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Nov
19

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.

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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.

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Nov
17

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.

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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.

Aug
26

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).

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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.

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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.

In Insights, you may be interested in the following articles:

Aug
21

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:

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