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Faculty of Architecture, Design and Planning

(2017 – 2022 Batch)

INCLUSIVE ARCHITECTURE
DISSERTATIONREPORT
Submitted by
A.RETHIK SARAN
Reg no: 17RBAR029
In partial fulfillment for the award of the degree of
BACHELOR OF ARCHITECTURE
DECEMBER 2021
Faculty of Architecture, Design and Planning
KARPAGAM ACADAMY OF HIGHER EDUCATION
(Established under Section 3 of UGC Act 1956)
Pollachi Main Road, Eachanari Post, Coimbatore
Tamilnadu-641021, India

ACKNOWLEDGMENT
I would like to express my sincere gratitude to all of those with whom I have worked
during the
Dissertation. On the very outset of my dissertation, I would like to extend my sincere
and heartfelt
obligation towards all the people who have helped me. Without their active guidance,
support,
and encouragement, I would have not made headway in this dissertation. I am
ineffably intended
to "AR.LINGESHWARAN" for conscious guidance and encouragement to
accomplish this
assignment.
I am extremely thankful and will pay my gratitude to my faculty guide
"AR.SUBANITHA" for
his valuable guidance and support for the completion of this dissertation project.
I extend my gratitude to "AR.KATHIRAVAN" - DEAN OF THE DEPARTMENT for
his
constant support and motivation.
I also acknowledge with a deep sense of reverence, my gratitude towards my parents
and members
of my family. At last but not least gratitude goes to all of my friends who has directly
or indirectly
help me to complete this dissertation report .

ABSTRACT
Architecture should be accessible to all people and should accommodate people of all
ages,
disabilities, and other issues such as mental illness. In inclusive architecture,
accessibility is
crucial. Only 2.6 percent of non-architects believe the profession does an outstanding
job of
understanding the requirements and wishes of those who live and work in our buildings,
according to a 2015 survey. As a result, users are forced to live in locations that are
sometimes
inconvenient and unsuitable; in particular, persons with disabilities are frequently
constrained to
certain spaces because most places are planned without regard for their
requirements. Integrating
accessibility and universal design principles in architecture could enrich our
understanding of a
space and add a new layer of spatial experience for everyone. Design for all, universal
access,
and inclusive design are all terms for techniques that primarily focus on making
interactive systems more accessible to the greatest possible variety of
users . The essence of
inclusive design lies in its ability to create beauty and mediate extremes without
destroying
differences in places, experiences, and things.This study will use a review of the
history
and current practices of universal and accessible design and precedent studies
to inform a
design process focused on understanding the users and their experiences in order to
maximize usability.
KEYWORDS
Accessibility,usability,disability ,design for all,universal access ,inclusive design

TABLE OF CONTENTS
ABSTRACT IV
LIST OF
FIGURES...................................................................................................................
1.CHAPTER 1: INTRODUCTION
1.1 STUDY CONTEXT
1.2 AIM
1.3 OBJECTIVES
1.4 PROBLEM STATEMENT
1.5 STATEMENT OF INQUIRY
1.6 PROBLEM SIGNIFICANCE
1.7 LIMITATION
2. CHAPTER 2: BACKGROUND STUDY
2.1 LITERATURE REVIEW
3. CHAPTER 3: METHODOLOGY
4. CHAPTER 4: BACKGROUND RESEARCH
4.1 DISABILITY
4.1.1 TYPES OF DISABILITY
4.2 HUMAN ABILITY TO INTERACT WITH BUILT ENVIRONMENT
4.3 UNIVERSAL DESIGN
4.3.1.NEED FOR UNIVERSAL DESIGN
4.3.2 BENEFITS OF UNIVERSAL DESIGN
4.3.3.APPEALING TO ALL
4.3.4 PRINCIPLES OF UNIVERSAL DESIGN

4.3.5 GOALS OF UNIVERSAL DESIGN

4.3.6 SOLVE FOR ONE EXTEND TO MANY
4.4 BARRIERS
4.4.1 VICTIMS OF BARRIERS
4.4.2 INVISIBLE BARRIERS
4.4.3 VISIBLE BARRIERS
5. CHAPTER 5: CASE STUDY PARAMETERS
5.1.1 PHYSICAL ENVIRONMENT
5.1.2 SENSORY ENVIRONMENT
6. CHAPTER 6: CASE STUDY
6.1 ED ROBERT’S CAMPUS
6.1.1 INTRODUCTION
6.1.2 PHYSICAL ENVIRONMENT
6.1.3 SENSORY ENVIRONMENT
6.1.4 ANALYSING WITH 7 PRINCIPLES OF UNIVERSAL DESIGN
6.1.5 INFERENCE
6.2 HAZELWOOD SCHOOL
6.2.1 INTRODUCTION
6.2.2INTERNAL ORGANISATION
6.2.3 ANALYSING WITH 7 PRINCIPLES OF UNIVERSAL DESIGN
6.2.4 INFERENCE
7. CHAPTER 7: CONCLUSION
7.1 INFERENCE FROM THE TWO CASE STUDIES
7.2CONCLUSION FROM THE OVERALL RESEARCH

7.3RECOMMENDATIONS BASED ON THE FINDINGS OF CASE STUDIES

7.3.1PHYSICAL ENVIRONMENT
7.3.2SENSORY ENVIRONMENT
LIST OF FIGURES
FIGURE 1: METHODOLOGY CHART
FIGURE 2: DISABILITY AND UNDERLYING FACTORS
FIGURE 3 : TYPES OF PERMANENT DIS-ABILITIES
FIGURE 4 : TYPES OF PERMANENT DIS-ABILITIES
FIGURE 5: UNIVERSAL DESIGN
FIGURE 6 : DIS-ABLED PERSON IN A WHEELCHAIR
FIGURE 7:TYPES OF BARRIERS
FIGURE 8: EXTERIOR VIEW OF ED ROBERT’S CAMPUS.
FIGURE 9: SITE PLAN OF ED ROBERT’S CAMPUS
FIGURE 10: EXPLODED VIEW
FIGURE 11: PLAN LAYOUT
FIGURE 12 : OFFICE SPACE
FIGURE 13 PLAN LAYOUT
FIGURE 13 EXTERIOR VIEW
FIGURE 14: INTERIOR VIEW
FIGURE 15: AERIAL VIEW
FIGURE 16 – EXAMPLE OF SIGNAGE WITH BRAILLE
FIGURE 17 -HIGHLIGHTING THE DIFFERENCE IN SURFACES
FIGURE 18-COLOUR CONTRAST WARNING
FIGURE 19-LIGHTING IN AN INCLUSIVELY DESIGNED SPACE

