Embassy conference: Designing with different people

At the beginning of the conference, Séverine Kas stated, “In order to integrate accessibility more deeply into design, vulnerability is needed.” She shared her personal story: “Everyone carries a bit of vulnerability within them. I always wanted to become an architect, but when I graduated, I learned that I was gradually losing both my hearing and sight. As an architect, I was focused on observing my surroundings, yet I hesitated to use my white cane openly. How could a designer be visually impaired? Back then, I rarely showed my vulnerability, but now I can. Living accessibility requires courage; it’s more than a handbook or a folder. It stems from humanity and the diversity of bodies.”

In line with this message, Shay Raviv, creative lead of the Embassy, delivered an emotional introduction in Natlab’s Podium Hall. She spoke about her personal motivation for leading the Embassy and the challenges she faced over the past year. “Creative leadership can be a struggle,” she admitted. “But through the collaborations we’ve built over the past three years, I’ve regained my energy. This event has a focus, a vitality I hope you all feel,” she said. Her speech, like all the others, was accompanied by a sign language interpreter and live transcription displayed on a screen.

The opening was followed by a performance by Lindsay Thusijanthi Sinniah, a Deaf performer who collaborated with spoken word artist Jen Knuchel. Together, they created a piece that combined two layers of expression. During the performance, Lindsay’s words were heard, using vivid metaphors to describe feelings of isolation and connection.

Ronald Ligtenberg: Creative accessibility

Ronald Ligtenberg, founder of the Possibilize foundation, shared his vision of “creative accessibility.” Through projects like the Sencity music festival, which allows both Deaf and hearing audiences to experience music through light effects, vibrating floors, and dance performances, Ligtenberg strives to break isolation and offer equal cultural experiences.

“People often say you should focus on what you can do,” said Ronald. “But I think we also need to acknowledge what you can’t do. That’s valid too; it’s real.” He cited an example of a museum that installed an expensive wheelchair lift, which was rarely used. Instead of such impractical solutions, he suggested designing functional, inclusive art pieces that everyone can engage with. “Inclusivity can become a design choice that serves all visitors,” he argued.

Accessibility in public spaces

Jasper Goossensen, design lead, and Fenne Roefs, director of Mijksenaar, a “wayfinding” consultancy, spoke about improving accessibility in public spaces. As with all speakers, they introduced themselves with descriptions of their appearances to aid accessibility. Jasper described himself as “a man in his early thirties, over two meters tall, wearing jeans and a brown sweater,” while Fenne said, “I’m about 1.70 metres tall, wearing black trousers, black shoes, a blue t-shirt, a jacket, and glasses.”

Using examples from hospitals and airports, they explained how clear signage and visual communication can improve navigation for everyone, including people with visual or cognitive impairments. “Our goal is to make journeys as smooth and enjoyable as possible for all,” said Fenne. “We prioritise clear colours and high contrast to enhance visibility,” she added.

“In wayfinding, the goal is to help everyone, regardless of background or disability, orient themselves and understand how the space works,” Jasper elaborated. They also emphasised the role of sensory design, using audio to complement visual and tactile elements.

Jasper highlighted the importance of involving lived experience experts in the design process. “Designing with different people helps us identify barriers we wouldn’t notice on our own. This collaboration leads to solutions that genuinely meet user needs,” he explained.

Public quiet places

Aline Gerards and Hedwich Hooghiemstra showcased examples of public quiet spaces, demonstrating how to design environments that offer respite from sensory overload. Inspired by discussions with care home residents, these spaces are designed to provide an escape from the noise and stress of daily life.

The quiet rooms incorporate sensory elements like sound, scent, and tactile materials, tailored to various settings—from natural areas with bird songs and wind sounds to office spaces offering solitude without workplace distractions. “Engaging all the senses in design holds great potential,” Aline said.

Digital toolbox for inclusive culture

After a break for reflection, attendees were invited to try a unique adjustable necklace that indicated their mood—a concept inspired by a project presented at the EoiS expo earlier this year. This tool visually communicated whether someone was open to interaction or preferred solitude.

Designers Amy Goris (Greenberry) and Julian van Deursen (Zeewaardig) discussed their work on the Knowledge Hub for Accessible Culture. They are developing a Digital Toolbox to help cultural organisations improve accessibility. Still in the prototype stage, the toolbox offers resources and guidance for creating inclusive policies. “Combining designers’ expertise with lived-experience knowledge leads to innovative solutions,” said Julian.

Attendees were invited to give feedback on the toolbox through interactive polls and prototype stations outside the main hall.

Closing reflections

Moderator Séverine Kas concluded the conference by emphasising the importance of collaboration and shared learning. “The cultural sector often leads the way in adopting multi-sensory approaches. Hopefully, we can inspire other sectors to follow suit,” she said.

Shay Raviv closed by highlighting the necessity of transparency and shared responsibility when designing for inclusion. “Designing for inclusivity means making choices that may never be perfect for everyone. Can we be open about these choices and let compassion guide us?” she asked. Encouraging participants to apply these insights in their own work, Shay framed the conference as a step toward a more inclusive society.