Category: Accessibility

Participatory design for change: Francesco Rodighiero’s vision in his interview with Il Bagno Oggi e Domani

Participatory design for change: Francesco Rodighiero’s vision in his interview with Il Bagno Oggi e Domani

In the November–December 2025 issue of Il Bagno Oggi e Domani, Francesco Rodighiero – a Design for All designer and an authoritative voice in the field of inclusive design – offers a clear and insightful reading of the social transformations that are reshaping contemporary design. The conversation focuses on demographic, cultural and behavioural changes that will significantly influence the design landscape in the coming years.

Rodighiero highlights that “the society of the future will be increasingly articulated, faster and culturally more complex,” a condition made evident by the simultaneous coexistence of five generations, each with profoundly different rhythms, habits and expectations. Population ageing, he notes, is one of the most decisive factors: “By 2050, one third of the population will be over 64,” a demographic group destined to play a central role not only in consumption patterns but also in collective choices.

From this emerges the need – no longer postponable today – to rethink design as an open and inclusive process. Rodighiero states clearly: “We can no longer design for a single category or for ourselves: we must begin to imagine places and objects for everyone.” This approach embraces the entire life cycle of individuals, including temporary fragilities and those situations in which changes in daily habits require new systems, new products or simply new ways of inhabiting spaces.

The interview also highlights the central role that research and development processes must play within companies. Sustainability, adaptability and attention to transversal needs become, in Rodighiero’s view, the structural pillars of contemporary design. Participatory design, understood as a practice of structured listening and responsible interpretation of needs, emerges as an essential tool to avoid self-referential solutions and to generate social value.

Rodighiero’s contribution fits into a broader dialogue on the future of the bathroom design sector and the innovation scenarios that lie ahead. His perspective reminds us that design cannot limit itself to responding to the present; it must anticipate the future with a vision capable of embracing differences, diversity and continuous evolutions in everyday life.

read the full magazine

Design challenges and flexibility: rethinking accessible design

Design challenges and flexibility: rethinking accessible design

From the course “Designing for accessibility: from the spoon to the city”

In the course Designing for accessibility: from the spoon to the city” promoted by the School of Cultural Heritage and Educational Activities within the Personeper – Accessibility in cultural venues program, the contribution of Francesco Rodighiero offers a timely and thoughtful perspective on inclusive design. His video lecture, “Design challenges and flexibility,” addresses one of the most sensitive questions in contemporary design: how to imagine spaces capable of welcoming human diversity without compromising identity, coherence, or quality.

Register for the course for free

Beyond method: a way of looking at the project

Rodighiero’s contribution does not offer a model to imitate, but a perspective. At its core lies the idea that accessibility is not a collection of technical requirements, but a way of interpreting the reality of cultural spaces. Accessible design emerges from listening to contexts and people, from attention to both permanent and temporary forms of fragility, and from the awareness that every public place is traversed by diverse needs.

The process he describes is not disclosed in its operational details; instead, it is framed in its meaning: giving form to spaces that can be questioned and that remain open to change.

Flexibility as a design horizon

According to Rodighiero, flexibility is a design competence, not a simple technical attribute. Cultural spaces change over time: exhibitions transform, audiences shift, and the languages and modes through which people inhabit environments evolve. Architecture, to be genuinely inclusive, must anticipate these variations and turn them into resources.

Flexibility does not mean indecision; it is the ability to preserve continuity even as things change. It is a form of care toward the diverse people who inhabit cultural spaces.

Communicating, orienting, welcoming

A significant part of the reflection concerns communication, understood as a cultural infrastructure that parallels the architectural one. Texts, symbols, signage, graphic systems—all contribute to shaping the visitor’s experience.

Similarly, orientation is not a technical gesture but an act of responsibility toward people’s autonomy. Finally, cultural mediation and staff training emerge as essential elements in transforming a space into a truly welcoming environment.

The value of training

Rodighiero’s contribution does not close the discussion; it opens it. His lecture encourages ongoing learning and the ability to critically read cultural spaces as complex systems in which accessibility and quality are inseparable.

The Design for All process as a strategic and design-driven lever

Every project requires a sense of responsibility capable of translating complexity into clear, inclusive, and long-lasting choices. The Design for All process makes it possible to align visions, methods, and tools toward solutions that are genuinely useful to people and places.

For those who wish to explore this approach and our dedicated consulting services, our areas of intervention are available to browse.

Explore our consulting services

Cultural Accessibility: visible and invisible barriers in cultural venues

Cultural Accessibility: visible and invisible barriers in cultural venues

Reflections from the national course of the Foundation School of Cultural Heritage and Activities

Cultural accessibility as a systemic vision

Cultural Accessibility as a Systemic Vision

Cultural accessibility is not a set of technical requirements or a protocol to be applied to comply with regulations. It is a cultural and organizational process that affects the entire ecosystem of cultural venues: architectural spaces, modes of use, communication systems, professional skills, and interpersonal relationships.