CHAPTER 1
1.INTRODUCTION
Inclusive design, universal design and design for all are terms used to
describe an approach of developing products, services and environments, which are
usable and
attractive for a large number of people regardless of age, gender, language and
ability. People
of all abilities, sizes, and ages should be able to engage with the built environment
independently
because they have all of the rights and obligations that come with being a member of
society. All
persons, including children, the elderly, and those with temporary or permanent
disabilities such
as mobility, cognitive, and sensory (hearing and visual) impairments, should have
access. People
with temporary or permanent impairments confront challenges every day while
navigating
locations with architectural or other physical limitations. Individuals with disabilities
are
discouraged from visiting commercial, social, or recreational establishments for fear of
not
feeling safe or being unable to access a space equipped with staircases, small
doorways,
inaccessible washrooms, and other unintended, potentially dangerous architectural
barriers.
As a result of these challenges or barriers, people with physical impairments
are forced to isolate themselves, preventing them from succeeding in life. Different
people have
different demands, thus it's critical to consider everyone's needs while creating items or
interior
spaces, as some people may rely on other talents to adapt to their environment. A
person with a
permanent or temporary impairment may be able to enter a building but not have
access to the
inside spaces. Unfortunately, "accessible paths" in a building are frequently not
integrated into
the built environment as a whole, forcing persons with disabilities to choose a route
that differs
from that of a non-disabled person. These "alternative paths" are frequently more
indirect and
difficult to utilize. Physical barriers create social barriers for people with dis-abilities.
1.1 STUDY CONTEXT
Our capacity to walk, see, hear, and communicate efficiently is influenced by the
way spaces are designed. The goal of inclusive design is to eliminate the barriers that
cause
unnecessary effort and segregation. It empowers everyone to engage in everyday
activities

equally, confidently, and independently. This design method reveals greater insight into
how we
interact and respond to our environment.
1.2 AIM
To investigate how universal design makes spaces inclusive and usable for those
with disabilities & non-disabilities and how can we design for a broader range of
population
providing equal opportunities, convenience and safety of different types of users in our
society.
1.3 OBJECTIVE
The aim is achieved through following the set of objectives:
(a) To get overview of effects of built environment on human abilities to interact with
their
surroundings, what is disability, its types and what are the target user groups.
(b) To recognize the multiplicity of problems that requires to be addressed, when
trying to
incorporate universal design in built environment.
(c) To focus on what are barriers and its types, what is universal design, its evolution,
its
principles and goals
(d) To do case studies which in accordance to people with different
multiple disabilities and
analyze through universal design principles.
(e) Formulate the conclusion by comparing the inferences.
1.4 PROBLEM STATEMENT
How to makes spaces inclusive and usable for a broader range of population providing
equal
opportunities, convenience and safety of different types of users in our society?
1.5 STATEMENT OF INQUIRY
 In India out of the 121 Cr population, 2.68 Cr persons are 'disabled' which is 2.21%
of
the total population. More than 1 billion persons in the world have some form of
disability. This corresponds to about 15% of the world's population. Between 110-190
million people have very significant difficulties in functioning. This
significantly impacts
people and their interactions within the built environment. India's elderly population

(aged 60 and above) is projected to touch 194 million in 2031 from 138 million in

2021,
a 41 per cent increase over a decade, according to the National Statistical Office
(NSO)'s
Elderly in India 2021 report.
 Good design can be achieved only if the environment created meets as many
people’s
needs as possible. Everyone at some point will probably experience limited
mobility – as
a tourist with bulky luggage, apparent with young children, an older person or an
individual with injuries.
 It is important to identify barriers to inclusion as early as possible within the design
process so that good design can overcome them. Inclusive design celebrates the
diversity
of people and should not impose disabling barriers. While the needs of
wheelchair users
and mobility impaired people are important it is also necessary to understand the
barriers
experienced by people with learning difficulties, mental ill health, visual impairments
and
hearing impairments.
 Though man evolved from the same species that would have possibly had identical
behavior and characteristics at the dawn of time, today we live in a world where every
single one of us come from a broad range of backgrounds in all possible permutations
and combinations. This is further reflected in our mannerism, lifestyles, and personal
choices and preference.
 Currently, there are many buildings meeting minimum accessibility standards, though
they continuously create poorly designed and inaccessible buildings to all.
1.6 PROBLEM SIGNIFICANCE
 Integrating inclusive design (ID) allows for full participation within society.
 Inclusive design prevents discrimination and stigmatization.
 ID is an intervention respecting differences, associated with gender, race, religion, as
well
as age and ability, by accommodating diverse needs of various groups of people.
 This approach incorporates three design strategies, including visual, nonvisual, and
social aspects enhancing the concept of ID.

 They are accessible experience while traversing in architecture as communication,

responsive and adaptable environment through multi-sensory experience, and secure
architecture for social interaction.
 Inclusive architecture and Universal Design pave the way for each and every user to
be
independent, and not seek help from others.
 As a result, an inclusive environment addressing equity and equality, benefits
everyone
enhancing self-dignity independence, and well-being.
 Inclusive architecture enhances the social fabric by promoting communal interaction
and
equity in accessibility bridging the gap between people.
1.7 LIMITATION
 The study will only focus on spaces which cater to people with multiple disabilities.
 The study will largely concentrate on how universal design caters to people with
limited
mobility, hearing, and vision impairments, as their needs have the greatest impact on
the
building and its design.
2. BACKGROUND STUDY
In the 1950s, a process of change in public policies and design practices started in the
US. Due
to a number of people returning to the US with injuries after the Vietnam War, the US
President’s Committee on Employment of the Handicapped, the Veterans
Administration and
others worked on national standards for ‘‘barrier-free’’ buildings, targeted at making
buildings
accessible by handicapped soldiers and others with similar conditions. The goal was to
offer education and employment opportunities, as an alternative to
institutionalized health care.
In 1961, the American National Standard Institute published its first version of ‘‘ANSI
A117.1—Making Buildings Accessible to and Usable by the Physically
Handicapped’ ’. One of
the effects of this was the tremendous development of assistive technologies with the
purpose of
increasing disabled individuals’ possibility to participate in everyday life. Examples
are most
frequent in the area of building and home equipment, such as the one hand blender,
remote
controls, and wider doors in trains.

Universal design is a design term which was coined by Ronald L. Mace, a highly
influential
architect, product designer and educator. He stated the term universal design as a
concept of
designing products and environments for the needs of people, regardless of their age,
ability or
status in life. Universal design has its roots in the Barrier-free design and accessible
design
approaches, and according to more recent research, the term Universal design can be
used
interchangeable with the term design for all. Mace argues that what can be barrier free
for one
person can be a barrier for someone else. Even specialists have problems
with the design issue because of its complexity. To just remove the barrier is not
enough, the
designer must address the issue from a broader angle.
This term is mostly used in the UK where it is also described in the British Standard on
Managing Inclusive Design. There are a couple of different definitions of
inclusive design. One
of them has sprung from the normalization thinking that the design of buildings should
be as
inclusive as possible for as many as possible. Inclusive design bears similarities to
universal
design and design for all, but with the requirement to also include the concept of
‘‘reasonable’’
in the definition. One of the definitions of inclusive design reads: The design of
mainstream
products and/or services that are accessible to, and usable by, as many people as
reasonably
possible on a global basis, in a wide variety of situations and to the greatest extent
possible
without the need for special adaptation or specialized design. The phrase ‘‘reasonably
possible’’
expresses one of the main differences from other approaches, since ‘‘reason-ably’’
seems to
suggest that the inclusion of people with disabilities can be disregarded if considered
too
difficult to achieve or too costly, whereas, for example, the United Nations’
Convention on the
Rights of Persons with Disabilities claims these rights to be absolute and unconditional.
2.2 LITERATURE REVIEW
1. The following is the literature review of book ‘ Age inclusive public space’ by
Dominique Hauderowicz and Kristian Ly Serena. The theoretical tools to think
through the
central thesis of the volume are provided throughout the book. They comprise of four
introductory thematic chapters headed by design stimulating and inspirational
keywords
“Ageing (& Public Space),” “Elasticity,” “Agency,” and “Belonging.” Elaborations
on elasticity

