The Kelpies are 30 metre-high horse-head sculptures in a new parkland area near Falkirk, Scotland. The project connects 16 communities in the council area and the Clyde Canal. The sculptures attract many visitors to The Helix site and the whole project was designed with access and inclusion in mind. This is apparent in the Access Statement for the Kelpies – a good guide for all visitors.
The Access Statementfor The Helix and the Kelpie sculptures uses and plain language and lots of photos. The photos show key places such as car parking, the visitor centre, playground, café and toilets. Visitors can hire manual wheelchairs and dog bowls are provided for assistance dogs.
The Access Statement is not an overarching policy document. It is a visitor guide that includes information about the level of access visitors can expect. One of the best examples of visitor access information – makes it good for everyone.
The video below provides more information about The Kelpies, the largest public artworks in Scotland. It explains the story behind the sculptures and their construction.
Are ableist views preventing the tourism and recreation sectors from being accessible and inclusive? This is a question arising from a scoping review of policies, practices and infrastructure related to nature-based settings. The review found many barriers were related to operator or designer assumptions about the value of the experience for people with different disabilities. And “accessible nature” is yet to be expressed in the form of access standards.
Assumptions about value such as “this place is about the view, so why would blind people be interested?” is rarely explicitly expressed. Rather, it is embedded in systems and processes that place barriers, albeit inadvertently, to accessibility for all. But other barriers exist such as threats to conservation values that say, a footpath could impose. Consequently, ways to minimise the negative impacts on both social and ecological aspects should be found when introducing built structures.
A more worrying view is that it is not safe for people with disability to experience certain landscapes. This perpetuates organisational notions that people with disability need extra care or special settings. Or that people with disability can’t or don’t experience nature in the same way as non-disabled people.
From the conclusions
In the conclusions, the authors lament, “Perhaps more troublingly, there are indications that such gaps are intertwined in cultures within the tourism and recreation sector that perpetuate ablest views of what should be considered a genuine and laudable way to experience nature.”
The authors conclude there is a pressing need for specific standards for nature-based tourism and recreation spaces. People developing such standards should ensure they are not underpinned by current ableist views.
The health and wellbeing factors of nature contact are well established. So, it’s important for everyone to have easy access to the experiences nature offers.
The health and well-being benefits of nature contact are well known, but inequitably distributed across society. Focusing on the access needs of persons with a disability, the purpose of this study was to systematically examine research on the accessibility of nature-based tourism and recreation spaces outside of urban/community settings.
Following a scoping review methodology, this study sought to examine policies, services, physical infrastructures, and regulatory standards intended to enable equitable use of nature-based settings by individuals of all ages and abilities, particularly persons with a disability.
In total, 41 relevant studies were identified and analyzed. Findings indicate that there are considerable gaps in the provision of services and information that enable self-determination in the use and enjoyment of nature, and that accessibility in nature-based settings is conceptualized through three interrelated policy/design pathways: the adaptation pathway, the accommodation pathway, and the universal design pathway.
As a whole, accessibility policy and standards research specific to natural settings outside of urban/community settings is highly limited.
Management implications There are growing calls to promote inclusive nature experiences in tourism and recreation spaces outside of community settings. Management of such spaces must reconcile equity concerns with a host of other priorities like environmental conservation.
In the case of promoting universal accessibility, few studies offer insight into the detailed standards that must be met to create barrier-free access, let alone how to integrate such standards with other management priorities.
Transdisciplinary research partnerships that involve management personnel, environmental and public health researchers, and persons with a disability are needed to identify effective management synergies.
Audio describing a painting to a person who is blind requires a special skill. It takes more than talking about shape, colour and content. It also requires an interpretation of the message the artist wishes to convey. But what if the painting has tactile outlines, borders and Braille scripts? Braille and tactile paintings became the mission of Chintamani Hasabnis.
Chintamani Hasabnis creates paintings accessible to people who are blind. This was after watching a young woman crossing the street with a white cane. He thought, “I paint so many pictures but I can’t show any of them to her.”
An article on the News Hook website tells how Hasabnis worked towards creating his paintings. He said it took a while before he realised he had to make something people could touch. A visit to a school for blind children gave him the answer – paintings with Braille and tactile elements. Pune International Airport in India was one of the first places to display one of his paintings.
Hasabnis has completed 30 paintings, mostly portraits, and of course, sighted people can also share the tactile joy of these paintings.
The video below, with captions, shows some of the paintings and how the Braille is incorporated into the picture.
This is not the first example of Braille painting. The Guy Cobb painting below is on the Wikimedia site is from 2010.