A transformation that requires vision, awareness, and a design approach capable of embracing the complexity of human diversity.

This perspective is at the heart of the national course “Cultural Accessibility: Principles and Practices,” promoted by the Fondazione Scuola dei Beni e delle Attività Culturali as part of the Personeper – Accessibility in Cultural Venues program.

REGISTER FOR THE ON DEMAND CLASS

As part of this training program, Francesco Rodighiero, together with Antonella Agnoli, curated the lesson “Visible and Invisible Barriers: Understanding the Context to Define Solutions,” a module that explores in depth the obstacles — tangible and intangible — that impact the full experience of cultural sites.


Recognizing barriers beyond the obvious

In the collective imagination, museums, archives, and libraries are perceived as places naturally open to all. In reality, their accessibility is often limited by a constellation of barriers that interfere with enjoyment, orientation, understanding, and a sense of belonging.

Physical barriers constitute the first level of obstacle: steps, inadequate ramps, inadequate elevators, narrow passageways, fragmented internal routes. They don’t just affect people with mobility disabilities: they also affect those experiencing temporary fragility, such as parents with strollers, the elderly, or visitors with limited mobility.

Added to these are perceptual and sensorial barriers: orientation systems that don’t guide, insufficient lighting, difficult-to-read text, acoustically problematic environments. These difficulties impact everyone’s experience, not just those with hypo- or hypersensitivity.

Finally, technological barriers represent an increasingly relevant dimension. QR codes, inaccessible digital interfaces, content incompatible with assistive technologies, and the lack of digital literacy generate new forms of invisible exclusion.

Although evident, these barriers are often addressed in a fragmented manner, without a comprehensive strategy. Cultural accessibility, however, requires a unified, person-centered project.

The symbolic threshold of cultural places

Many obstacles are less tangible but equally impactful. Cultural places, in fact, harbor a symbolic threshold that can convey distance or a sense of inadequacy.

The language used on the panels, the complexity of the narratives, the information systems designed for a cultured or specialist audience, the room layouts that suggest who belongs there and who doesn’t: all these elements combine to define a cultural barrier that is difficult to break down.

These are subtle but decisive dynamics. They can transform a museum into a place perceived as elitist, or a library into a space that is “not for me,” despite its public mission.

The overall program of the Personeper program explores these themes in depth: https://www.fondazionescuolapatrimonio.it/offerta-formativa/personeper-accessibilita-luoghi-cultura/

Organizational barriers: what you can’t see

A significant portion of the lesson addresses systemic barriers, or invisible obstacles generated by organizational and management choices.

Limited or incompatible hours with daily life, a lack of flexible services, a lack of dedicated cultural mediation staff, inadequately trained staff in inclusive hospitality, and a misalignment between online communication and in-person experiences: these are factors that profoundly impact the visitor experience.

Cultural accessibility depends not only on spaces and technologies, but also on the quality of the processes that govern the life of a cultural institution.

Social justice and economic barriers

Accessibility is also a question of resources. The cost of transportation, educational services, workshops, or technologies can constitute a significant obstacle for many citizens.

Designing inclusively means questioning the economic sustainability of cultural experiences and imagining equitable and accessible models of enjoyment. Equity is not an abstract principle: it is a concrete design element that determines who can—and who cannot—access culture.

Relational barriers: the most fragile dimension

The most subtle, but perhaps most decisive, barriers are relational ones.

The lack of listening, the difficulty in building trust, the sense of loneliness, the lack of human support in critical moments are all elements that decisively impact access to culture.

Relationships are an essential component of the cultural project. Without relationships, no place is truly accessible. Investing in the quality of hospitality, cultural mediation, and community building means creating real conditions for participation.

Transforming spaces: appropriation, flexibility, and everyday life

The examples of European libraries analyzed during the lecture—from Copenhagen to Barcelona, ​​from Oslo to Whitechapel—show how the most inclusive cultural spaces are those capable of adapting, transforming, and welcoming different modes of presence.

Places that allow people to pause, study, meet, observe, participate, and rest.

Spaces that do not impose posture or behavior, but offer freedom of use and the possibility of appropriation. Architectural and functional flexibility thus becomes a fundamental tool for embracing human diversity.

Accessibility as an opportunity for cultural regeneration

Conceiving cultural accessibility as a design principle means recognizing it as an opportunity for regeneration.

It is a strategic investment that allows us to rethink services, organizational models, and forms of hospitality, broadening participation and enhancing a diverse audience.

Accessibility is not a bureaucratic constraint, but a condition that enriches cultural venues, strengthens their public mission, and makes them vital hubs of contemporary communities.