of space, borders and borderlands, in-between spaces, landscapes, bodies and senses,

and
affordances provided in these thematic chapters are insightful and practical.
Three cases are particularly noteworthy. Firstly, in Chapter 2, “Elasticity” (68-71), the
editors focus on ‘seeing’ sites of elasticity. Elastic in-between space, as can be seen in
Amsterdam, from the work of Dutch architect Aldo van Eyck, is space that is
initially not
intended or lost space, such as the side-walks and other areas that van Eyck
created. In-between
spaces provide space in which nothing should be happening, but in which brief social
contacts,
encounters, and exchanges could occur between people. In-between space increases
the
landscape of affordances.
Secondly, in Chapter 4, “Belonging,” the editors explore the Japanese facility, Aoi
Care
(130-137). It is a ‘rare’ example of a small-scale multifunctional care home that is
embedded in
the local community. The key intervention here was tearing down the walls that
previously
surrounded the facility, so that everyone could enter and leave the space freely. The
facility thus
became inclusive because it allowed and enabled more connection. The space could
come to life
and be constantly thickened and redesigned through the trajectories of various people
of
different ages and thus enhanced the potential of intergenerational contact.
The book also has some limitations when it comes to the intercultural intent of the
book.
The best-practice interventions to designing and building more age-inclusive public
spaces may
well have directed the reader towards different places in the world. The micro-level
scale of
each intervention, on the one hand, and the reciprocity in terms of environmental
conditions
between the cases presented, on the other hand, may well evoke a cross-cultural
approach to the
topic of “Designing for Agency and Belonging.” However, aging people, disabled
people, or
otherwise excluded and marginalized people may practice alternative ways of
belonging that
emphasize more culturized models of inclusion than through design.
2. The following is the literature review of book ‘inclusive design a universal need’
by Linda
L. Nusbaumer Inclusive Design: A Universal Need goes beyond the successes and
challenges
of universal design since the Americans with Disabilities Act's inception in 1990 and
amendment in 2008, demonstrating how an inclusive approach to design creates an
accessible
and aesthetically pleasing environment for the entire population, not just the elderly or

differently abled. The book also describes the benefits of an inclusive approach to
residential
and commercial settings, product design, and technology, in addition to fully
addressing CIDA
accreditation criteria that encompass both the application of ADA and universal
design.
3.METHODOLOGY
FIGURE 1: METHODOLOGY CHART

4.BACKGROUND RESEARCH
4.1. DISABILITY
World Health Organization's classification, 1980
IMPAIRMENTS: Disorders of body systems that occur at the time of birth or at later
stage in
life resulting from subsequent injury or illness.
DISABILITIES: Unable to perform certain functional activity due to
underlying impairment.
HANDICAP: The handicap is the societal level of the consequences of illnesses
defined as the
disadvantage of arising from person, impairment disability. For instance, difficulties in
executing day to day activities such as walking, eating etc.
FIGURE 2: DISABILITY AND UNDERLYING FACTORS
4.1.1 TYPES OF DIS-ABILITY
PERMANENT:
Such as physical, sensory, and cognitive impairments. For example, someone born
deaf is living with a permanent disability.

TEMPORARY:
A temporary injury or situation which affects how individuals interact with their
surroundings. For instance, someone with an ear infection is affected by temporary
disability.
SITUATIONAL:
When people move through varied environments such as loud crowded place
where it's hard to hear or a noisy workplace where a person struggles to hear is
experiencing
situational disability.
 AGE AND SIZE: There is a range of people with different sizes and heights from kids
to
fully grown adults and elderly people. Individuals who do not have a particular body
structure or size tend to experience spaces differently, which in turn also affects how
they
use a particular space. Thus, spaces often have some elements which can act as
architectural barriers for people with varied body shapes and sizes, thus making them
disable to access or use a certain place or an object.
TYPES OF PERMANENT DIS-ABILITY:
Individuals differ in their physical, sensory, and cognitive capabilities. These
abilities alter as one ages. As a result, diversity is natural.
PHYSICAL DISABILITIES:
This includes walking, stability, holding strength, pushing, pulling, carrying, and
reaching. Many tasks need the application of more than one of these skills at the same
time.
Physical strength and endurance might also have an impact on an individual's ability
to carry
out these tasks.
MOBILITY:
Walking on the ground or up slopes might be difficult for some individuals. Few
persons with limited walking ranges who use mobility aids such as crutches or walkers,
or those
who use wheelchairs, may have difficulty changing directions or moving in a specific
place. As
a result, they may require a number of rest periods when they may sit down for a short
period of
time to recover their breath or replenish their strength.

BALANCE:
Balance issues can have an influence on how someone manages his or her hand
motions as well as how they walk.
DEXTERITY:
Dexterity entails a variety of hand motions such as pushing, pulling, lifting,
twisting, and turning to do various tasks. Only a few people are left-handed. Some
people may
or may not be able to utilize one or both hands. Some persons may have restricted
hand strength
as a result of sickness or injury, making it difficult to perform a certain activity with
precision
or accuracy. As a result, size, form, and simplicity of movement are critical for those
with
restricted handling abilities.
STRENGTHAND ENDURANCE:
Strength and endurance are necessary to walk on inclined pathways stairs and long
distances for those who find it difficult to walk or people with walker or crutches
require
frequent resting places
REACH:
The reach range mainly depends on an individual's height, the length of his / her arm ,
usage of it , & the strength flexibility of the upper body. A " comfortable reach range "
is the
one that is ideal to perform an activity that is expected to be done on regular basis and
should
not require a person stretch or to bend from their waist. By placings objects or
elements within
comfortable reach of the user , more people with disabilities or non-disabilities can use
it easily.
An “extended reach range " is the one that is ideal to perform an activity that does not
require
precision and is not that frequent, can require a person to stretch or bend from their
waist.
SENSORYDISABILITIES:
HEARING:
Individuals with hearing loss vary in their ability to catch the sound, determine its
direction, volume, source, frequency and to separate different sounds. They find it
challenging
communicate, navigate, and gather information to identify potential hazards such as
traffic.

VISION:
Vision enables a person to be responsive to the luminance of surfaces, objects, shape,
size, and color. The impairment of it defines different degrees of restricted vision, from
slight
vision loss to total blindness. It also involves color blindness and night blindness. A
person with
total or partial blindness finds it difficult to function in public spaces making them feel
insecure
and unsafe to navigate within built environment.
TOUCH:
Touch is a primary sense, which brings us closer to the spaces around us. The tactile
experience helps one to understand the built environment and get a deeper appreciation
of the
same. Touch can also be a dominant tool while moving across space when the other
senses are
not working. Our experience of touch is a mixture of three types of receptors
stimulating the
skin: pressure , pain , and heat / cold . As one age, a lot of these receptors die off,
leading to
changes in their capability to perceive through various information touch.
COGNITIVE DIS-ABILITIES
Memory, problem solving, recognition,
communication, and attention are all part of it.
These constraints have an impact on the child's
growth and development. As a result, individuals’
range in their abilities to acquire and comprehend
information. Some people experience memory loss
or find it more difficult to retain complicated
information as they age, making it harder for them
to navigate within a constructed environment.
FIGURE 3 : TYPES OF PERMANENT DIS-ABILITIES

