Berkeley Talks transcript: Bess Williamson on the history of disability and design

Erick Mikiten, an architect and universal design expert, transformed a Berkeley home for a wheelchair user by integrating an inconspicuous elevator. Mikiten, who uses a wheelchair himself due to osteogenesis imperfecta, emphasizes that universal design should not compromise aesthetic appeal. His new firm, The Art of Access, aims to advocate for radical levels of universal design, demonstrating that accessibility and artistic design are compatible. The project in Berkeley involved Fran and her husband, Chris, who faced the decision of selling their century-old Craftsman-inspired home or undergoing extensive remodeling to accommodate Fran’s multiple sclerosis. They chose to remodel, and Mikiten’s approach differed from other architects by holistically integrating accessibility into the overall design. Before the remodel, Fran had difficulty leaving her 3,000-square-foot home due to 22 stairs at the entrance and multiple internal flights. Mikiten's solution involved tunneling back into the hillside from the garage and bringing the house's facade forward. This created a stack that allowed for an elevator shaft connecting all four levels. Instead of a simple elevator shaft, he incorporated it into a larger addition, creating nooks on the upper floors and an improved exterior entry experience with a new arbor. The nooks on the third and fourth floors made these rooms more interesting, and bookshelves around the elevator walls disguised blank spaces, making the design feel more intentional. Additionally, a laundry space was converted into an in-law unit for a future caregiver or their college-aged son, and the primary bathroom was rearranged without moving walls to be wheelchair-friendly. Mikiten highlights that universal design should consider diverse needs, not just specific disabilities. He argues that often, perceived trade-offs in design occur because accessibility is treated as an afterthought rather than an integral part of the initial design process. He believes that building spaces that cater to a single condition limits future freedom, advocating for flexible designs that accommodate changes over time. The architect acknowledges that adding an elevator can be expensive, but much of universal design can be achieved through thoughtful planning and smart choices that don't necessarily increase costs. This includes decisions like allocating extra space for a bathroom or selecting appropriate fixtures and smart home features. He points out that the architectural profession often views ADA compliance as an add-on, whereas he sees it as a minimum standard from which to build greater accessibility and inclusion. The article also discusses the growing demand for "aging-in-place" driven by the Baby Boomer generation, coupled with soaring housing costs and the rise of multigenerational living and Accessory Dwelling Units (ADUs). Mikiten observes a shift in mindset, with more people planning for future accessibility needs proactively, rather than reactively in times of crisis. This proactive approach, he notes, provides flexibility for homeowners to accommodate aging parents or adult children, and even to downsize into ADUs themselves, alleviating housing pressures across generations. He also sees an increasing expectation for inclusion among younger generations, particularly in tech workplaces, which suggests a broader shift towards a more universally designed built environment for everyone, throughout their lives. #universalDesign #agingInPlace #accessibleDesign #homeRenovation #architecturalInnovation #disabilityAdvocacy #multigenerationalHousing #residentialArchitecture #berkeleyHome

The housing needs of individuals with disabilities in the U.S. are significantly underserved, with less than 6% of housing being accessible despite 26% of the population having a disability. This discrepancy highlights a critical housing crisis, prompting the development and adoption of disability-forward housing solutions. Such housing is characterized by being inclusive, accessible, and affordable, demonstrating a pathway to a more equitable future in urban development. Central to this solution are the Inclusive Design Standards (IDS), a set of design recommendations co-developed by The Kelsey, Mikiten Architecture, and the Inclusive Design Council. These standards encompass every stage of a housing project, from initial pre-design to long-term operations. The IDS are designed to be cross-disability, focusing on a broad spectrum of access needs, including mobility, height, and cognitive accessibility, rather than specific diagnoses. A key feature of these recommendations is their cost-effectiveness, especially when integrated early in the design process, with many solutions being low or no-cost. The IDS go beyond the minimum requirements set by the Americans with Disabilities Act (ADA), which primarily addresses mobility and sensory disabilities. Inclusive Design aims to create environments that are usable by a diverse population with varied needs, abilities, and backgrounds. An illustrative example is thoughtful wayfinding systems that incorporate words, numbers, Braille, colors, and pictograms, catering to a wide range of users. By considering human differences such as age, physical ability, chronic health conditions, and cognitive capacity, Inclusive Design removes unnecessary barriers and enhances the experience for all residents, not just those with specific disabilities. Cities are pivotal in advancing affordable, accessible, and inclusive housing. Several cities nationwide are proactively incorporating IDS or other disability-forward criteria into their Requests for Proposals (RFPs) and Notices of Funding Availability (NOFAs), and are creating incentives for Inclusive Design. By embedding these standards into funding