The inclusion dividend: the economic benefits of Design for All

The inclusion dividend: the economic benefits of Design for All

Accessibility ROI and business case: how Design for All generates measurable growth

Design for All generates an economic dividend that unfolds in four key areas: revenue growth (more users reached, higher conversion rates), cost reduction (lower maintenance, support, and litigation costs), competitive advantage(enhanced reputation, brand preference, access to regulated markets), and long-term resilience (adaptability to demographic and technological change). European and international evidence demonstrates that: (I) the EU population is ageing (≥65 years old at 21.6% as of 1 January 2024) and the share of people with functional limitations is between 24% and 27% of adults an enormous and growing market; (II) in the digital realm, inaccessibility remains widespread (94.8% of homepages with WCAG errors in 2025), so the systematic adoption of accessibility offers competitive opportunities; (III) well-established case studies (e.g., Legal & General in the UK) document ROI within 12 months and cost reductions up to 66%; (IV) in the built environment, the marginal cost of incorporating accessibility from the outset can be <1–2%, whereas retrofitting is significantly more expensive.

Why now: the latent demand and macroeconomic drivers

Europe is already an “inclusive by necessity” market: 21.6% of the EU population was aged 65+ as of 1 January 2024 (Eurostat), and Italy ranks among the countries with the highest share. At the same time, over 101 million European adults (≈27% of those aged 16+) live with a disability or functional limitation (Consiglio UE / Eurostat), while the WHO estimates around 135 million persons with disabilities in the European Region (WHO Europe).

A non-inclusive design approach de facto forfeits a substantial share of demand and spending, leaving untapped opportunities that only a Design for All strategy can capture.

INDICATOR


EU population aged 65+ (2024)
EU adults with disabilities (2023)
People with disabilities in the EU
Websites with WCAG errors (2025)

VALUE


21,6%
27% (~101 mln)
~135 mln
94,8%

SOURCE


Eurostat
Consiglio UE / Eurostat
OMS Europa
WebAIM Million 2025

These trends create a clear first-mover advantage: those who methodically adopt Design for All (or other approaches such as Universal Design or Inclusive Design) can now tap into real and growing demand, while the majority of competitors — still lagging behind — remain exposed and vulnerable.

The economics of digital: revenue, costs, and risk

Online, inaccessibility is expensive.  The Click-Away Pound (UK) has shown multi-billion losses due to cart abandonment by users with disabilities; the most-cited 2019 estimate is £17.1 billion in lost revenue (Click-Away Pound 2019). In parallel, the so-called Purple Pound (the spending power of households with at least one disabled person) is estimated at ~£274 billion per year in the UK (UK Parliament report).

The implication for e-commerce and digital services is immediate: every barrier becomes churn — a loss of customers and revenue.

Case study: Legal & General (UK) recorded +50% organic traffic, requests for quotes doubled in 3 months, –66%maintenance costs, and 100% ROI in 12 months after an accessible redesign (W3C WAI case study (archive)). While historical, this evidence remains a methodological milestone: accessibility integrated into the information architecture and the CMS reduces complexity and recurring costs, and improves ranking and conversion.

The methodological framing is consolidated in W3C WAI’s Business Case for Digital Accessibility, which details tangible (revenue, cost, productivity) and intangible (brand, risk) benefits of inclusion by design (W3C WAI – Business Case). The recent Accessibility Maturity Model (2024) helps move accessibility into governance rather than relegating it to end-of-process bug-fixing (W3C TR – Accessibility Maturity Model).

EU strategic note: the European Accessibility Act (EAA) harmonizes requirements for products and services (including e-commerce and mobile), reducing fragmentation costs and opening cross-border market opportunities — an economic driver, not just a regulatory one (European Commission – EAA).

Physical product and packaging: when “Inclusive” means “Premium”

Design for All expands the market and enables premium pricing when it solves real problems better than competitors. The OXO Good Grips case is canonical: an ergonomic handle born from an “extreme” need (arthritis) that won over mainstream users, building a time-proof product portfolio and brand (OXO Good Grips origin). In FMCG/beauty, P&G (Olay) and Unilever have introduced accessible packaging (easy-open lids, high-contrast labels, Braille, NaviLens codes), with industry recognition and progressive scaling across portfolios (Olay Easy-Open Lid; Unilever accessible on-pack codes; NaviLens). The point here is friction of use: every micro-barrier removed (opening, dosing, reading) increases trial, repeat purchase, and loyalty, improving NPS.

In recent years, examples of accessible products by design have multiplied, where innovation concerns not only the outer wrap but intrinsic functionality:

  • Furniture and bathrooms: solutions such as height-adjustable washbasins or integrated seating, born from ergonomic analysis, become desirable design elements even for users without disabilities, thanks to greater comfort and safety.

  • Technologies and electronic devices: from smartphones with native accessibility features (screen readers, haptic feedback, voice commands) to home-automation systems integrating voice control and multisensory interfaces.

  • Personal mobility: the success of lightweight carbon-fiber wheelchairs or multifunctional aids (e.g., foldable scooters and smart wheelchairs) shows how demand for inclusive products translates into segment innovation and new global markets.

Market insight: the World Economic Forum succinctly captures the competitive advantage of product accessibility — new revenues, customer satisfaction, and reputation — as a business logic that goes beyond mere compliance (World Economic Forum).

