Embassy of Inclusive Society at DDW24

How do we turn isolated projects into an ongoing process? What role can designers play in the pursuit of inclusivity? And what can designers learn—and unlearn—to design for everyone and every body? These are the three key questions the Embassy of Inclusive Society will explore during Dutch Design Week 2024 (DDW24).

In fact, DDW24 is an event that can serve as an ideal testing ground for practical applications of inclusivity, says creative lead Shay Raviv. “We see DDW as an opportunity to take the next step,” Shay explains. “In any quest for a more inclusive society, it’s important to recognise that there’s always room for improvement. This requires a vulnerable, open attitude where you acknowledge that there’s a lot you don’t know but are eager to learn. This creates a cyclical process of learning, experimenting, and improving. At DDW24, we will not only showcase best practices but also present challenges and opportunities to foster further growth.”

Side by side, not face to face

At the same time, simple solutions can sometimes lead to big results, the creative lead points out. “An example is using a round table instead of a traditional reception desk at the entrance to Designing Society during DDW24. A traditional desk often creates a sense of distance between people,” Shay explains. “With a round table, visitors can engage in conversation on equal terms and explore the expo layout together. This way, people are no longer literally standing opposite each other, but side by side.”

Embedding inclusivity

Inclusivity, by definition, is not something that can be addressed in a single project, Shay continues. “Inclusivity and diversity require continuous attention and should not be treated as separate projects,” she says. “The challenge is to embed inclusivity into ongoing processes. It’s a way of thinking that affects every project approach, not a standalone initiative vulnerable to discontinuity.”

The common thread: learning and unlearning

During DDW24, a design-led approach is deliberately chosen, integrating experience and knowledge from various perspectives into the process. A key part of this is working with people with lived experience, such as individuals with disabilities from Philadelphia Zorg, who will volunteer this year. All the projects in the expo are created with the people they concern. The projects are highly process-oriented, centring the knowledge and skills of people with lived experience, each in their own way.

This aligns with a broader societal movement recognising experience as valuable expertise. “Learning and unlearning are core concepts in our programme,” Shay explains. “We don’t see inclusivity as a problem to be solved but as an ongoing learning process. Designers have many opportunities to shape this process. The power of lived experience is a crucial input here.”

From target groups to content and context

A significant shift in the approach to inclusivity is moving away from thinking in target groups. Instead, the Embassy of Inclusive Society focuses on addressing relevant questions and the contextual knowledge needed to ensure everyone can participate. “This means it’s not about specifically involving ‘people with disabilities,’ but rather about determining the knowledge and skills required for a particular question and who should be involved. It’s about finding the right people for the right questions,” says Shay.

Designing for every body: inclusivity in dance

An interesting example of this approach is a design research collaboration between graphic designers and the inclusive dance company Misiconi. Misiconi works with dancers both with and without disabilities and seeks ways to map their method and learning process. Designers from Studio ST-Duo developed various tools to support the dancers, making the conversation less verbal and more visual. “This is a beautiful example of how a design-led approach can contribute to the dancers’ learning process,” Shay says. “It shows how design tools can be applied in a context where communication is often non-verbal.”

Moving away from a visual society

Another important focus this year is aligning with a more multi-sensory approach. “We live in a visual society,” Shay notes. “Part of truly making a programme inclusive is also developing multi-sensory processes. This means not only designing for the visual aspect but also considering touch, sound, and smell.” During the conference at DDW24, the Embassy will also address the question of how to present content through various forms and channels. “This way, it becomes accessible, understandable, and hopefully experienced in the best possible way across different senses.”