criteria, cities empower developers to be more competitive and to construct housing that better serves all members of the community. Specific examples of urban initiatives include San Antonio, Texas, which has developed Multi-Family Universal Design Standards with input from The Kelsey and a committee of individuals with disabilities. These standards cover site design, building components, and dwelling units. Teton County and Jackson, Wyoming, are integrating elements from the Inclusive Design Standards into their existing Livability Standards to enhance new construction and rehabilitation projects. Washington, D.C., offered maximum points in its 2023 Qualified Allocation Plan (QAP) for projects achieving Silver, Gold, or Platinum Inclusive Design Standards certification, and provided additional points for projects exceeding accessible unit requirements. Similarly, the City of San Jose, California, offered extra points in its 2023 NOFA for affordable housing projects that committed to increasing accessible units beyond the building code minimum and conducting Inclusive Design Workshops with people with disabilities. Beyond city-level interventions, designers, architects, developers, and builders should consider several values to promote inclusive housing. These include consulting people with disabilities during the design phase and involving them in leadership roles to ensure genuine accessibility. It is also crucial to recognize that disability intersects with other communities affected by the housing crisis, amplifying challenges related to affordability and accessibility, especially for marginalized identities such as race, gender, socioeconomic status, and age. Maintaining forward momentum, even through small steps, is critical as every effort contributes to more accessible housing. Cities have a profound opportunity to transform lives by investing in partnerships with disability-focused housing organizations and leading the charge in creating fairer, more resilient, and inclusive communities for everyone. #DisabilityForwardDesign #InclusiveHousing #AccessibleDesign #UrbanPlanning #AffordableHousing #CommunityDevelopment #HousingPolicy #UniversalDesign #CityInitiatives

The quality of life in cities significantly impacts human lifespan, with differences potentially spanning two decades, according to the WHO. The World Health Organization's 2001 International Qualifications Framework for Health (ICF) highlights that most individuals will experience some form of temporary disability due to factors like illness, age, or pregnancy. This perspective reframes disability not as a minority issue, but as a universal human experience. This shift underscores the importance of inclusive urbanism, barrier-free design, and universal access, moving beyond basic 'accessibility' discussions to widespread implementation, particularly in the US, Canada, and Europe. This article explores the progression of inclusive design, its philosophical underpinnings, and its current status in Ukraine. In the United States, the Americans with Disabilities Act (ADA) Standards for Accessible Design, established in 1991, marked a significant legal framework. While violations persist, the American legal system effectively enforces these standards through litigation. This has solidified inclusive design as a civil rights concept, a result of hard-won battles against initial resistance from state and corporate entities. Pioneering figures like industrial designer Patricia Moore faced resistance in advocating for design solutions that accommodated diverse needs, illustrating the historical struggle. An early example of adaptive architecture is Frank Lloyd Wright's Laurent House (1952), designed for a wheelchair-bound World War II veteran. Wright incorporated features like gentle ramps, wide doorways, and ergonomically placed fixtures, demonstrating that adaptive design can coexist with aesthetic appeal. Today, the Laurent House serves as a museum, a testament to this principle. While private, adapted mansions are now common, the urban environment required a more widespread fight. Activist Ed Roberts, partially paralyzed by polio, spearheaded the movement for accessible urban environments. His persistence led to the conversion of a university ward for his accommodation and, subsequently, the formation of the 'Rolling Quads' – a group that used radical methods, including smashing curbs, to advocate for accessibility. This activism, alongside broader civil reforms of the 1960s and 70s, culminated in the signing of the ADA in 1990. Ronald Mace, an architect and industrial designer also affected by polio, was another pivotal figure. He developed the first US building accessibility code in 1973 and coined the term 'universal design.' This concept goes beyond minimum accessibility, aiming for aesthetically pleasing and comfortable environments usable by everyone, regardless of age, ability, or status. Mace formulated seven principles of universal design: equitable use, flexibility in use, simple and intuitive use, perceptible information, tolerance for error, low physical effort, and appropriate size and space for approach and use. These principles were applied in the reconstruction of the World Trade Center site, including the 9/11 Memorial, where subtle slopes replaced stairs, and monument details were made visible to individuals of varying heights and mobilities. The Ed Roberts Campus in Berkeley, a world model for accessibility, exemplifies universal design principles, featuring acoustic landmarks, high-contrast decor, textured floors, remote-controlled elevators, and a spiral ramp. The building also prioritizes natural materials and advanced air filtration for those with environmental sensitivities. Terms like 'universal design' (US), 'inclusive design' (UK, Central Europe), and 'design for all' (Nordic countries) are largely synonymous, reflecting a global movement towards accommodating diverse needs in infrastructure and public spaces. 