Abstract
The discourse on the relationship between form and function in the world of design has its roots in the industrial and Tayloristic model that contrasts and differs from the artistic and artisanal process since the disciplinary foundation. At the origin of the debate there are visions about the role of design in society, but also about the specificity of its own language.
The digital revolution and the introduction of Human-computer interaction and the wider concept of Human-centered design have profoundly transformed this relationship, strongly shifting it in favor of people, their expectations and their needs. In particular, when design then focuses on inclusive and universal approaches – i.e. addressing needs that go beyond standards – form is often sacrificed on the altar of accessibility transforming the experience of both audiences – “normal” as well as impaired subjects – into a poor and a “low-resolution” one. On the other hand, for people with disabilities, form itself is the essence of experience. Whether it is the sound channel or VUI in the case of visual deficiencies, the figurative language, for acoustic disabilities, or the tactile-sensory component, considering the cognitive and perceptual aspects, the form becomes both the medium and the message as well. The paper aims to identify the stages of a possible cultural and social journey, within the broader scenario of Universal design/Design for all and the culture of accessibility, which includes the aesthetic-emotional dimension as a shared design value and driver of innovation in the sector. Besides, it illustrates through the discussion of case studies, in the field of personal and public communication, possible approaches to ethics and aesthetics of inclusive design.