Inclusivity: another form of Sustainability.
A hospitality facility is truly sustainable only if it is inclusive: how the design should change.
In my extensive design experience, I have often heard the term “sustainability” used, sometimes even inappropriately. This concept, so central to our era, was elaborated in 2015, when the 193 countries that make up the United Nations signed the “2030 Agenda for Sustainable Development Goals”: an innovative action programme that summarises 17 key points outlining the steps needed to improve people’s lives. Among these goals are the fight against poverty and inequality, the promotion of sustainable socio-economic development, quality education, respect for our planet, peace, universal cooperation, and much more. The true value of these goals lies in the fact that they can be promoted by each of us, and through my work, I aim to pursue them to the best of my ability through my projects.
In a recent talk, I was asked to address the theme of inclusivity in relation to architecture and the projects I propose. I accepted this challenge to approach the subject from a holistic perspective that reflects my philosophy of building. Let’s begin by summarising the five areas that connect inclusivity and architecture: the five senses, emotions, communication, spatiality, and materiality.
THE FIVE SENSES
Architecture and sensory perception have been closely linked since ancient times. We can all agree that design evokes different emotions in us, and that we respond with varying feelings to the places we inhabit. For this reason, my aim is to place the human being at the centre of the architectural universe, addressing the sensory needs of the individual.
Our five senses allow us to experience architecture in a highly personal way: there is, therefore, no universal sensory experience that brings together all creatures, religions, ethnicities, and ages under a single interpretative framework. Translating this theoretical concept into practical design means adopting a sensory approach, also known as the “five architects’ method”, named after Peter Eisenman, Charles Gwathmey, John Hejduk, Richard Meier, and Michael Graves, who were among the first to integrate this approach into their work philosophy. The human being is placed at the heart of architecture, and, therefore, of every professional’s work. The sensory experience derived from each individual is influenced by various factors, such as memories, personal moral values, and cultural background.
Science has attempted to study (and continues to focus on) the relationship between individual reactions and architectural spaces through the study of the nervous system. In recent years, the field of neuroscience has emerged, particularly neuroarchitecture, a discipline linked to medicine that, with scientific data and evidence, objectively and systematically examines how built environments affect our emotions and capabilities. This discipline translates the sensations evoked by spaces into measurable data, allowing architects to analyse human reactions to the built environment from a scientific perspective and, in turn, design spaces that enhance people’s well-being.
Neuroarchitecture studies several factors, primarily the elements that enable deep sensory experiences through the built form. For example, the intensity of light can cause us to perceive volumes in different ways; the varying volumes of buildings allow us to experience space in different ways depending on our personal experiences and perceptions; and the harmonious integration of buildings with the surrounding environment maximises sensory stimulation. In addition to the five senses, there are other “internal” senses, such as imagination, which enables us to envision the building being created; synaesthesia, or the “blending” of sensory perceptions; and culture, of which architecture is the natural expression.
In addition to the five architects already mentioned (P. Eisenman, C. Gwathmey, J. Hejduk, R. Meier, and M. Graves), there are other figures who place sensory experience at the core of their architectural work.Alvar Aalto, a Finnish architect, was a pioneer of sensory architecture, with the famous Villa Mairea being designed with great attention to detail and the points of contact between the human body and the building.
Naito Hiroshi, a Japanese architect, made wood the cornerstone of his architectural philosophy. This material, which responds to sensory, cultural, and social needs, has developed an olfactory component through the use of Sugi wood, known for its strong scent.
Éric Cassar, a French architect, seeks “to create the unexpected in urban planning” to constantly stimulate and awaken all the senses. For example, he imagined creating buildings capable of interacting with people by changing colour.
MOBILITY
When designing the spaces that people inhabit, a significant amount of thought is given to the mobility conditions of individuals, particularly those who experience temporary or permanent impairments in movement. By temporary impairment, we refer to the period starting from an injury or the onset of an illness until full recovery. In contrast, permanent disability refers to a condition that requires assessment some time after the onset of the illness or injury.
According to Article 20 of the United Nations Convention on the Rights of Persons with Disabilities (an international treaty aimed at combating discrimination and human rights violations), states must take effective measures to ensure that people with disabilities have personal mobility with the greatest possible autonomy. This is achieved by promoting architecture that facilitates personal mobility in ways and at times that suit the individual; making it easier for people with disabilities to access mobility aids, assistive technologies, and forms of assistance from qualified personnel; and providing specialised training for staff working with people with disabilities on mobility techniques.