Would you like to know how we work?

Find out

Architecture and cultural venues: marginal CAPEX, full value

In architecture, the cliché “accessibility is too expensive” does not hold: recent studies indicate that, if integrated from the earliest stages, accessibility adds <1–2% to construction costs, while in retrofit the delta can rise to 10–20% (or more, depending on constraints). A peer-reviewed 2023 study found an average premium of ≈1.8% for fully accessible public buildings (ScienceDirect – Cost of accessibility). The World Bank reports estimates of <1% overall(World Bank – Accessibility and inclusion), while historical literature confirms negligible increases in new construction.

The economic takeaway is clear: early integration maximizes net present value — fewer extra costs, fewer design changes, more users served.

In cultural venues and cultural tourism, the Purple Pound translates directly into economic flows: in England (12 months to June 2023), travelers with disabilities and their companions generated 24% of domestic overnight spendand 18% of day-visit spend (VisitEngland – Purple Pound in tourism). A significant share, capable of shifting the P&L of institutions and destinations that invest in accessible experiences.

How to measure the ROI of Design for All (operational framework)

To convince a board or a CFO, principles alone are not enough: a measurement model consistent with the life cycle of a product or service is required. The ROI of Design for All can be articulated across five main dimensions, combining quantitative data and qualitative benefits.

Revenues (top line)

Accessibility expands the market, including people who were previously excluded. This means incremental reach: more users, more sessions, more tickets sold. In digital contexts, the effect translates into conversion rate uplift, i.e. a percentage increase in completed actions (purchases, registrations, donations) when the interface is made clear and usable by all (contrast, labels, simple forms). In museums or physical retail, the correlation is direct: a readable caption or an obstacle-free path increases dwell time and the average value of the visit.

Costs (bottom line)

An accessible website or service not only generates more revenue, but also costs less in the medium to long term. This happens because technical maintenance becomes simpler: an orderly, standards-compliant structure is easier to update, with documented savings of up to 66% (L&G). Customer care is also reduced: fewer barriers mean fewer blocked users, fewer support tickets. Finally, accessible design avoids retrofit costs: adding ramps, captions or accessible functions afterwards is always far more expensive (1–2% if planned upfront, up to 20% if corrected later).

Risk (cost of risk)

Not investing in accessibility today means exposure to concrete risks. From 28 June 2025, with the entry into force of the European Accessibility Act (EAA), a non-compliant product or service may face penalties or be excluded from markets and cross-border tenders. Beyond legal risk, there is reputational risk: studies such as the WebAIM Million show that the majority of competitors are still lagging behind. Those who act early gain trust and visibility, especially in public, cultural, and financial sectors.

Productivity (people & process)

Integrating Design for All into internal processes makes team work more efficient. An accessible design system, with rules and components already inclusive, reduces rework and shortens delivery times. W3C maturity models show how organizations that bring accessibility upstream in the design and development process reduce bottlenecks and downtime.

Customer Lifetime Value (LTV)

Finally, there is the dimension of loyalty. A product that can be used by more people, in more contexts and without effort, generates retention: the customer stays, recommends, and repurchases. In the FMCG world, P&G (Olay) and Unilever have shown how inclusive packaging improves brand loyalty and NPS, benefiting everyone, not only people with disabilities.

Would you like to learn more about our Design for All services?

find out

FAQ (Frequently Asked Questions)

1. How does Design for All improve product innovation?

Product accessibility is not just an ethical advantage: it is an opportunity for innovation. The World Economic Forum has found that including users with disabilities as testers enriches design, leading to new solutions for everyone. Products such as adjustable furniture and smart voice devices are the result of this inclusive co-design.

2. How does accessibility in cultural venues generate profit?

In accessible cultural spaces, the economic return is tangible: in terms of tourism, spending by visitors with disabilities and their companions accounts for up to 24% of overnight stays in the UK. This weight on the P&L shifts the balance towards accessible museums and institutions.

3. What impact does implementing accessibility in the physical product have on operating costs?

Designing for accessibility from the outset avoids costly rework. International studies show that correcting an error at an advanced stage can cost 6 to 100 times more than resolving it at the concept stage. The same applies to physical products: a washbasin or museum that is not designed for accessibility requires costly structural modifications, while inclusion at the outset costs on average less than 2% of the initial cost.

4. Does accessibility generate reputation?

Absolutely. Brand and marketing analysis from the State of Digital Accessibility Report shows that consumers reward inclusive brands: around 70% buy from balanced companies, and nearly 45% are willing to pay more for brands that promote inclusion.

5. Is there a B2B market dimension influenced by accessibility?

Yes. In business procurement, 73% of B2B decision-makers consider accessibility a requirement for purchasing digital products. This means that without accessibility, you lose strategic opportunities for collaboration and orders.

6. How much is the European market for accessibility software worth?

The European market for digital accessibility software reached USD 175.8 million in 2023 and is expected to grow to USD 305.6 million by 2030, with a CAGR of 8.2%.