4.2 HUMAN ABILITY TO INTERACT WITH BUILT ENVIRONMENT:

Our capacity to participate is influenced by the items and people around us. To a large
part, our capacity to engage with the environment is dictated by our characteristics and
talents,
such as size, strength, and cognition, but also by the degree of resistance and assistance
the
environment provides in travelling through space and performing various tasks. As we
grow
older, we acquire new skills. As we age, we lose those capacities. As we progress
through life,
our talents alter as a result of illness or injury. Even when we go from one setting to
another,
our talents alter. When we leave a dark movie theatre and enter bright sunlight, our
vision alters.
From a hushed elevator to a busy gathering, our ability to hear a discussion
varies. Human
capacity, in its various physical, cognitive, and social components, is a design building
element.
The strengths and limits of a person are frequently crucial factors in how
efficiently they
interact within a constructed environment.
4.3 UNIVERSAL DESIGN
Universal design, also known as inclusive design, is defined as "a process that allows
and empowers a varied population via improved human performance, health and
wellbeing, and
social involvement. “In a nutshell, universal design is a design approach that considers
the
requirements of all users and seeks to build solutions that make life easier, healthier, and
nicer
for everyone. Universal design is a relatively recent idea that aims to improve the quality
of life
for a wide variety of people and may be able to decrease the stigma of being impaired
by
putting people with impairments on an equal playing field. For example, rather than
developing
a separate ramp for the disabled, an architect can design the building with simply
ramps that
accommodate all users. Universal design's ideals and techniques may also assist
people in
becoming more self-sufficient and socially active.
4.3.1.NEED FOR UNIVERSAL DESIGN
The universal design idea focuses on the diverse demands and preferences of people.
The constructed environment should accommodate different body forms, sizes,
abilities, and
limitations. As people's abilities vary over the course of their lives, the design of goods
and the
built environment should be able to accommodate this change. Thus,
universally designed

settings and products assist a wide range of users by giving them alternatives and
choices that
they may employ based on their needs and preferences. As a result, locations become
more
inclusive. Integrating universal design into architecture might improve our knowledge of
a
space and provide a new layer of spatial experience for everyone.
4.3.2 BENEFITS OF UNIVERSAL DESIGN:
Universal Design benefits more than only the elderly and individuals with
disabilities. A common misperception about universal design is that it only serves a
small
fraction of the population, such as the elderly and those with disabilities; nevertheless,
universal
design aims to help as many people as possible by supporting accessible and usable
items and
locations. Services as well as. No one individual can perform at their peak in every
activity for
the remainder of their lives. A person, for example, may suffer a medical injury or
illness
(temporary, long-term, or permanent) at some point in life, or may be unfamiliar with
the
product or environment, or a physical attribute such as age, size, height, and so on, can
affect
the usability and accessibility of the product or space. However, it should be noted
that a
hypothetical individual who has never had a handicap throughout his life can equally
benefit
from an intuitive, easy to use, and straightforward design. Furthermore, universal
design is not a
collection of criteria; rather, it is a design approach that considers the diverse range of
skills of
users.
4.3.3.APPEALING TO ALL
The emphasis of universal design is on goods and settings that can be used by
everyone. It is
sometimes assumed that universal design is solely for persons with impairments and
the elderly,
but it also caters to children and families as well.
According to the pyramid of needs created by Maria
Benktzon and Sven Erich Juhlins, it divides users by
their varying degrees of impairments, with fully
functional individuals at the bottom, people with
reduced capability such as mobility impairments and
partial vision in the middle, and people who are
FIGURE 4 : TYPES OF PERMANENT DIS-ABILITIES

severely disabled and are unable to perform many of the activities of daily
living without
support and solely rely on any kind of
support at the top. The pyramid is to be read from top to bottom, and it argues that by
offering
universal design solutions to persons with severe impairments at the top of the
pyramid,
mainstream culture at the bottom of the pyramid will naturally accommodate and
utilize them.
4.3.4 PRINCIPLES OF UNIVERSAL DESIGN
The "Principles of Universal Design" were developed by the Center on Universal
Design at
NC State University in the 1990s. Accompanied by a set of guidelines for each
principle,
they were a valuable tool for clarifying universal design for early adopters, and are still
widely used today. Here are the seven overarching guidelines:
1.EQUITABLE USE
The design is useful and marketable to people with diverse abilities. It provides the
same means of use for all users, identical when possible and equivalent when not. It
avoids segregating or stigmatizing users. The design is appealing to all users.
2. FLEXIBILITY IN USE
The design accommodates a wide range of individual preferences and abilities. It
provides choice in the method of use, accommodates right or left handed access and
use, facilitates the user's accuracy, and provides adaptability to the user's pace.
3. SIMPLE AND INTUITIVE
Use of the design is easy to understand, regardless of the user's experience, knowledge,
language skills, or current concentration level. It eliminates unnecessary complexity,
and is
consistent with user expectations and intuition
4. PERCEPTIBLE INFORMATION
The design communicates necessary information effectively to the user, regardless of
ambient conditions or the user's sensory abilities. It uses different modes (pictorial,
verbal, tactile) for redundant presentation of essential information, and maximizes
"legibility" of essential information. It provides compatibility with a variety of
techniques or devices used by people with sensory limitations.

5. TOLERANCE FOR ERROR

The design minimizes hazards and the adverse consequences of accidental or
unintended actions. It arranges elements to minimize errors, provides warnings when
necessary, and provides fail safe features.
6. LOW PHYSICAL EFFORT
The design can be used efficiently and comfortably and with a minimum of fatigue. It
allows user to maintain a neutral body position, minimizes repetitive actions and
sustained
physical effort.
7. SIZE AND SPACE FOR APPROACH AND USE
Appropriate size and space is provided for approach, reach, and use, regardless of
user's
body size, posture, or mobility. It provides a clear line of sight to important elements for
any
seated or standing user and makes reaching to all components comfortable for any
seated or
standing user. It provides adequate space for the use of assistive devices o r personal
assistance.
4.3.5 GOALS OF UNIVERSAL DESIGN:
The eight goals are as follows:
1.Body fit: Accommodating a wide a range of body sizes and abilities .
2.Comfort: Keeping demands within desirable limits of body function .
3.Awareness:Ensuring that critical information for use is easily perceived .
4.Understanding: Making methods of operation and Use intuitive , clear , and
unambiguous .
5.Wellness:Contributing to health promotion , avoidance of disease , and prevention
of injury
6.Social integration : Treating all groups with dignity and respect .
7.Personalization:Incorporating opportunities for choice and the expression of
individual
preferences .
8.Cultural appropriateness: Respecting and reinforcing cultural values and the social ,
economic and environmental context of any design project.

4.3.6 SOLVE FOR ONE EXTEND TO MANY:

Designing for users with lifelong impairments may appear to be a big
constraint, yet the resulting solutions can assist a far larger number of
individuals. Closed captioning, for example, was designed for those with
hearing problems. However, there are several more benefits to
captioned, such as reading in a crowded airport. Captioning is used by
customers to access sports and news. Captions are becoming more
prevalent on social media when we can't crank up the volume on our
smartphones or when we're teaching our children how to read. Similarly,
high contrast screen settings were initially designed to help those with
visual impairments. However, many users presently benefit from high
contrast screen settings when using their phones in strong sunlight.
Many assistive solutions that were first promoted to persons with
impairments were ultimately discovered to be ineffective. As
mainstream potential grows and technology advances, functionality
improves and business prospects expand. As a result, organizations who
realize these opportunities are more likely to spend in making the
product's design extremely useful and appealing.
`
FIGURE 5: UNIVERSAL DESIGN
4.4 BARRIERS:
Barriers are defined as any impediments that prevent people from fully engaging in all
aspects
of society and from moving autonomously. These obstacles are visible and
invisible. Many
people with disabilities or without impairments believe that a lack of accessible
surroundings
makes their daily lives difficult, which leads to a sense of exclusion from society, both
physically and socially. Again, there are many reasons and sizes, but we must all have
faced
circumstances when locations were not accessible at particular times. We’ve all been
in
situations when there are doors that can only be accessible by stairs, making it difficult
for
individuals in wheelchairs to enter. Other times, signage is too small or has low color
contrast,
making it difficult for persons with restricted or partial vision to read it.

