 14 single rooms, 93 double rooms of which 42 for people with disabilities. The outdoor areas should also be taken in consideration.

Original full project COURSE INFORMATION

Course: Building Technology Studio - 097435 Professors: Castaldo Giovanni, Tartaglia Andrea Group members: Maria Kritskaya, Paola Sulo Site Location: Porta Romana Railway Yard, Milano, Italy 14

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THE FACADE OF THE WHOLE BUILDING

THE SKELETON OF THE UPPER FLOORS

On the morpho-typological part, in the area there are no dominant characteristics, and a certain variety of architectural artifacts can be found. Our plot specifically, is at the starting axis of an overpass on the South-East and via Brembo on the South at level 0. This influenced the shape and heights of the project.

Because of its’ position and relation with the streets and other OV buildings, different access points are made possible.

THE GROUND FLOOR

Building Technology Studio - 097435 | Inclusivity For Handicapped people | Professors: Castaldo Giovanni, Tartaglia Andrea | Group members: Maria Kritskaya, Paola Sulo

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The ground floor starts from level 0.00 m to allow access for wheelchair users. The gym will be converted into a study area/ library after the games. There are different access directions, which all connect in a central elliptical piazza. The piazza is mainly accessible through stairs but the main axis serves as a ramp, therefore it is accessible by wheelchair users as well. Sitting areas are designed in both its’ inner and outer perimeter. Greenery has been expanded in the back of the building as well as on the side of the bridge functioning as a noise and pollution buffer, but also help with securing the area and making it more aesthetically pleasing.

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Building Technology Studio - 097435 | Inclusivity For Handicapped people | Professors: Castaldo Giovanni, Tartaglia Andrea | Group members: Maria Kritskaya, Paola Sulo

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There are 5 room combination types, on the left-wing, there are 3 handicap-normal double rooms combinations, while on the right-wing there are the normal double room combinations and single rooms. These combinations have been made to optimize space between the rooms, as well as offer different variants of rooms to choose from.

EAST ELEVATION

Building Technology Studio - 097435 | Inclusivity For Handicapped people | Professors: Castaldo Giovanni, Tartaglia Andrea | Group members: Maria Kritskaya, Paola Sulo

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VIEW FROM A HANDICAP ROOM OF TYPE A, FACING THE WINDOW

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Building Technology Studio - 097435 | Inclusivity For Handicapped people | Professors: Castaldo Giovanni, Tartaglia Andrea | Group members: Maria Kritskaya, Paola Sulo

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• Type A • Type B • Type C • Room

Double bedroom (51) –27 sqm Bathroom A – 5 sqm –31 sqm Bathroom B – 5 sqm –24 sqm Bathroom C – 4.5 sqm –24 sqm Bathroom D – 4 sqm Handicapdouble bedroom (42) – 28 sqm Bathroom A – 5 sqm – 33 sqm Bathroom B – 5 sqm –24 sqm Bathroom C – 4.8 sqm Single bedroom (16) –15 m2 Bathroom – 3.8 sqm

Things that have been considered for handicap rooms: • Plan surface in compliance with regulations for handicapped people • Initial room arrangement and possibility to rearrange • Positioning of switches a bit higher • Non-slip flooring • Proper door handles • Bed rails ***The window sills are at the general height because the handicap rooms are not exclusively for wheelchair users but for all people with disabilities, therefore the italian building regulations have been followed.

Building Technology Studio - 097435 | Inclusivity For Handicapped people | Professors: Castaldo Giovanni, Tartaglia Andrea | Group members: Maria Kritskaya, Paola Sulo

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CONCLUSION The famous Modulor by Corbusier remains one of the most famous human-scale representations to this day. The 1.83 meter tall standing body of a man with his armed raised has been used to depict proportions in different projects.