7. Do you need someone specialised in accessibility and inclusion on your project team?

Yes. A dedicated figure (even part-time) ensures consistency and quality: they oversee standards, coordinate the team, reduce rework and ensure continuity over time. Without this role, accessibility remains fragmented and ineffective.

Accessible Museums and Design for All: towards a new alliance between culture, people and design

Accessible Museums and Design for All: towards a new alliance between culture, people and design

 

Rethinking the museum: accessibility as a cultural paradigm

Museum accessibility can no longer be reduced to the mere elimination of physical obstacles or simple compliance with regulations. It now represents one of the most urgent epistemological challenges of contemporary cultural design. In this perspective, Design for All is not just a method but a vision: designing from diversity, taking the plurality of visitors as a generative value rather than an exception to be managed.

Over the past years, European museums have progressively broadened their understanding of accessibility, integrating sensory, cognitive, social and relational dimensions. Yet, the prevailing models often remain fragmented, oriented towards technical interventions and lacking a transferable methodological structure.

An experience that will reshape the Italian landscape

By 2025, our portfolio will include a pioneering experience redefining how accessibility is conceived within museums. A systemic project, developed with 12 Italian museums, involving over 200 stakeholders — from users with disabilities to cultural operators, accessibility experts and public decision-makers.

Structured in six rigorous phases, this initiative has delivered unprecedented outcomes at both national and European level: structured mapping of needs, collective prioritisation, elaboration of meta-design solutions, development of operational guidelines, creation of accessible exhibition concepts, and validation through self-assessment tools.

What we have learned: from co-design to inclusive governance

The most profound lesson lies in recognising that accessibility is not a solution, but a process. A process beginning with genuine listening, strengthened through ethnographic research, and consolidated in tangible outputs transforming every stage of the museum ecosystem: from pre-visit communication to the visitor’s experience, staff training, and organisational practices.

Accessibility is never complete unless accompanied by organisational change. It is not the final product of a project but its generative matrix. It cuts across space, time, language and audience relationships. Accessibility is governance. Accessibility is culture.

Towards the museum as an inclusive platform

The accessible museum, in its most advanced form, emerges as an adaptive cultural platform, generating meanings and relationships for those historically excluded from cultural participation. Within this framework, Design for All proves the most advanced approach to transform inclusion into a design, operational and communication driver.

  • progressive co-design models engaging diverse user groups;

  • multimodal narrative interfaces adapted to visitors’ sensory and cognitive profiles;

  • flexible exhibition formats evolving through continuous feedback;

  • qualitative and quantitative indicators to monitor perceived accessibility;

  • cross-media communication strategies designed for inclusive pre-visit engagement.

A systemic challenge: the time for accessibility is now

With the upcoming enforcement of the European Accessibility Act, cultural institutions must make a crucial choice: restrict themselves to minimal compliance, or embrace accessibility as a strategic lever.

Thanks to years of research and pioneering projects, our studio is ready to provide a vision and a method combining scientific rigour, design empathy and operational feasibility.

For further details on our methodology: Design for All process.

References and resources:

Design for All Italia: a new space in our portfolio

A new section has been added to our portfolio, dedicated to projects developed in collaboration with the association Design for All Italia. This page brings together concrete experiences, shaped through a structured process focused on impact: that of accessible design driven by process.

In recent years, our studio has contributed to design initiatives where accessibility is seen as a strategic driver for innovation. The case studies presented in this section are tangible examples of how Design for All can translate into functional, intelligent, and transferable solutions.

Among these projects are technological systems and retail spaces in which the user experience has been reimagined starting from real needs, usage evidence, and field observation. Our contribution has ranged from user research to usability testing, from co-design workshops to the validation of inclusive solutions.

One of the central goals was to ensure comprehensibility and comfort in the interaction with new technologies, avoiding the risk that innovation becomes a barrier. Self-checkout systems, smart devices, multisensory interfaces, and cashless environments were analyzed in depth, with the direct involvement of users with different profiles in terms of age, ability, and digital familiarity.

The new page is available at this link. It provides an overview of the project contexts, a summary of the activities carried out, and the benefits generated in each case. It’s a space that documents a process: accessible design as an evidence-based approach, capable of creating measurable value for businesses and improving the experience for everyone.

For those interested in exploring the scope and variety of the Design for All approach, we also recommend visiting the case studies published by Design for All Italia. A curated collection of projects, contexts and solutions that demonstrate how inclusive design can generate real impact across diverse sectors — from retail to cultural venues, from technology to services.

see our process

Accessibility and Inclusive Design: how to innovate in Product Design

Accessibility and Inclusive Design:
how to innovate in Product Design

Strategies and approaches for accessible design

In the contemporary design landscape, accessibility is no longer a mere design option, but an ethical and methodological imperative. Inclusive product design is an essential paradigm for the creation of products conceived for universal use, eliminating physical, cognitive and sensory barriers. Technological and methodological innovation plays a cardinal role in guaranteeing a design that contemplates human diversity as an intrinsic value and not as a constraint.

design for All services

The value of Inclusive Design

Integrating accessibility and innovation for a more effective product

A well-designed product must meet ergonomic, intuitive and usability criteria without requiring ex-post adjustments. This implies a design process that synergistically integrates accessibility and design, preventing obstacles and ensuring smooth and immediate interaction. The inclusive approach broadens the target market and increases the perceived value of the product, fostering user loyalty and establishing an innovative and transversal design language.

