DENMARK - COPENHAGEN

After the third blog post has shown the positive of the uncertain through the inclusion that is lived as a cultural practice in Copenhagen, this post aims to provide even more depth. While this extension may not allow to answer all questions, it will raise questions that are important to think about.

Fig. 01. Illustrative distinction between exclusion, integration and inclusion (Kassing, 2008)

Impact on me, impact on others?

In the third blog post I already described the impact on me of the inclusive cultural practices. But how was it for others? Below I explain how two other people who spent a semester abroad with me appreciated experiencing Inclusion in Copenhagen.

An exchange student from Berlin has described a very high value of inclusion in society in relation to homosexuality. People would have an open mind about it. Based on his experience, this is usually more the case in large cities, which is why it would also be interesting to make a comparison between the city and the country of Denmark to see if there are any differences on this issue.

My friend and exchange student from Paris sees inclusion very positively through the eyes of a young woman. She points out that the dangers, stares, persecution or fear she knows at home in Paris at dark hours of the day or nightlife is displaced by inclusion in Copenhagen. Even toilets in bars and other public places are shared by women and men, which is quite normal there. From her perspective, this kind of sharing rather than separating could be an essential part of better togetherness and inclusion.

Inclusion at the Academy

Another aspect that would be interesting, according to the feedback, is to reflect on how exactly inclusion has been present during the semester at the Royal Danish Academy of Fine Arts. From my point of view, there were among many, two main aspects that I could notice in my Spatial Design course: the inclusion in studying and the inclusion in designing.

Beginning with the first one, the inclusion of other studies in our course, as well as the other way around, was practiced with great significance. This means that care was taken to ensure their transparency and accessibility for all students, even for all people. Looking into various specializations and education was encouraged in all parts of the Academy to reach overarching knowledge and especially a cooperating community. While this is an omnipresent practice at the Academy in general, also the focus within the design studio is shifted to inclusion as much as possible. This includes, for example, a focus on the inevitable participation of the people and circumstances on the site of the design projects.

Within the design process in the studio, the importance of inclusion was always highlighted and encouraged to explore and develop ways to strengthen inclusion, as well as always see it as an essential part of what we do. It is taught throughout the work to challenge all kinds of prejudices and normative assumptions and to achieve inclusive outcomes through more conscious design. The following example of Alvar Aalto was often used to demonstrate.

Fig. 02. Design of Alvar Aalto’s noiseless wash-basin for hospital rooms (Core77, 2023)

"…Incredibly small details can be used to alleviate people's suffering. [For example, the] washbasin. I strove to design a basin in which the water does not make a noise. The water falls on the porcelain sink at a sharp angle, making no sound to disturb the neighboring patient, as in the physically or mentally weakened condition, the impact of the environment is heightened." – Alvar Aalto (Core77, 2023)

Where does the inclusive attitude of people come from?

Where exactly the experienced inclusive attitude of the people in Copenhagen comes from is difficult to answer to this extent and with the available experience. However, for me out of common sense, even more the question arises where the exclusion comes from that we can often experience? Since, inclusion actually means nothing else than that every person naturally belongs as a matter of course.

Is it perhaps a question of understanding? Especially in the design of things. Is it a matter of comprehension the things we design with all implications and consequences that come with it? Does designing without entire knowledge about the designed lead to inclusion not being naturally included? According to the following quote of Richard Sennett, these could be an essential question of a good craftsman. Whether it is a craftsman as one knows it, whether other activities of humans are meant, or it concerns in a broader sense the craft of living.

"Every good craftsman conducts a dialogue between concrete practices and thinking; this dialogue evolves into sustaining habits, and these habits establish a rhythm between problem-solving and problem finding …” – (Sennett, 2008, p. 20)

If it is really this dialogue between acting and thinking that is significant, and if this would be taken as a natural part - then this rhythm would give new impulse for inclusion in designing our environment. Simply understanding one's own work entirely, in creating and thinking, would in my opinion already help coming back to what should be natural – Inclusion. Thereby not only letting the objects and people around us influencing our ability to participate, but rather questioning our objects and minds (we design ourselves) to positively influence our environment.

Endless scope of inclusion

The following questions extracted from the photo are part of the exhibition at the 18th International Architecture Biennale with the title “The Laboratory of the Future”, curated by Lesley Lokko. While demonstrating the wide spectrum of inclusion theses should also expand our horizons once again.

How many ways can you use a cup?
How can we make the word “inclusion” obsolete?
Can a pavement crack be a greenhouse?
Can design play cupid?
How do we add not only years to life, but life to years?

Sennett, R. (2008). The Craftsman. Kassing, R. (2008). Was ist Inklusion? Aktion Mensch. https://www.aktion-mensch.de/ Core77. (2023). Alvar Aalto’s Design for a Noiseless Bathroom Sink. Core77. https://www.core77.com

Personally, I keep commuting between inclusion as part of our lives and specifically inclusion in design. Whatever the context may be, I think it's important to raise such questions to make the step beyond empathy to live inclusive together.

Further literature to deepen the knowledge of inclusion with a focus on design

Holmes K. (2018). Mismatch. How Inclusion Shapes Design. Imrie R., Hall P. (2001)
Inclusive Design. Keates S., Clarkson J. (2004)
Countering design exclusion. An introduction to inclusive design. Di Bucchianico G.(2018).
Advances in Design for Inclusion. Abrams D., Hogg M. A., Marques J.M. (2004).
The Social Psychology of Inclusion and Exclusion. Burton E., Mitchell L. (2006)
Inclusive urban design. Streets for Life. Pickering H. (2016)
Inclusive Design Patterns. Langdon P., Lazar J., Heylighen A., Dong H. (2018) Breaking Down Barriers.

Literature list of blog post

Sennett, R. (2008). The Craftsman. Kassing, R. (2008).
Was ist Inklusion? Aktion Mensch. https://www.aktion-mensch.de/ Core77. (2023).
Alvar Aalto’s Design for a Noiseless Bathroom Sink. Core77. https://www.core77.com