4.4.1 VICTIMS OF BARRIERS:

 Every person, at some stage of life, faces barriers.
 People with reduced mobility or using mobility devices
such as wheelchair, crutches.
 People with partial vision or complete blindness.
 People with hearing loss.
 People with different age like children or elderly People
with different body V stature n Pregnant ladies.
4.4.2 INVISIBLE BARRIERS:
Invisible obstacles are social attitudinal hurdles such as
behaviors, beliefs, and assumptions that foster a sense of
FIGURE 6 : DIS-ABLED PERSON IN A
WHEELCHAIR
prejudice towards individuals with disabilities. These hurdles are frequently the result
of a lack
of awareness, which can lead to people ignoring, judging, or having misconceptions
about a
person with a disability. Invisible obstacles are social attitudinal hurdles such as
behaviors,
beliefs, and assumptions that foster a sense of prejudice towards individuals with
disabilities.
These hurdles are frequently the result of a lack of awareness, which can lead to people
ignoring, judging, or having misconceptions about a person with a dis ability.
People with disabilities are often ignored, judged, or have misunderstandings because
of a lack
of knowledge. Attitudinal impediments include the following: Assuming a lower level
of
infirmity. Assuming that someone with a speech issue will not be able to comprehend
you.
Having preconceived notions about a person as a result of stereotypes or a lack of
understanding. Making someone feel as though you're giving them a "special favor" by
providing them with accommodations.
4.4.3 VISIBLE BARRIERS:
Architectural barriers are physical characteristics of buildings and institutions that, by
their
existence, absence, or design, create dangerous situations and prevent individuals with
permanent or temporary impairments from accessing and moving freely. These
architectural

impediments place additional burden on such people's physical health. The absence

of a ramp
into a building's entry, for example, might have a detrimental impact on accessibility.
Architectural barriers are characteristics of the built environment that limit the "access"
of
handicapped people. On the basis of tradition or aesthetics, an architect may design a
building
with a grand staircase leading to its front door.
Meanwhile, those in wheelchairs may be looking for
back-alley doors and winding passageways to get entry
to the building. A barrier does not always totally
exclude use . It can make difficult , or it can also be a
selective barrier that allows use by one group of people
and not another . Individuals discourage temporary
disabilities with permanent visits from commercial,
social, or recreational places for fear of not feeling safe
or being unable to access a space equipped with staircases,
FIGURE 7:TYPES OF BARRIERS
small doorways, inaccessible washrooms, and various other unintended,
potentially unsafe
architectural barriers. As a result, these difficulties or barriers lead people with physical
impairments to isolate themselves, preventing them from succeeding in their life and
participating in society.
5.CASE STUDYPARAMETERS:
5.1.1 PHYSICAL ENVIRONMENT:
Layout and circulation make spatial orientation and wayfinding inside
places easier. Disorientation caused by erratic circulation can exacerbate worry and
tension.
Clear and straightforward circulation helps consumers feel at peace and in control of
their
environment. Level differences, as well as patterns of vertical and horizontal circulation
within
the space, are also important for those with mobility disabilities.
5.1.2 SENSORY ENVIRONMENT:
Layout and circulation make spatial orientation and wayfinding inside places
easier. Disorientation caused by erratic circulation can exacerbate worry and tension.
Clear and

straightforward circulation helps consumers feel at peace and in control of their

environment.
level differences, as well as patterns of vertical and horizontal circulation within the
space, are
also important for those with mobility disabilities.
VISION:
Visual perception is one of the most significant parts of architecture. Visual is the
primary sense through which an individual with or without impairments experiences
space.
However, visual experience is equally vital in guiding those with low vision and hearing
problems. Vision allows a person to be aware of the brightness of surfaces, objects,
form size
and color.
TACTILE:
Touch is a primordial sensation that connects us to the world around us. The tactile
sensation helps us to better comprehend and appreciate the built world. Tactile
sensation aids in
determining the substance, smoothness, roughness, and hotness and coolness of a
surface.
Tactile cues, such as variances in floor textures and temperature changes, give
landmarks for
persons who cannot see and are one of the most important aids for visually impaired
people as
they orient themselves using nonvisual information from their environment. Visually
handicapped persons frequently run their fingertips over various surfaces repeatedly,
perceiving
and comprehending the textural qualities through their repetitive action of touch.
AUDITORY:
Auditory experience is particularly crucial in directing persons with vision and hearing
impairments; they orient themselves using non-information from their environment,
such as
auditory cues. Various materials, textures, and scale sizes echo and absorb sound
differently in
different spaces, providing aural signals for persons with impairments. As a result, it
serves as
an important navigational tool, assisting individuals in navigating from one site to
another.

6.CASE STUDY:
6.1 ED ROBERT’S CAMPUS:
 Architect: Leddy matum staccy
architects
 Location: Berkley, California
 Floor area: 85,000 Sq.ft
6.1.1 INTRODUCTION:
FIGURE 8: EXTERIOR VIEW OF ED
ROBERT’S CAMPUS.
It was the world's first organization
organized by and for disabled people. Following Roberts' death in 1995, the CIL
joined forces
with six other independent living/civil rights organizations to create a highly accessible,
centralized location where the disabled can access services such as vocational training,
education, housing and benefits assistance, and fitness and health support.
6.1.2 PHYSICAL ENVIRONMENT:
DESIGN:
 A helical ramp winds upward to the second floor, permitting easy access and safe
evacuation.
 Accessible elevators, automatic doors, and wide corridors create easy circulation.
 Restrooms accommodate all ability levels and include private rooms for assisted
individuals.
 Specially designed signage and way–finding devices guide people who are blind or
have
low vision.
 Hands–free sensors and timers control lighting, acoustical, and security systems .
 The structure incorporates complex architectural approaches to universal design and
ecologically sustainable development challenges.