Principles and strategies of accessible Product Design

Key elements for inclusive and functional design

Innovation in accessible design is based on a few cornerstones:

  • Advanced and adaptive ergonomics: morphological and functional study aimed at minimising fatigue and maximising efficiency of use.
  • Multi-sensory usability: development of design solutions that guarantee natural and immediate interaction, regardless of the user’s skills.
  • Integration of assistive technologies and intelligent materials: use of state-of-the-art solutions to improve usability without compromising aesthetics or structure.

Inclusive design applications in our projects

Concrete experiences and results

Within the design experiences gained by Rodighiero.Design for All, accessibility is configured as a founding principle. Through careful research on materials, ergonomics and interfaces, each product is developed to meet advanced usability criteria, combining aesthetics and functionality in a harmonious balance. Our extensive experience has enabled us to develop products that have won accolades from the public, confirming the validity of our approach.

Thanks to the Design for All design process, characterised by an iterative and user-centred methodology, we have developed a strong design empathy, an essential element for the creation of accessible and effective solutions. Empathy is indeed a determining factor in understanding the real needs of users and translating these needs into concrete and functional innovations.

In our design approach, we constantly ask ourselves fundamental questions that every company should consider in order to develop truly inclusive products, not only from the point of view of usability, but also from an economic and strategic perspective:

  • Will the product be usable by everyone?

  • What difficulties might users experience?

  • What special needs or disabilities might prevent its use?

  • How much more comfortable will it be for everyone if it is accessible and inclusive?

  • How can we integrate accessibility without compromising design?

  • What technologies or materials can improve the user experience for a wider audience?

  • What competitive advantages can an accessible product offer in the market?

  • Can accessibility represent added value for the brand and corporate reputation?

  • How can inclusivity broaden the target market and increase sales?

  • What are the initial costs of accessible design compared to the long-term benefits?

let's talk about your project

Towards a new Product Design paradigm

The evolution of accessibility as a driver of innovation

The evolution of Product Design is moving towards an increasingly refined integration of accessibility and inclusiveness. Innovating in this area is not only a matter of satisfying regulatory and social requirements, but represents a competitive strategy capable of generating added value for companies and the community. Inclusive design is not just a trend, but a radical transformation in design culture.

The removal of architectural barriers. Law 13 and the results achieved since its adoption

Law 13/89 in Italy represents a fundamental pillar for the removal of architectural barriers, aiming to guarantee the accessibility, visitability and adaptability of buildings for people with disabilities. This legislation, issued in compliance with Article 3 of the Italian Constitution, provides a series of technical prescriptions for new constructions, renovations and adaptations. As time has progressed, the law has undergone amendments and additions to improve and update the initial provisions. For example, Ministerial Decree No. 236 of 1989 established the detailed technical prescriptions for constructions, and there have also been revisions to the law as provisions allowing people with disabilities to proceed independently. In addition to the technical prescriptions, the law provides economic incentives, in the form of tax deductions, to encourage the adaptation of existing buildings to the new regulations. The implementation of this law has led to a greater awareness of the importance of accessibility and has encouraged the adaptation of living and public spaces to make them usable for all people, regardless of their abilities.

Law 13/89 and the subsequent Presidential Decree 503/96 in Italy represent national milestones in the elimination of architectural barriers and the inclusion of people with disabilities. While Law 13/89 established the basic requirements for accessibility in construction, Presidential Decree 503/96 introduced more detailed and specific regulations for the adaptation of existing infrastructure and the design of new facilities, both public and private, to ensure accessibility and independent use by persons with disabilities. The synergies between these regulations and European policies, such as the European Disability Strategy and the UN Convention on the Rights of Persons with Disabilities (CRPD), are obvious. The EU and its member states have an obligation to align their domestic laws with the international agreements they have ratified. This means that Italian legislation must not only comply with the minimum requirements set by its own national legislation but also adapt to international standards.

Looking at synergies in a broader context, a comparison with other countries might show different levels of progress and approaches to barrier removal. Some countries, for example, may have implemented even stricter standards or may have integrated assistive technology more extensively into their infrastructure. Others may be lagging behind in both legislation and implementation, thus providing a picture of how different governments are working to meet the needs of people with disabilities. An international comparison can reveal best practices and innovative approaches that could be adopted or adapted in Italy or other EU Member States. Furthermore, it offers a perspective on how different societies are moving towards full inclusion and accessibility, and what common challenges all countries still face.