Lookout towers are usually built with steps, so how can you make them accessible? The answer is of course a ramp, but not just any ramp. The Stovner Tower in Oslo shows how you can create a beautiful walkway with universal design. It curves and loops for 260 metres until it reaches 15 metres above ground. This provides excellent views of the city and landscape beyond. Located on the forest edge it is a destination for everyone to enjoy.
The project is described in detail with several images on the DOGA website. The key part of the design was the co-design process and community consultations. This was essential for gaining community support at the beginning of the project.
The path is wide enough for two prams or wheelchairs to pass each other. The slightly inward sloping railing gives an additional sense of safety. Lighting at night makes it attractive as well as safe and accessible both day and night.
The tower has become a popular destination for both locals and visitors. It’s used for weddings, meditation, exercise, celebrations and encourages people to experience nature.
This project is an example of collaboration between local government, landscape architects and contractors. Universal design drove both the design process and design outcomes. It won a landscape architecture award for universal design in 2020. There’s a video showing it with snow and lighting on the visitor website.
Norway has universal design written into their planning and zoning codes. Other articles on Norway are:
Cities People Love website has an article about prioritising children over cars. Designing streets to actively encourage play is a growing trend in Europe. The concept, known as ‘Woonerf’ was originally implemented in the Netherlands and Belgium. It aims to equally balance the needs of drivers with those of pedestrians, cyclists and children at play.
Signage, low speed limits and traffic calming bumps and bends are part of the solution. Temporary street closures are another strategy to encourage play. It’s a collective responsibility to ensure the safety of children playing.
Natalia Krysiak’s article is titled, Cities for Play: Designing streets that prioritise children over cars. In one example, she describes the design of the Hackney Play Street which has rocks, logs and a cubby house. The picture below clearly shows the seating, a log and tree plantings following the route of the footpath.
Krysiak says we should start questioning why the convenience of drivers is prioritised over the health and wellbeing of children in street design. After all, placing children’s play at the heart of neighbourhood design benefits everyone.
The art of audio describing has improved considerably since it was first trialled some sixteen or so years ago. Australian produced television programs signal when a program is audio described with a distinct sound. And more movies and stage shows are offering this option. Audio describing (AD) is designed for people with vision impairment, but could sighted people benefit too?
A group of researchers looked at two questions – the quality of the AD, and the additional benefit to people who are sighted. Currently, the AD process sits outside the creative process. It’s added later in a similar way to captions and subtitles. However, lack of integration can cause misunderstandings about the plot and the characters.
The research group carried out an experiment with people with vision impairment and sighted people. A short film was shown with enhanced sound effects. For example, bed spring sounds for someone sitting on a bed. Their article explains in more detail and applies the seven principles of universal design to their method.
In conclusion, the study showed that sound design – that is, non-verbal cues – can replace verbal cues in some films. The enhanced audio description was accepted by both vision impaired and sighted audiences. One sighted participant said that because the AD was integrated into the film it didn’t feel like they were listening to AD.
It’s universal design!
The article shows the potential for everyone to have an enhanced experience at the cinema and in their lounge rooms. It indicates a strong case for considering AD in the creative process and not leaving it as an afterthought. Integration of AD into the design process is another example of universal design.
Audio Description (AD) is a third person commentary added to film and television productions to make them accessible for visually impaired audiences. Traditionally, AD is added to productions after they have been completed, meaning that the creative and accessibility teams do not work together to produce the accessible version of the production.
This paper explores an alternative to traditional AD, called Enhanced Audio Description (EAD), whose methods are integrated to filmmaking workflows. EAD moves away from a focus on verbal descriptions and instead focuses on sound design strategies. In EAD the traditional third person commentary is replaced by the combination of three techniques.
The first is the addition of sound effects to provide information on actions, convey abstract scenes as well as indicate time, place, and the presence of characters. The second is the use of binaural audio (3D audio over headphones) to convey the position of characters and objects portrayed on the screen. Finally, first-person narration is used to portray feelings, gestures, colours as well as certain actions.
The application of EAD methods results in a form of accessibility that can cater for both visually impaired and sighted audiences, championing inclusive cinematic experiences. Focus groups with audiences of visually impaired and sighted people demonstrated the potential of the format to be widely enjoyed, and to be offered alongside traditional Audio Description (AD) in order to provide accessible experiences which cater for different aesthetic preferences.
Museums and exhibitions help us understand the world we live in and give context to our lives. Making the content of museums available to everyone is an important part of the work of exhibition designers.