EMOTIONS
Primary, or fundamental, emotions are those innate and universal feelings shared by all humans and many animals. They play a crucial role in regulating our internal biology, interpreting external events, and guiding our behaviour. While primary emotions represent our immediate reaction to the events and situations around us, secondary emotions are a response of the organism to the primary ones. To better understand this distinction, we can use the following example: feeling ashamed for having been afraid (a primary emotion) represents the secondary emotion in relation to the fear, which is the primary emotion. To determine whether we are experiencing a primary or secondary emotion, we can ask ourselves some fundamental questions. First, we ask whether the emotion is a direct reaction to the event. If the answer is yes, it is likely a primary emotion. On the other hand, if the emotion does not seem to be a direct response, it could be secondary. Another way to distinguish between primary and secondary emotions is by observing whether the emotion diminishes after the initial event has passed. If the emotional intensity decreases quickly, it is likely a primary emotion. However, if the emotion persists and continues to influence our present mood, it may be a manifestation of a secondary emotion.
According to psychologist Robert Plutchik, emotions can be represented by an “Emotion Wheel,” which includes eight basic emotions and eight advanced emotions, each derived from a combination of two basic emotions.
In the 1960s, Paul Ekman, a proponent of evolutionary theories, along with his collaborators, conducted a series of studies on the expression and identification of emotions among different populations worldwide. Their research focused particularly on the Fore people of Papua New Guinea and the Dani people of Indonesia, who are socially and culturally isolated from the rest of the world. The research showed that, despite being geographically and culturally distant, these groups exhibited the same facial expressions as people from Western, South American, and Eastern cultures. Ekman’s work led him to understand the universally shared connection between emotions and individual reactions.
At the physiological level, hormones regulate our emotions by influencing our positive or negative moods. Hormones are molecules produced by endocrine glands and released into the bloodstream, acting as chemical messengers. They transport information and instructions from one group of cells to another and have stimulating and regulatory properties. Within the nervous system, neurotransmitters play an essential role in transmitting excitatory or inhibitory impulses, helping the system communicate, influencing bodily functions and mental processes, and thus controlling our emotions. Over fifty substances have been identified as neurotransmitters at the synaptic level. Glutamate, for example, is the primary excitatory neurotransmitter of the central nervous system. Its receptors are important for neural communication, memory formation, learning, and regulation. GABA, on the other hand, is the principal inhibitory neurotransmitter in the central nervous system. Dopamine is involved in the control of movement, motor skills, attention, sleep mechanisms, behaviour, certain cognitive functions, mood, and the mechanisms underlying learning. Serotonin regulates mood, sleep, appetite, and emotions in general; increasing its availability in the brain promotes a positive mood, reduces anxiety and aggression, and alleviates headaches. Norepinephrine is responsible for mobilising the action-reaction process between the brain and body. Endorphins are a group of chemicals produced by the brain that have analgesic and physiological properties similar to those of morphine and opium. Cortisol, often referred to as the “stress hormone,” not only affects our mood but can also interfere with learning, memory, and our overall physical health. Adrenaline accelerates heart rate, dilates the bronchial airways, and enhances physical performance, improving the body’s responsiveness and preparing it for the so-called “fight or flight” response.
COMMUNICABILITY
Effective communication is at the heart of any inclusive hospitality experience. A common tool in this context is digital signage, a form of proximity communication that favours the use of dynamic electronic screens. This type of communication falls squarely within the category of infotainment (an Anglo-Saxon neologism combining “information” and “entertainment”), which encompasses systems that share useful information with users through the engaging nature of modern technology. This technology not only facilitates communication but also enables the customisation of messages based on guests’ profiles, offering a more personalised and engaging experience. Communicability in architecture is also represented by tools that facilitate user experiences: from multilingual texts and Braille writing to tactile communication, large-font printing, and alternative written, sound-based, or simplified communication formats.
SPATIALITY AND MATERIALITY
When designing an environment, it is important to consider the abilities, characteristics, and needs of the users, but this is not the only factor. Designers should not merely focus on solving technical problems; instead, they must concentrate on how the space will evolve in the future. In order to respect ergonomic principles, the design must take into account who the user is, their characteristics and abilities, their skills in using the space, as well as the needs of the relevant staff. Designers must therefore study strategies suitable for the consumer but also for the staff, providing clear, precise, and concise information about the project, which should be readable, understandable, and direct. Finally, they must monitor progress to achieve an ergonomically excellent final result. This discussion also includes materiality, which defines inclusivity through the diverse relationships different cultures have with materials, colours, symbols, music, and painting.