Criticism of Law 13/89, without forgetting its benefits, mainly concerns the need for an update to reflect contemporary needs. It has been suggested that, rather than focusing only on the removal of existing physical barriers, a design approach should be adopted that eliminates barriers a priori, thinking of a broader and more diverse range of users. DM 236/89 provides detailed guidelines for inclusive design, emphasising accessibility, visitability and adaptability of spaces. However, there is a perception that such laws and regulations can lead to the creation of environments that meet legal requirements without necessarily considering individual needs in an integrated way, especially with regard to sensory and perceptual abilities and disabilities, and instead focusing almost exclusively on mobility.

In a hypothetical revision of laws and regulations, it would be appropriate to adopt a less imperative and more indicative regulatory language that opens up to innovative, expressive and inclusive design. The new legislative and regulatory references should act as a guiding framework, offering flexible guidelines that stimulate creative solutions, considering the heterogeneity of users’ functional and sensory needs. At the same time, it would be essential to implement an adaptable evaluation mechanism, based on quantitative and qualitative parameters, to appreciate the appropriateness of the project in relation to the diversity of human conditions and the specificities of the environmental and social context. Such a system should make it possible to balance the need for accessibility standards with the uniqueness of the requirements expressed by the various stakeholders that must be involved in the process, guaranteeing a simplified but effective verification of the design work.

Talking about ergonomics

Contemporary ergonomics, at its most fundamental, aims to optimise human-system interaction in order to promote individual well-being and increase overall operational efficiency. The discipline intervenes through the detailed analysis and conscious design of work environments, equipment, and user interfaces, taking a systemic view that encompasses physiology, psychology, and socio-technical interaction. The applicability of ergonomics extends beyond the work context, permeating home and leisure life, with significant implications in the design of appliances, furniture, tools and digital devices. In each scenario, the goal remains to harmonise the physical and cognitive needs of the individual with the technical and functional characteristics of the systems he or she uses, for a coexistence that prioritises health, safety and effective interactions.

There is also anevolution of contemporary ergonomics, defined as holistic, and outlined by Luigi Bandini Buti, father and founder of the SIE, the Italian Ergonomics Society. It is grafted onto the Holism paradigm, which postulates the insufficiency of reductionist analyses to understand the totality of systemic dynamics. According to this theory, the emergent properties of a system cannot be deduced exclusively from the summation of its constituent parts. This approach criticises the fragmentation of the traditional ergonomic approach, which tends to categorise human-system interaction into watertight compartments such as usability/design, health/work safety, and cognitive ergonomics. Bandini Buti advances the need for a more sophisticated conceptual framework that integrates physical, cognitive and affective variables in ergonomic design, emphasising the pre-eminence of factors such as the individual’s pre-knowledge and capabilities, collective memory, behavioural patterns and emotions. Holistic Ergonomics, therefore, advocates a broadening of the methodological corpus and epistemic tools to address the intrinsic complexity of human interactions in the design of environments, products and systems, proposing a more integrated and less compartmentalised analysis of the human-object interface.

For a final ergonomic evaluation, ergonomic development teams use physical or digital models to emulate the characteristics of the proposed design. These varieties of prototypes are essential to evaluate the interaction between the user and the product under controlled conditions and to detect usability problems before production and market launch. End users are involved in testing these prototypes, providing valuable feedback on their user experience, comfort, and ease of interaction through interviews, usability tests, and specially constructed questionnaires to collect meaningful data. During the analysis of the results, the quantitative and qualitative metrics collected are examined, such as task execution time, performance accuracy, and subjective user responses regarding comfort and satisfaction. This data is then used to evaluate the effectiveness of the solutions. Therefore, when a product or part of it is designated as ‘ergonomic’, this emphasises and means that the entire process of ergonomic analysis and synthesis has been carried out. The effectiveness of the ergonomic solution is assessed in relation to the information, the ergonomic object does not exist as an absolute entity, but is the result of comparing different solutions, with the aim of identifying the one that offers the greatest comfort and performance according also to the objectives defined in the project brief.

As part of the ergonomic development of aids for people with disabilities, Ponte Giulio has adopted a research and development process aimed at optimising the ergonomic performance of its products. For example, the design of handles and safety grips reflects an in-depth investigation of the physical and perceptual interactions between the user and the aid. Technological advances and manufacturing capabilities have enabled the exploration and adoption of shapes and materials that offer superior tactile and perceptual comfort. The evolution of these devices takes place through an iterative process, where each new solution is compared with previous versions through an analysis also based on anthropometric parameters, human capabilities, needs and feedback gathered over time from users and customers. This allows the design to be continuously refined, improving grip and functional effectiveness, ensuring that the aids not only meet safety requirements but also promote comfort to enhance quality of life.

As we increasingly work towards improving the standards of everyday life, the path towards more advanced solutions is an intricate web of variables. The multiplicity of design features that designers and universities have analysed over time has generated much more articulated and efficient disciplines and processes. In addition to ergonomics, inclusive disciplines and problem-solving methodologies have emerged that embrace, for example, human diversity and multiple contexts of use. These approaches integrate more complex strategies and methodologies, overcoming the limitations of the traditional ergonomic process to embrace a broader and more integrated view of design.