However, this design fails to be inclusive in the way that it is singular. This was also shown in Shyamal’s “Schematic of Corbusier’s Modulor man and measurements, based on his work but not an exact copy - stylized, rearranged” (fig. 1) composition. Many groups of people do not fit the original Modulor even in the slightest. The problem is not that the drawing is not inclusive, the problem rather lies in the fact that this lack of inclusion is generally due to the absence of integrating design for diversely-able people.

(fig. 1)

My focus on this portfolio is more focused on the design for people with different physical abilities. This includes ablebodied people, people with temporary restrictions (people with injuries, pregnant women, etc.), minority able-bodied people, elderly people, challenged (handicapped) people.

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In a sense, as everyone gets inevitably old, we should be more aware of the design issues that surround us in terms of accessibility and inclusion. There are in essence two ways to deal with such a dilemma, altering projects to adapt to these obstacles, or designing from the start projects that anticipate these changes. The advantage of the second type of design is that it is directly inclusive, therefore a wider range of people can enjoy it from the beginning.

This means choosing dimensions and proportions while thinking not only about one standardized group but trying to adjust the design for everyone to appreciate it.

In the first project presented, this idea was expressed in the use and placement of materials and the dimensions between them. As that project was focused on creating a phenomenological design, it was of high importance that the space could be felt equally by all. For this reason, the mirrors and glazings were placed from one to two meters in height in order to give diverselyable people the same experience. Something as simple as placing the sculpture and viewer at a sitting position instead of a standing one fulfilled the inclusive design. Had it been standing people with wheelchairs, dwarfism, etc could not fully experience the pavilion.

In the second project presented, this idea was expressed in designing a dwelling with an open plan to balance the minimal dimensions as per the exercise. Choosing one-floor height

throughout allows easier mobility for all. The wood interior was chosen not only for its visual characteristics but also for acoustic ones. The corners were minimized both inside and outside for a smoother and more comfortable experience.

The color scheme is very simple so that color-sensitive people do not get tired. This and many other properties were carefully chosen to make the minimal dwelling adjustable to all. These considerations did not hinder the design, instead, they highlighted its efficiency of use.

The group with the bigger obstacles are generally considered to be wheelchair users or people that require some type of assistance either through objects or people’s help. Architect Michael Graves experienced this first hand after contracting a virus that would leave him paralyzed.

He explained that simple acts were now very hard and many things became inaccessible to him. Since then he and his team have designed with such issues in mind. “This became very real to me after my illness, so since then I’ve asked my design team to spend a week in a wheelchair.”

-Michael Graves. While it is true that disabilities, diseases, and unhappiness, in general, can not be fully understood by a third party, trying to learn from them should be the norm. While Graves case is used here, there have been many handicapped architects and designs before him just like there will be many after him. Architect Ron Mace, FAIA, who coined the term “universal design”, was a wheelchair user as well. Another architect, Selwyn

Goldsmith wrote the first book about design for disabilities named “Designing for the Disabled” as early as 1963. While now outdated, it drew an increase in the sensibility towards the diversely-abled. What we now find unimportant and normal, was once a groundbreaking innovation, such as the dropped curb in street walks designed by Goldsmith.

The problem nowadays is not the lack of documents and regulations towards disability design, but that these regulations are not always followed, and generally cover just the necessities of designing such spaces.

This sometimes leads to designs that follow the book regulations, however, feel non-inclusive, as it is shown from the project that this group of people was not thought of as equally important. This results in designing while working only in plan and not thinking of the other issues such as material choice etc. It is therefore important to include a consultant on disability-friendly designs. Still, these design absences should not be left to learn in the work field but current students should reflect on these difficulties and challenge themselves to become more aware of them, especially since we are not currently preoccupied with the issues of budgets in the design.

In the third project presented, this issue was expressed in the design of a project whose theme is that of ramps in itself. This was not done to make a project for wheelchair users, rather it was done to make a project where

wheelchair users are treated fully equally. The facade is glazed so they can have full visuals of the outside. The ramps are chosen in the comfortable slope percentage so it doesn’t tire them. The circulation is central so the roads are not secondary and hidden but rather the accent of the project. The project design itself delves into another idea of the Vkhutemas design, not does it only defy the norm of circulation, it makes circulation into architecture. The facade hints at this change yet does not fully disclose it and leaves it to the user to experience the design first-hand.