'Design to the Edges' is a more recent term that emphasizes designing for extreme user parameters to achieve versatility. Originating from a mid-20th century US Air Force study that found only a small percentage of pilots fit 'average' anthropometric data, this approach advocates for adjustable designs that cater to the broadest possible range of users. This principle leads to innovations like adjustable car seats and multifunctional urban elements. In contrast, Ukraine's progress in inclusive design lags despite ratifying the UN Convention on the Rights of Persons with Disabilities in 2009. Accessibility is often addressed reactively and inadequately. Examples include the delayed adaptation of parliamentary premises for a wheelchair-bound MP and instances of poor hospital design. Ukrainian cities grapple with fundamental issues like pedestrian mobility, with traffic light timings often prioritizing vehicular flow over pedestrian needs, particularly for those with reduced mobility. The lingering effects of Soviet-era neglect have fostered a 'learned helplessness' among many disabled individuals, who remain largely confined to their homes. However, individual initiatives, such as landscape designer Yuliya Polyanska's inclusive flowerbed project, offer glimpses of progress and advocate for sensory gardens. The challenges include lack of funding, absence of governmental programs, and vandalism. The broader implication of these struggles is that true inclusiveness is not about an accumulation of ramps but a fundamental rethinking of environmental design. In the digital age, inclusivity extends to corporate practices and UX design, benefiting a wide range of users beyond those with disabilities. Despite some famous architects still failing to implement inclusive designs, the pursuit of universal design continues. Ultimately, inclusive design represents a new elegance for cities, reflecting a humane and thoughtful approach to urban planning that offers comfort and dignity to all, often in subtle and harmonious ways. #inclusiveDesign #universalDesign #urbanism #accessibility #disabilityRights #barrierFree #architecture #urbanPlanning #socialEquality

The restaurant industry, particularly in New York City, is characterized by its ephemeral nature, with establishments frequently closing or changing ownership. This rapid turnover poses a significant challenge regarding the longevity of interior design and the fate of materials used in these spaces. Dr. Carol Bentel, a partner at Bentel & Bentel Architects and Chair of the BFA Interior Design Department at the School of Visual Arts, addressed this issue at Design Talks 2019, a series of lectures hosted by Design Pavilion NYC as part of NYCxDESIGN events. Bentel highlighted that restaurant designs, on average, have a lifespan of only seven years. She illustrated this point with a personal anecdote involving Eleven Madison Park, a restaurant her firm originally designed in 1998 for restaurateur Danny Meyer. When the restaurant underwent a gut renovation by its new owners in 2017, they hosted a 'graffiti party' where walls were covered in paint before demolition, signaling the end of the original design. This event prompted Bentel to investigate the fate of designs created by her firm. Her research revealed that out of 58 restaurant projects her firm had designed, only 41 still existed, meaning nearly one-third had been dismantled or significantly altered. This led her to question what happens to the materials meticulously selected for these projects. Bentel cited further examples, such as the walnut flooring in the Rouge Tomate restaurant and the marble slabs and bronze columns in the Grand Hyatt New York lobby, both of which faced or are facing demolition, underscoring the impermanence of modern design. In response to this widespread issue of disposable design, Bentel proposed several solutions for creative reuse and more sustainable design practices. These suggestions included employing dismantling techniques that preserve materials, utilizing reusable surfaces for walls, floors, and ceilings, adopting panelized systems, specifying enduring materials that resist obsolescence, rethinking prefab construction, and designing with future obsolescence in mind to facilitate reuse rather than destruction. Bentel also issued a broader call to action for the design industry. She advocated for a greater appreciation for the durability of good design, the establishment of awards for initiatives focused on preserving existing structures and materials, and the development of programs akin to City Harvest. City Harvest, founded in 1982, collects unused food from restaurants and distributes it to those in need, diverting waste and addressing social issues simultaneously. Bentel suggested a similar model could be applied to design materials. While acknowledging that the trend of disposable design is unlikely to cease entirely, Bentel expressed optimism that its destructive and wasteful impacts could be mitigated. She concluded by emphasizing three core principles for designers and clients: resisting ephemeral fads, embracing authenticity in design, and striving for timelessness in their creations. By adhering to these principles, the design community can contribute to a more sustainable and less wasteful future. #DisposableDesign #SustainableDesign #RestaurantDesign #DesignLongevity #MaterialReuse #NYCxDESIGN #DesignTalks #InteriorDesignTrends #DesignWaste