 

Design for All, Inclusive Design, Universal Design: comparing design approaches

In the constant evolution of design and innovation, there is a growing need to place the goal of inclusion at the centre of design. Inclusion is a word that carries with it many meanings and domains; in design, it represents the ambition to live in a society in which every individual, regardless of his or her abilities, disability, age, gender or cultural background, has access to the same services, products and opportunities – a truly fair and accessible world for all. The importance of putting inclusion at the heart of the design process is made even more evident by the progressive ageing of the population: increasing longevity is a sign of progress, but it presents new challenges to find the most relevant answers to the needs of an elderly population living with at least five generations. This makes it an ethical, technical and practical imperative for Design.

In this context, three significant disciplines emerge that have addressed design through decades of reflection: Design for All, Inclusive Design and Universal Design. Each approaches the subject from different angles, but with a common goal: to improve individuals’ lives, autonomy and, more generally, well-being and comfort through design. Although with a common goal, each has its own distinctive characteristics, in terms of process, strategies and benefits. The three disciplines promote a culture of acceptance, respect and consideration; this leads to greater social cohesion, reduced inequalities and more active participation by all members of the community.

Since the Stockholm Declaration of 2004, Design for All is design for human diversity, social inclusion and equality. The main premises are the holistic approach and the creative challenge: the former emphasises the need to organise teams with the necessary skills and expertise to tackle the project in its entirety and complexity; the latter the energy and determination to explore new ideas to overcome obstacles by finding alternative and innovative solutions. The creative and ethical challenge is addressed not only to designers, but also to entrepreneurs, administrators and political leaders who are asked to constantly consider inclusion as an integral part of their vision precisely because they are fundamental decision-makers in the design process at work.

The active and creative involvement of end-users, stakeholders (duly selected) and experiencers (direct and indirect) is the pillar of Design for All, which has been consolidating the centrality of participatory processes for twenty years. The heterogeneous individuals for whom solutions are intended – whether products, services or environments – must be involved early in the design process because they bring a unique and valuable perspective on their experience and any difficulties they face. The team works with them to understand their specific needs, preferences and requirements, and transforms the information into project requirements that will result in the appropriate solutions also validated by the people involved.

Design for All represents a challenge that requires additional time, effort and sometimes cost compared to a traditional approach, but it greatly reduces the possibility of errors (and thus in turn eliminates rectification costs) precisely because of the continuous bottom-up verification. It also ensures that solutions are targeted for attractiveness and non-discriminatory, i.e. without emphasising differences or specific needs, such as those of people with disabilities.

Inclusive Design is a design philosophy very similar to Design for All, aiming at equal, safe and independent participation in everyday activities while considering human diversity. To achieve these goals, it adopts a number of key principles (spelled out by the Design Council) that place, like Design for All, people at the centre of the design process, promoting personal well-being, social cohesion and pleasure for all. It emphasises the need not to focus solely on motor limitations, but to extend its scope to include learning disabilities, mental health problems, and visual and hearing impairments.

Inclusive Design openly acknowledges that it is not always possible to solve all needs with a single solution, and proposes to disclose the part of the population that may be excluded – the causes may be due to technical, technological or sometimes economic issues. It urges proposing alternatives that take into account the diversity of user needs, ensuring choice, such as product collections, complementary solutions, add-ons or others.

Of particular importance, it recognises the diversity of changing needs and proposes that solutions be prepared for flexibility over time, ensuring that access and usability are continuously optimised.

Universal Design is a popular approach in the United States, Australia, and beyond, which is based on 9 key principles, making the process of inclusive design seemingly straightforward: fairness in use, flexibility in use, simplicity and intuitiveness, information for all, error tolerance, reduction of physical effort, appropriate size and space, future compatibility, and low cost of use. Although the list (or manifesto) is largely agreeable, appreciable, and although no particular process or method is agreed upon, these principles are constantly being supplemented and clarified. The complexity of contemporary design and challenges requires continuous adaptation, the discipline recognises (indirectly) that the diversity of needs is difficult to summarise in a few assumptions.

Openly or implicitly, Design for All, Inclusive Design and Universal Design take into account environmental impact and energy conservation – unprecedented environmental challenges are faced, and thus promote sustainable and responsible design to build a more just, sustainable and inclusive society for present and future generations.

Privacy Settings
We use cookies to enhance your experience while using our website. If you are using our Services via a browser you can restrict, block or remove cookies through your web browser settings. We also use content and scripts from third parties that may use tracking technologies. You can selectively provide your consent below to allow such third party embeds. For complete information about the cookies we use, data we collect and how we process them, please check our Privacy Policy
Youtube
Consent to display content from - Youtube
Vimeo
Consent to display content from - Vimeo
Google Maps
Consent to display content from - Google