In the fourth project presented, this issue is tackled in the residential aspect. A dormitory project where almost 50 % of the inhabitants are thought to have some sort of disability. The challenges of this project were not only in the designing of the rooms but also in the way they combine with each other. Are these rooms to be clustered together or are they to be adjusted with the other typologies? Do they need priority or is it better to go with equity? These questions and many others were things my group hadn’t considered before but now had to.

We decided that the clustering of such rooms COULD provide a more comfortable environment for the disabled inhabitants but it would surely also create social barriers between the other inhabitants and them. Noticing the difficulties is therefore not equal to highlighting them.

For this reason, the handicap rooms were combined with normal rooms. The corridor in the middle allowed for

easy mobility from two sides of wheelchairs, however, the handicap rooms were also placed diagonally from each other, not to risk blocking the corridor, which could happen if they were opposite each other. These rooms were also placed near the wing with the elevators which they would use to circulate between the floors. Toilets and bedrooms all followed the building regulation standards.

They all had non-slip floors, accessible and arrangeable plans, as well as space for additional helping objects such as bed rails, etc. There were 3 typologies of handicap rooms in the project, all with their own challenges and design options. This way the project was more diverse not only in the acceptance of diverse-able people but also in the arrangement of these people. The outdoors were as well done to promote the interaction of the two groups of people and increase awareness and knowledge for each side.

In conclusion, it is understood that inclusion in architecture needs to be more common and bolder. As the medical world and technology advance in their discoveries, the expectancy, and overall well-being is being increased.

Architecture and urbanism need to reflect these advancements also in the design of spaces. Society and architects should try to deepen their knowledge of the struggles and diversity of people’s ableness and learn to embrace and empathize with these changes. Equity should not be only visible in social environments but also in its’ spaces.

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BIBLIOGRAPHY WEBSITE: • Zappia, A. “Karen Braitmayer, Founder of Studio Pacifica, Weighs in on Accessible Design”. ArchDaily.

(2020, July 30). Accessed in 2021. <https://www.archdaily.com/944706/karen-braitmayer-founder-of-studio-pacifica-weighs-in-onaccessible-design> • Walsh, N. P. “We Need More Wheelchair Users to Become Architects”. ArchDaily. (2019, August 16).

Accessed in 2021. <https://www.archdaily.com/923074/we-need-more-wheelchair-users-to-become-architects> JOURNAL: • Elke Ielegems, E. I., Jasmien Herssens, J. H., Erik Nuyts, E. N., & Jan Vanrie, J. V. “Driers and Barriers for Universal Designing: A Survey an Architects’ Perceptions”. In Journal of Architectural and Planning Research. (2019, September). Accessed 2021. <https://www.researchgate.net/publication/349367476_DRIVERS_AND_BARRIERS_FOR_ UNIVERSAL_DESIGNING_A_SURVEY_ON_ARCHITECTS’_PERCEPTIONS> • Sidse Grangaard, S. G., Camilla Ryhl, C. R., Marianne Skjulhaug, M. S., Anne Kathrine Frandsen, A. K. F., & Claus Bech-Danielsen, C. B.-D. “From accessibility to experience: opportunities for inclusive design in architectural practice ”. In Nordisk Artkitekturforskining. no. 2. (2016, October). Accessed 2021. <https://www.researchgate.net/publication/284721709_From_accessibility_to_experience_ Opportunities_for_inclusive_design_in_architectural_practice > IMAGE CITATION: Fig. 1. “Schematic of Corbusier’s Modulor man and measurements, based on his work but not

an exact copy - stylized, rearranged” by Shyamal <https://it.m.wikipedia.org/wiki/File:Modulor_measurements.svg>

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