FIGURE 9: SITE PLAN OF ED ROBERT’S CAMPUS

CIRCULATION:
When entering the lobby, either from the outside or through the inner elevator or
staircase that leads to the basement parking lot, one can instantly observe the main
helical ramp,
the principal route of circulation in the building. The user has several alternatives for
getting to
the 1 * level from the lobby, including using the elevator, the staircase, or the central
helical
ramp. There are several branching passageways on the ground level that lead to
various
designed spaces. A bright orange helical ramp snakes up to the second level beneath a
big
skylight in the middle of the main entryway. Instead of shoving the ramp off to one side,
the
architect embraced it as a prominent component of the structure and placed it in front
and centre
of the entryway. The helical ramp is hung from cables attached to its inner radius and
features
translucent red resin railing panels, giving it the appearance of floating when viewed
from other
portions of the lobby or central court. The 56-foot-diameter helical ramp in the main
foyer also
functions as an informal interaction place for visitors and those working in the
building. The 56-
foot-diameter helical ramp in the main foyer also functions as an informal interaction
place for
visitors and those working in the building. The ramp is 7 feet wide, allowing two
wheelchair
users to pass by at the same time without blocking each other's passage. The ramp is
built with a
moderate incline and level areas at regular intervals. It is also gentle for individuals who
operate

the manual wheelchair manually as well as the caregiver who pushes the wheelchair.
The ramp
also encloses an area used as an exhibition space by the Ed Roberts campus, which
shows art,
history, and the politics of disability rights. Photographs of the disability movement
shot in
1977 in San Francisco and Washington, DC are displayed on the wall.
FIGURE 10: EXPLODED VIEW
FEATURES:
Elevators on the Ed Roberts campus are double-sided. The elevator features a
front door that opens when you enter and a back door that opens when you exit. This
permits
wheelchair users to enter the elevator straight ahead and exit without turning. If the same
door
opens while entering and exiting the elevator, the wheelchair must be rotated 360
degrees in the
elevator. Thus, with the assistance of double-sided elevators, wheelchair users may
depart

without turning around, decreasing effort and making the process easier. If wheelchair
users are
unable to access the conventional set with their hands, they can hit the control buttons
near the
floor with their feet or using wheelchair footrests in elevators and elevator lobbies.
Non-
disabled persons who are carrying a heavy weight in their arms can also summon the
elevator
by touching the buttons with their foot.Some rooms include work tables that may be
modified to
meet the needs of the users, while others have traditional workstations.
6.1.2 SENSORY ENVIRONMENT:
FIGURE 11: PLAN LAYOUT
VISUAL AND TACTILE:
Signages within the common vision range guarantee that people can see the
signage whether they are in a wheelchair or standing. All of the signage on campus are
in both
written word and braille, as well as pictograms. The braille signages are placed at a
height
where persons with visual impairments may touch them to comprehend the instructions
and
space. Wheelchair users may inadvertently strike the walls with their wheelchairs,
creating
black stains on the walls that are difficult to remove.

On the bottom white walls, a special substance called

Trespa is utilised, which makes wiping black markings
considerably simpler while also preventing wall damage.
AUDITORY:
Decisions on environmental auditory,
involved Few designers created "dueling disabilities,"
which meant that supporting one type of user group may
disrupt another. The firm surfaces preferred by
Figure 12 : office space
wheelchair users may cause acoustic concerns for those with hearing impairments.
There is a
concrete floor in the public areas with the maximum wheelchair F usage, and they have
utilized
a special stretch cloth on the roof of the Centre court to absorb sound. On the bottom
floor,
where there are the most busy places. Concrete flooring is an excellent surface for
wheelchair
users. Carpeting on the first floor corridors, on the other hand, softens ambient
sounds to assist
those with hearing problems. A water fountain is available on the ground floor. It’s
pleasing to
see and hear, and it helps guests with visual impairments find their way around. The
water
fountain serves as a signpost since those with vision problems can quickly detect
sound.
Individuals can provide directions by referring to a location's closeness to the water
fountain,
such as "Organization A is on the right side of the water fountain, and the café is on the
left side
of the water fountain. “It might be a suitable gathering spot for those who have low
eyesight.
5.1.2 ANALYSING WITH 7 PRINCIPLES OF UNIVERSAL DESIGN:
1. EQUITABLE USE:
Designers sometimes tack on the ramp as an afterthought, but in this case, the
architects addressed accessibility and transformed the ramp into the building's focal
point. As a
result, the ramp allows equal access for everybody and responds to the different
requirements of
persons with and without impairments.
2. FLEXIBILITY IN USE
Some offices may include adjustable desks that may be utilized at any height
according to the user's desire.

3. EASY AND INTUITIVE USE

As soon as you come in the door, you know where to go, whether it's to the front
desk
or elsewhere, thanks to practical, easy-to-understand signage and textured floors. For
visually
challenged folks, the textured way finding provides tactile hints. For visually challenged
folks,
the textured way finding provides tactile hints.
4. VISIBLE INFORMATION
All of the signage on campus are in both written word and braille, as well as
pictograms. The fountain at the building's conclusion isn't only for aesthetics; it also
serves as a
reference point for persons with limited eyesight as they navigate the structure.
5. ERROR TOLERANCE
In the event of an emergency, the ramp offers a secure departure for all users in the
event that the elevators fail.
6. LOW PHYSICAL EFFORT:
A generically built structure should not be difficult to navigate and utilize; in
architecture, this takes the shape of automated doors, double-sided elevators, and
mainly flat
surfaces.
7. SIZE AND SPACE FOR APPROACH AND USE:
As the constructed environment does not limit anybody by its size and room, that
implies 7-foot-wide entrances and enough space for turning motions for
wheelchair users to
maneuver also implies that nothing is out of reach for those who require access to
anything; for
example, in elevators, there were buttons where you would ordinarily find them, but also
buttons along the floor if that's more accessible, and you can find this feature
throughout the
building.
5.1.3 INFERENCE
 The major goal of the structure was to provide a completely accessible
environment for a
variety of persons with varying requirements. The use of easily communicative spatial

plan groups of spaces and numerous other aspects of the space had a significant part
in
reaching the intended proposal.
 The places are rather straightforward to browse and comprehend. The building's
circulation is simple and intuitive.
 Wayfinding that is consistent and clear (Graphic, color, auditory) Providing clarity in
visual access to the place (openness transparency). Architectural contrast
(wall/column/floor).
 The environment also contributes to users' confidence and independence in
navigating
inside a space without compromising their safety and comfort.
6.1 HAZELWOOD SCHOOL:
 Architect: Gordon Murray and Alon Dunlop
 Location: Glasgow, Scotland
 Floor area:28,632 sq.ft
6.1.1 INTRODUCTION
Completed in July 2007, the designers approached the project with a ‘research and
development' mindset, setting a high standard for inventive solutions to a complicated
brief, and
created a facility that Hazelwood Head Teacher Monica McGivern called as "a lovely
building
in which to work and study. “As soon as you walk in, you can feel the brightness and
warmth
that the building emanates. “The new schoolis 28,632 square feet [2660 square meters]
in size,
adding a tiny Life Skills House (150 square meters). Hazelwood is designed to be
useful and
easy to manage by everyone, and it can accommodate up to 60 students aged 3 to 18.
The
schoolsnakes across the parkland location, producing graceful arcs around the older
trees that
already present.
PHYSICAL ENVIRONMENT:
The school winds its way around the grounds, making graceful arcs around the
beech and lime trees. The single-story structure creates a sequence of tiny garden
spaces
appropriate for small class groups, enhancing the opportunity for outdoor educational

opportunities. It is important for children to have access to fresh air, to hear the wind
rustling
the trees, and to feel the rain. These sensory experiences are an important part of their
education.an enables them. All The shape creates personal areas both within and
outside the
school. When associating their int body to the surroundings, the youngsters within the
school
understand their place by seeing and smelling the trees. The sensory gardens on the
exterior
encourage children's growth and development by exciting their thoughts. The school's
curving
design means that the structure is divided into manageable sections. By lowering the
extent of
the gaps, the size of these becomes more ideal for navigation and also eliminates any
visual
confusion. The schoolis designed as a number of space groupings for easy
orienting. A three-
bedroomresidential unit known as "life skills home" is located next to the school and
teaches
children fundamental life skills.
Figure 13 plan layout