The hospitality sector is not unfamiliar with these areas. However, this specific field of design requires additional considerations, and for me, having devoted considerable attention to these spaces in my work, it is now important to explore them further. The discussion will focus on generational, cultural, dietary, gender, environmental, and pet-friendly inclusivity.
GENERATIONAL
Welcoming clients of different age groups means designing spaces and services that cater to both young people and the elderly. Accessible facilities with lifts, relaxation areas, and quiet spaces ensure that everyone feels comfortable. A prime example of this is luxury retirement homes for the elderly, which are essentially five-star facilities, offering a wide range of comforts. Staying in one of these establishments guarantees a high-quality service that is consistent and justifies the cost of the fees, which are, of course, proportional.
CULTURAL/RELIGIOUS
Symbols take on different meanings depending on the culture or religion in question. Therefore, aspects such as the colour of furnishings, room numbers, and even the art and music used to welcome guests should not be overlooked. Regarding colour, it is clear that in Catholic, Jewish, and Islamic cultures, black is associated with mourning, while white is connected to life. In Hinduism, however, this relationship is reversed. The number 17 in Latin cultures is associated with bad luck, whereas the number 4 in Japanese culture is associated with death. The meaning of symbols varies from culture to culture: the swastika primarily refers to the sun and infinity, and in Chinese Buddhism, it represents the Buddha’s consciousness, often appearing on statues. In Europe, however, it is now associated with an entirely different symbolism.
DIETARY
Increasingly, guests have specific dietary needs, such as vegetarian, vegan, gluten-free, or allergy-friendly diets. A varied culinary offering with options for everyone is crucial for inclusive hospitality. Conditions like coeliac disease, lactose intolerance, or egg allergies are common and can be especially limiting, particularly when dining out.
GENDER
Welcoming LGBTQIA+ clients means creating a safe and respectful environment, free from discrimination, and ensuring equal treatment. This includes the use of inclusive language and gender-neutral spaces. The cornerstones of tourism aimed at the LGBTQ+ community are acceptance, inclusion, non-discrimination, and open-mindedness. These elements should be present in every offer targeting this market segment, particularly since such inclusivity is not only a form of civilisation but also has a significant economic impact. According to AITGL (Italian Association of LGBTQ Tourism), the LGBTQ+ tourism market in Italy is valued at approximately €2.7 billion. Moreover, this type of tourism appears to be quite profitable. It is estimated that LGBTQ+ travellers have an annual income 38% higher than other tourists, with a greater frequency of leisure and business travel. Additionally, according to Expo Turismo Gay, LGBTQ+ travellers represent between 7% and 10% of total tourists, covering an important market share.
ENVIRONMENTAL
Creating an environment that promotes health, well-being, self-esteem, dignity, and autonomy is essential, taking into account the individual’s specific needs, such as the right to privacy, which can be achieved through the use of transparent or opaque surfaces, or appropriate natural and artificial lighting.
PET FRIENDLY
For guests travelling with pets, it is important to offer dedicated rooms, green spaces, bowls, special pet menus, and trained staff to cater to particular needs, ensuring a warm welcome for both the owners and their four-legged companions. Visionary hospitality establishments might even offer spa machines for dogs or horses, rehabilitative water treadmills, etc.
In conclusion, inclusivity is closely linked to sustainability in its holistic sense.
Creating inclusive hotels requires significant expertise and sensitivity, primarily derived from cultural research and secondarily from technical knowledge.
Alberto Apostoli
Wellness Architecture
Born in Verona in 1968, Alberto Apostoli graduated with a degree in Architecture from the University of Venice and founded his studio in 1997 with the aim of exploring a new approach to project realisation, focusing on the intersection of disciplines and the pursuit of well-being through architecture.
Throughout his professional and personal journey, he has developed a profound reflection on the connection between space, body, and soul, conceiving a holistic vision that embraces nature, culture, and sustainability. Through various initiatives he has established, he has contributed to promoting a unique design approach aimed at enhancing people’s quality of life, rather than merely focusing on the creative and artistic gesture.
Thanks to his work as a mentor for well-being, he is regarded as a guide for professionals in the field. For over a decade, he has shared the insights from his reflections in Italy and abroad, aiming to raise awareness about architecture that is not merely about form but serves as a means to promote the well-being of both people and the planet.