The project identified clear guidelines as a necessary factor in a universal approach to exhibition design. The key factor is encouraging designers to be creative and experimental with their designs. Making designers feel like they obliged to follow what they consider stifling requirements is counterproductive. It’s also about co-design and a dialogue between users, the institution and the design team.
The article is from the proceedings of the UDHEIT 2018 conference held in Dublin, Ireland, an open access publication.
Some good advice from a Masters dissertation on how to create inclusive Historic House stories and exhibits. The emphasis is on overcoming the practice of relating the dominant white male narrative. The dissertation discusses issues of diversity of ethnicity, socio-economic status and belief systems.
Seeking stories of forgotten or overlooked people who occupied the house is one way to address the prevailing white male narrative. Gaston advises:
Integrating universal design was a priority in the redesigning of the Gateway Arch Museumin St Louis. A gently sloping plaza, architecturally integrated ramps, and engaging exhibitions. An article in the St Louis online news gives a good run-down of the features.
The universal design concepts allow people to interact with exhibits rather than just look at them. The touchable exhibits are a great success, and there are other enhancements for people with disability. The arch and the park are now easier to access by foot or bike as well. The Archinet website features a brief overview by the architects, and pictures of the museum. The timelapse video of the construction is interesting because of the landscaping of the parkland around it.
Sensory gardens are usually associated with people who are blind or partially sighted. But this strategy is not inclusive – everyone should be able to enjoy the experience. Gardens that are fragrant, colourful, create sounds, are nice to touch, and good to taste are for everyone. Together with accessible amenities, sensory gardens can be inclusive rather than segregated.
COVID has raised the importance of trees and gardens for the health and wellbeing of city-dwellers. Astudy in Poland assessed sensory gardens in the context of urban forests. Trees in urban settings: street trees home garden trees, and trees in parks make an urban forest. The aim of the study was to show that sensory gardens are just one element of urban forests that everyone can enjoy.
The study assessed fifteen gardens and one sensory path. The sense of smell was given priority, but other amenities were lacking in these gardens. The authors concluded that a universal design approach would make these gardens more inclusive.
Play is often associated with children, but play is for everyone. We know that grandparents take their grandchildren to playspaces to spend time with them. But older adults use playspaces too – that is, if they include the right design elements.
The Auckland Design Manual has a new resource – Designing Play Spaces for Older Adults. The nicely designed 10 page document has great pictures of older people enjoying themselves. The concept of universal design is translated into the adult playspace context:
Safety
Be Active
Connect Me
Take Notice
Give
There is a new concept, “take notice”, which means being present, aware and mindful, all of which have mental health benefits. Parks are also places where people can volunteer so that brings in the concept of “give”.
Auckland City Council’s research found that fear of being a victim of crime and fear of falling prevent park use by older adults. Consequently, recommendations for safety include:
Ensure the environment is well maintained and well lit
Provide accessible parking, toilets and drinking fountains close to the play area
Ensure paths, handrails, seating and signage follow universal design guidelines. Seating should have back and arm rests.
Position the play space so it is visible from surrounding buildings and well connected with short direct paths that are not steep
Allowance for a food truck or coffee cart to facilitate activity and increase passive surveillance
Consideration for pandemic safety with wide paths and sanitiser stations.
COVID has shown us how important gardens are to everyday life. Whether it’s a home garden or a park garden, they are good for our wellbeing. But not all botanical and park gardens are accessible to all. Applying the principles of universal design in gardens in the planning process is a good way to go.
The American Society of Landscape Architects (ASLA) has a guide to applying the principles universal design in gardens. Including people with disability in the planning process is, of course, essential. Gardens can be beneficial to people with disability especially if there is good visual and tactile information.
The ASLA Guide lists some design aspects to consider:
Choose a seasonal plant palette that emphasises seasonal change
Circular or figure-eight paths, which are good for people with dementia who are likely to wander
Frequent, flexible seating with arm and back rests throughout the garden. Seating that is light enough to be moved encourages social engagement.
An obvious inclusion is to limit the level changes, but where they are necessary they should be well signed with multi-sensory wayfinding.
Toilets are a must and should be located within easy line of sight, not hidden. Clear signage throughout the garden is also a must.
Secluded areas are also helpful, not just for people with autism or other cognitive conditions, but for private contemplation.
There’s more detail on the ASLA websiteon this topic with some useful case studies.
Community and botanical gardens are a place of relaxation and enjoyment. They provide an opportunity to experience nature. There are many physical and mental health benefits to experience nature. Applying universal design principles in the planning a design process allows many more people to enjoy the benefits of a public garden.