ACCESSIBILITY OR INCLUSIVITY?
In recent years, the efforts of academics, NGOs, associations, and both print and visual media to integrate individuals with physical and cognitive impairments into social life have begun to yield results. We now see legal regulations on this matter being included in public tenders. These regulations aim to raise public awareness. Naturally, in all design interventions, designers must act with empathy and understand the psychology of individuals living with impairments while developing suitable design solutions.
For instance, a simple joint in the pavement—something we wouldn't even notice while walking through a courtyard—can become a serious issue when we “close our eyes” and imagine having a visual impairment. Normally, we perceive the joint and simply step over it, but when we are aware of it, it becomes an obstacle, possibly causing a twisted ankle.
Human beings respond to environmental stimuli in four general ways:
- Adapting to the stimulus – Memorizing the joint and adjusting the stride accordingly.
- Responding to the stimulus – Making the joint more visible and alerting the user in advance.
- Fighting the stimulus – Reducing the groove width or using a different material to dilate the joint.
- Ignoring the stimulus – Overlooking the discomfort caused and taking no action.
Designs that ensure respect and independence for as many users as possible, that adapt to specific needs without compromising product integrity, that are aesthetically successful, functionally sufficient, informative for users, and sustainable, can only be defined as inclusive.
Accessibility is also a part of inclusivity and is emphasized in globally significant documents. One of these is the UN Convention on the Rights of Persons with Disabilities. The purpose of the convention is to promote, protect, and ensure the full and equal enjoyment of all human rights and fundamental freedoms by all persons with disabilities, and to promote respect for their inherent dignity. Its guiding principles include respect for differences, full and effective participation in society, and enabling children with impairments to develop and preserve their identity (Tutal, O., 2014).
The term “inclusivity,” meaning inclusion or being inclusive, is conceptually distinct from “accessibility.” Design, therefore, must not only be accessible but also inclusive. When a design product—whether spatial configuration or material—is presented for human use, it should be both accessible and inclusive.
Some researchers translate the term “disability” as “impairment”, emphasizing the need to design for individuals with various limitations. The reflection of fair and equitable thinking into space and product requires the gradual elimination of the “others”—those who are not like us (İmamoğlu, V., 2011). In the evolving terminology of disability studies, alongside “physically disabled,” the term “impairment” has found its place.
In universal design principles, accessibility is a core feature. For example, the embossed sections on currency notes designed for the visually impaired also allow people without visual disabilities to operate in dark environments. Similarly, tactile signs and braille on devices with buttons benefit both the visually impaired and those in low-light conditions.
Sandra Manley advocates for designing with the community, not for the community. She emphasizes that individuals with disabilities should be encouraged to become architects, planners, and more—not just passive participants. Manley highlights the need to transform the cultural understanding of impairment (Manley, S., 2011).
In daily life, a countertop designed for fixed use can be made adjustable based on user needs, providing comfort for users of different heights. This, too, is a prime example of inclusive design. Products designed for people with disabilities often benefit those without disabilities as well, improving the overall user experience.
Halime Demirkan emphasizes the need to create environments that provide ease and comfort and states that “separate is not equal.” She defines universal design as “design that offers equal opportunities to everyone as much as possible.” According to Demirkan, universal design means adapting the space to the person—not the person to the space.
A traditional architectural example worth examining is the communal laundry space in Yörük Village, located in Karabük within the Black Sea Region, added to the UNESCO World Heritage List in 1994. The spatial organization is centered around the act of washing clothes. The height of the central washing stone and the width of its sections vary to prevent strain on the spinal systems of women performing the task. This is an early form of inclusive design.
In rental housing, the user may change over time. Therefore, making sanitary elements such as sinks, kitchen counters, and overhead cabinets height-adjustable ensures usability for both people with impairments and those of different body types—another example of inclusive design.
In a project by Assoc. Prof. Dr. A. Selin Mutdoğan, Asst. Prof. Dr. Gülçin Cankız Elibol, and Prof. Dr. Meltem Yılmaz from Hacettepe University’s Interior Architecture Department, the Student Affairs Extension Building was designed with ramps at the entrance, elevators and lifts inside, and accessible restrooms. Notably, one counter was made accessible for people with impairments simply by adjusting the dimensions, without making any visual distinction from the others. The project embraced inclusive design principles aligned with sustainable architecture and supported the institution’s identity while addressing the previously overlooked needs of students with disabilities (Mutdoğan, A.S., et al., 2016).
Inclusivity isn't just about interior design. In public parks, benches of varying heights support inclusivity. When academic awareness leads to practical application and the public begins to demand these inclusive arrangements, designers begin to discover inclusivity in their work—and this leads to a shift toward quality in our built environment.
But is the awareness created and the responsive environment sufficient? Not yet. The journey has only just begun. True inclusivity will be achieved when every individual with an impairment—whether due to age, accident, or illness—can navigate the entire city independently, without needing help.
Inclusive design must be reflected in everything from urban spaces to buildings and even product materials. To transform negative attitudes into positive ones, scientific foundations must first be established, and design education institutions must integrate these topics into their curricula with state support. Fortunately, progress has begun in this direction.
It should not be forgotten: one is always greater than zero. The academic effort to raise awareness among fellow professionals continues. At the “Design for All” workshop held at Anadolu University, Ann Heelan emphasized the importance of changing thoughts and perceptions, listening to people with disabilities, supporting public policy, legal regulations, financial aid, higher education policies—such as Bologna criteria, learning outcomes, and equity.
Let’s consider an example from our immediate environment: university campuses. When an architecture student analyzes the space they live in and realizes that the correct slope of a ramp on a hilly terrain helps not only individuals with visible disabilities but also those with less visible conditions such as breathing difficulties, they begin to adopt an inclusive perspective. Designing pathways with sun and rain protection is another example of inclusivity. It improves comfort for both disabled and non-disabled users alike.
A design must not only meet the technical standards for accessibility but also be inclusive. It should serve users of all age groups—those with and without impairments, the elderly and the young. We must allow everyone to encounter space at all stages of life and process the stimuli from that space as part of their daily experience.
Why is this important? Because people need accessible and inclusive spaces to exercise, socialize, and engage with historical and cultural values. After all, who can say that a person with a disability today won’t become a renowned author, a health expert, a designer, or an athlete in the future?
Today, in the ancient city of Ephesus, the ramps, railings, and handrails leading to the theater serve not only wheelchair users but also elderly individuals, pregnant women, and others with temporary conditions—ensuring safe and comfortable passage for all.
When we consider that such historical landmarks are part of humanity’s heritage, we must also recognize that they offer opportunities for people to encounter the past and imagine the future—through both the built environment and artistic or literary works.
In this sense, impairment is a condition that must be acknowledged, and designs must be accessible within the framework of inclusivity.
Content: Tasarım Group