ACCESS:
The school's vehicular entrance is to the north of the campus, which provides a
more quiet and safe location away from the major road traffic. All students travel to
school by
taxi or minibus. The school's Anival space is designed as a loop system that permits
cars to drop
off in a specified area.
6.1.2INTERNAL ORGANISATION:
The large foyer or assembly hall is the entrance for all users and visitors.
Administration area and gymnasium is divided by the assembly hall. This split allows
the pool
and gym to be utilized after hours while keeping the classroom wing closed/secure.
FUNCTION:
The classrooms are suitable in size and have adequate built-in storage space at the
back of the room. The absence of clutter in classrooms and on walls fosters a
peaceful
environment in which children may develop without being distracted by extraneous
visual
information. Staff and parents can monitor the youngsters without interrupting them in
"Focus
learning rooms. “These "concentration learning rooms" also offer a quiet place when
needed.
The design of the games area, trampoline area, and hydrotherapy poolallows children
to learn,
increase their knowledge, and acquire confidence by participating in
relatively independent
activities. The outdoor play space allows each youngster to play at his or her own pace
to the
greatest extent feasible.
Figure 13 Exterior view

SENSORY ENVIRONMENT
VISUAL AND TACTILE:
The school meanders around the landscape, employing materials (larch and slate
cladding and a zinc roof supported by glulam (structural glued laminated wood)
timber beams)
that allow it to mix visually with the surrounding setting. The larch timber
weatherboarding is
used on the trail wall's exterior. It smells pleasant, has a pronounced grain that is
especially
noticeable when exposed to the outdoors, and has a S softly rippling tactile texture for
navigation by touch. As a result, it stimulates the sense of smell while also providing an
attractive tactile surface. It also absorbs solar radiation and lowers the temperature
inside the
classrooms. The letter F W to contrast with the larch timber weatherboarding, slate
tiles were
hung vertically as cladding. Slate walls delineate exterior areas and have the advantage
of being
a significant heat source on the south elevations, giving another navigation tool for
students.
Figure 14: Interior view

Most teaching spaces are situated along the northern, quiet edge of the site, to reduce
the impact
of traffic noises near the Hazelwood School, providing classrooms away from the
major streets
so that the students are not distracted by the traffic sound and more transient spaces
like toilets.
services and resting areas face south. Slate wall is provided as heat and noise absorbing
material
in the south. Vegetation is provided all across the south façade facing roads to reduce
noise. The
ceilings are acoustically treated to minimize sound reverberatio n.
AUDITORY:
To limit the impact of traffic noises near the Hazelwood School, most teaching
spaces are located at the northern, peaceful border of the campus, offering classrooms
away
from main streets so that pupils are not distracted by traffic sound and more temporary
places
such as restrooms. Services and rest places are oriented south. In the south, a slate wall
is
supplied as a heat and noise absorbent material. To decrease noise, vegetation is
installed all
along the south façade facing the roadways. The ceilings have been acoustically
modified to
reduce sound reverberation.
Figure 15: Aerial view

6.1.3 ANALYSING WITH 7 PRINCIPLES OF UNIVERSAL DESIGN:

1. EQUITABLE USE
Having automated sliding doors with audio at the entry avoids separating and
stigmatizing a certain user group because they function on sensors and may be
utilized by
wheelchair users as well as others who have their hands full or are carrying something.
2. FLEXIBILITY IN USE
Throughout with the sensory cork wall, metal plates are laid along the corridor
floor. The provision of more than options for the user to use based on their preferences
and
flexibility. Along with providing adequate sunshine in the classrooms, they have also
placed
hanging fluorescent light strips, allowing users to employ artificial illumination as
needed.
3.SIMPLE & INTUITIVE USE
The primary circulation path incorporates sensory walls throughout the whole
route, making it simpler for visually impaired pupils to reach their selected classroom.
The
flooring has a matte grey surface that does not reflect light and contrasts with the
wall color.
The flooring is basic and without patterns to reduce confusion and the possibility of
causing a
seizure in someone with epilepsy, making navigating easy and easier for everybody.
4.PERCEPTIBLE INFORMATION
Enough light is supplied in the classroomand circulation route to view facial
expressions and understand lips, so benefiting those with hearing difficulties. To
aid those with
visual and other communicative disabilities, signage throughout the facility is in Braille,
pictograms, and Moon (a system made up of lines, curves, and reduced
letters). Nursery,
primary, and secondary classrooms are color coded with storage walls in orange, red,
and
yellow receptively. The color coding allows for easy communication of important
information
and allows students to quickly recognize their classes.
5.TOLERANCE TO ERROR
Aside from sensory walls, window sills are utilized for trailing. They also
give tolerance for mistake by functioning as a curb that children with vision
impairments can

use to guide canes or the sides of their feet down the path. As a result, the youngsters
are highly
aware of their path, which saves them from falling.
6.LOW PHYSICAL EFFORT
All activities and classes are located on a single floor, which decreases the
effort required to go between floors by ramp or stairway.
7. APPROACHAND USE SPACE AND SIZE
The building's size and area do not limit anybody, which implies 7-foot-wide
corridors and enough space for turning motions for wheelchair users to travel. There is
enough
room in the hallway for individuals to converse using sign language.
All of the school's navigational components, such as the sensory wall, window sills,
and signs,
are located around the schoolat their particular constant height, allowing the students
to readily
discover them.
6.1.4 INFERENCE
 The schoolis a learning platform developed for children to be useable, accessible,
and
simple to grasp.
 The sense of touch is heavily employed in the design of the environment. The
employment of delicate hues, contrast, and adaptive lighting aspects makes the best
use
of children's remaining eyesight.
 The use of tactile clues, contrasting colors and textures, and the creation of clean,
readable indoor and external spaces were all essential considerations in the school's
design.
 The school's design eliminates long dark hallways and maximizes natural light within
the
area by using visual, auditory, and tactile signals, supporting ease of navigation and
orientation across the school.
 The school's design attempts to develop a sense of independence for students by
keeping
in mind their needs and designing each piece accordingly, for children by focusing on
establishing a safe, exciting, and productive environment for kids.

7.CONCLUSION:
7.1 INFERENCE FROM THE TWO CASE STUDIES
 The two case studies demonstrate several approaches to incorporate universal design
concepts into a place, making it inclusive and accessible to all.
 The places are rather straightforward to browse and comprehend.
 The building's circulation is simple and intuitive.
 Wayfinding that is consistent and clear (graphic, colour, and audio)
 Providing clarity in visual access to the place (openness / transparency).
 Architectural contrast (wall/column/floor)
 The space also aids in allowing users with the confidence and independence to
manoeuvre throughout a space without compromising their safety and comfort.
 The design provides a variety of methods to traverse / use things and / or
environments.
 The areas offer a variety of vertical connections (stairs, ramps, and elevators) for
people
to use based on their needs and convenience.
 Creating informal places and so allowing for interactions between various groups.
 This boosts the confidence and safety of people with impairments, who no longer
have to
worry about becoming stuck in a variety of scenarios.
 As everything was planned from the start of the project, the accessible pieces and
spaces
generated are consistent and synergistic with one another.
 As a result, the spaces are straightforward, easy to grasp, and predictable to utilise.
7.4CONCLUSION FROM THE OVERALL RESEARCH
 If universal design solutions are included into both the primary aspects of the
building as
well as its functions and details during the design process, it is feasible to remove all
types of architectural barriers and establish an impartial, accessible, and useable design
for all.
 Thus, universal design principles may be utilised as a design tool and included as
part of
the design idea from the start of the project, thus saving time and money.

