ABSTRACT
Identifying exactly what constitutes deaf space proved much more elusive than what does not. Space that comprises free flowing, circular movements is associated with the anthropological term "maluma", which conjures up images of a soft, flowing aesthetic – the essence of deaf language and culture. The opposite of maluma is "takete", a rigid, sharp, angular aesthetic. When designing homes for a hearing person, for example, the architect is conscious of the desire to create walls that enclose space – takete – which translates into a feeling of security. But in performing the same task for a deaf person, for example, the architect needs to be cognizant of the desire for visual access, which means less walls, and in their place "implied enclosures" – maluma. The strategic placement of skylights and artificial lighting, and installing vertical glass panels next to doors are other ways that enhance the architectural aesthetic embraced by deaf people.