 With regard to universal design Planning the complete design of the project concepts
from the start results in a more inclusive space.
 Furthermore, it avoids the stigmatisation that is frequently associated with accessible
elements added at a later stage after the project is completed, as a modification or
retrofitting that at times looks like a stick on to the existing built structure and is also not
coherent with the actual design of the built.
 Inclusive design may be a distinguishing feature of a building and a powerful
statement
of design, preserving the space's visual qualities while also making it accessible, usable,
and inclusive to all.
 Using universal design solutions to incorporate an inclusive approach to architecture
and
interior design may help designers better understand how a building can be utilised by
a
variety of people, offering a new layer of spatial experience for everyone.
 Buildings that are well-designed are not merely a question of taste or aesthetics; they
may
help to create a more fair, inclusive, and cohesive society .
7.5 RECOMMENDATIONS BASED ON THE FINDINGS OF CASE STUDIES
7.5.1 PHYSICAL ENVIRONMENT:
 Staircases, ramps, elevators, and other vertical circulation choices can be offered so
that
users can pick their preferred means of mobility based on their needs and convenience,
which favours crutches, white canes, and wheelchairs.
 The circulation areas should be unobstructed, transparent, readable, and clearly
defined.
 Providing level access for wheelchairs and buggies.
 Installing countertops of varying heights.
 Using automated doors or lever-handled doors.
 Choosing appropriate heights for fixtures and fittings.
 Individuals who use sign language require greater room, referred to as "signing
space," in
order to maintain good visual communication.
 As a result, corridors and other circulation areas should be large enough for them, as
well
as for individuals who use wheelchairs, so that two wheelchairs may pass without
blocking each other's route.

 People with eyesight or hearing problems frequently live in isolation.

 As a result, creating informal social interaction places allows people to engage with
one
another and therefore develop confidence, a sense of community, and a sense of
belonging.
7.5.2 SENSORYENVIRONMENT:
TACTILE:
 Tactile features can be found in floors, walls, and furniture, allowing persons with
vision
impairments to make optimal use of their sense of touch and therefore effortlessly
traverse from one location to the next.
 Differentiation between programmes, spaces, and functions is made possible by
tactile
walls, railings, braille labels, and other material textures.
 To aid Navigation and Circulation, " Landmarks " and " Shorelines "
 Living with one or more sensory deficits necessitates heightened awareness of the
senses
that remain.
 "Landmarks" and "shorelines" can be used to aid navigation and circulation through
a
space when designing spaces for people with vision and hearing impairments.
 A " shoreline " is a continuous strip of material that indicates a path of movement and
may be used by a person with their hand or a walking stick to identify the way of travel.
 A " landmark " might be an entrance, a change in material, texture, colour, or angle
that
indicates a change in direction in a " coastline ".
VISUAL:
1.SIGNAGE:
Individuals with psychosocial difficulties and persons
with vision problems can benefit greatly from signs. Signs
positioned at a height within wheelchair users' and standing
individuals' shared view ranges guarantee that everyone can see
them easily. All signs should be in both written and braille, as
well as using pictograms. People with visual
Figure 16 – Example of signage with braille

impairments can touch the singles with braille to comprehend the directions and space.
Contrast
in colour When colour, texture, and lighting are carefully chosen and incorporated into
the
design of a room, the sensory experience has been demonstrated to be enhanced.
2.COLOUR CONTRAST:
When colour, texture, and lighting are carefully chosen and incorporated into the
design of a space, the sensory experience has been shown to be enhanced. Colours in
the
orange, red, and yellow spectrum are the easiest for visually challenged people to see,
according
to research. Individuals with vision problems might benefit from specific colour
selections for
distinct regions to aid in wayfinding and orienting themselves in settings.Color contrast
may be
utilised for a variety of purposes, including:
 Drawing attention to signage.
 Defining a travel path.
 To establish boundaries.
 Developing good approach to define spaces.
A 70 percent colour contrast is widely
acknowledged in many countries as the optimal
quantity to distinguish features such as:
Figure 17 -Highlighting the difference in surfaces
 A black door frame against a light door
and a light wall.
 A light-coloured floor with a dark perimeter.
 Handrails that contrast with the colour of the
walls.
 Provide a colour-contrasting edging on the
stairwell to aid with stair identification.
Figure 18-Colour contrast warning
Colour contrast and composition can draw
attention to the space's shape while also
emphasising different functions, building elements, and other details.

3.LIGHTING:
Vision is greatly aided by lighting. Daylighting is a critical component for those with
vision impairments since it serves as a guiding tool. Daylighting is also important for
people
with hearing impairments because they can see facial expressions clearly and read lips
easily
with enough daylight, making communication easier. Poor lighting conditions, such as
glare
and shadowpatterns, disrupt visual communication and are key contributors to eye
fatigue,
which can lead to attention loss and exhaustion. Glare can be a serious problem for
people who
suffer from visual impairments. To reduce glare and reflection, one should avoid
glossy or
bright surfaces. To reduce reflected glare,
matte coatings are suggested for walking
surfaces. To emphasise primary forms and
places of interest, a combination of natural
and artificial lighting should be employed.
Eye tiredness can be reduced by using
diffused illumination and regulated
FIGURE 19-lighting in an inclusively designed space
daylighting. Light sources should be
distributed evenly throughout various spaces. Task lighting and general lighting should
be given
according to their functions.
4.AUDITORY:
Sound can aid in the provision of spatial orientation signals. Reflected sound can be
used to
assess the size of a space, the presence of corridors, and the closeness of walls or
other
structural features. People with vision impairments can move more safely in well-
defined
acoustically lively areas. Fountains and sensory gardens can serve as landmarks,
offering
audible signals to aid navigation. Hearing aid users might benefit from a hearing loop
system.
As numerous entry and access points of the structure, auditory signals can be
delivered.
Carpeting and acoustic tiles attenuate ambient noises, making it easier for persons who
have
trouble hearing. It’s worth thinking about including some reverberation so that visitors
can get a
sense of the place.

BIBLIOGRAPHY
1.Devlieger, P., & Dujardin, M. (2021). Book Review:Age-Inclusive Public Space.
Anthropology & Aging, 42(1), 173–176. https://doi.org/10.5195/aa.2021.347
2.Hang, K., Koh, C., & Kroll, J. (2017). by Signature redacted Signature redacted
Signature redacted MIT ~ ibranes. 1–25.
3.NORDISK ARKITEKTURFORSKNING Nordic Journal of Architectural
Research.
(2016). http://arkitekturforskning.net/na/information/authors
4.Persson, H., Åhman, H., Yngling, A. A., & Gulliksen, J. (2015). Universal design,
inclusive design, accessible design, design for all: different concepts—one goal?
On the
concept of accessibility—historical, methodological and philosophical aspects.
Universal Access in the Information Society, 14(4), 505–526.
https://doi.org/10.1007/s10209-014-0358-z
5.Wong, H.-L. (2006). ARCHITECTURE WITHOUT
BARRIERS: Designing Inclusive
Environments Accessible to All.
6.(Devlieger
&
Dujardin,
2021; Hang
et
al.,
2017;
NORDISK
ARKITEKTURFORSKNING Nordic Journal of Architectural Research,
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et al., 2015;Wong, 2006)

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