Brooke Williams, a senior at the University of Colorado Boulder, shares her journey from initially pursuing Architectural Engineering to finding her true passion in Environmental Design. Hailing from Santa Cruz, California, Brooke initially chose CU Boulder for its engineering program, drawn by her proficiency in math. However, after two years in engineering, she discovered the Environmental Design program through a friend and quickly realized it offered the design-focused education she craved, which was lacking in her engineering curriculum. She describes the competitive environment of engineering versus the supportive community she found in ENVD, highlighting the unique faculty-student relationships where professors encourage students to address them by their first names. Brooke's academic path includes a transformative study abroad experience in Rome during her junior year, where she immersed herself in a challenging 3000-level studio. This six-week summer program was pivotal, pushing her out of her comfort zone and providing intense, enriching learning opportunities. She emphasizes the value of travel for inspiration and personal growth, having also explored Germany and Venice during her time abroad. Within her major, Brooke appreciates the wide breadth of study in Environmental Design, which encourages understanding the entire human-built environment, encompassing architecture, landscape architecture, and urban planning. She believes this comprehensive approach provides her with a unique edge in the field. Beyond academics, Brooke actively participates in campus clubs such as the Illumination Engineering Society (IES), Design Build Institute of America (DBIA), and American Institute of Architecture Students (AIAS), aligning her extracurriculars with her passions. She recounts a particularly gratifying experience as a Teaching Assistant, where she inspired students during an impromptu lecture on the importance of model-making. Brooke also shares her involvement as the team captain for a DBIA competition, leading a multidisciplinary team to a third-place finish. This experience, which involved responding to an RFQ, creating design concepts, and managing construction schedules, solidified her desire to one day own her own firm and be involved in all aspects of projects. Her summer internship at Fuse, an architecture firm in her hometown, was a significant turning point. Initially, she secured the internship by cold-emailing the firm and was tasked with basic duties. However, due to unforeseen circumstances, she quickly stepped into more significant roles, including drafting renderings for clients and developing a schematic design for a cake shop that is now being built. This hands-on experience confirmed her passion for architecture and provided early exposure to the construction process. She plans to return to Fuse to see the cake shop project through to completion. Brooke's future aspirations include becoming an architectural intern, incorporating lighting design into her work, and eventually earning her architecture license to open a small residential firm, ideally in San Francisco or Santa Cruz. Her advice to underclassmen is to seek out as much work experience as possible to clarify career goals and to fully utilize university resources, separating the theoretical learning of school from the practical, budget-driven realities of the professional world. #EnvironmentalDesign #ArchitectureStudent #StudyAbroad #CareerJourney #DesignInternship #StudentLeadership #ArchitecturalEngineering #UniversityOfColoradoBoulder #LightingDesign

This article explores the evolving field of residential design that specifically caters to individuals with complex human needs, including physical disabilities, cognitive impairments, and neurodevelopmental conditions. It highlights the importance of an empathic approach in architecture, moving beyond basic physical accessibility to create spaces that minimize challenges, promote well-being, and enable occupants. The author, Anthony Clarke, examines four distinct residential projects that exemplify this lens of care, showcasing how deep sensitivity to client needs can lead to profound and often unexpected design outcomes. The first case study, Gilby House in Hobart, Tasmania, illustrates how a home originally designed by an architect with a spinal injury in the 1970s has been continually adapted to support its residents, who now include the architect's parents, both living with progressive mobility issues. Despite its initial multi-levelled plan and steep site appearing incongruous with 'aging in place' principles, recent renovations, co-designed by the family, have made significant impacts. A key adjustment involved repositioning the main bedroom closer to the kitchen, enabling Meg and Paul, who use motorized wheelchairs, to maintain connection and inclusion within the household. This design choice, initially challenging conventional architectural instincts, proved crucial in empowering the residents and allowing them to remain at home, reflecting a philosophy that values personal agency and meaning over strictly eliminating all risks. Peakaboo House in Brisbane, by Alcorn Middleton, serves as another compelling example. This renovation and addition was designed for a multigenerational family, with the client's father, Robert, diagnosed with dementia during construction. The design features carefully planned 'breezeways' that delineate new from old spaces and communal from private areas, originally intended to encourage airflow. Unexpectedly, these thoroughfares have become a significant asset for Robert, providing a safe and enjoyable circuit for his daily repetitive routines. This adaptive use of space allows him a sense of autonomy and agency, demonstrating how architectural elements can foster positive emotional engagement and sustained meaning for individuals living with dementia, aligning with concepts from Oliver James's *Contented Dementia*. Mitchell Street House in Brisbane, designed by James Russell Architect, focuses on supporting a family with a son living with autism who required extensive in-home therapy. The renovation of this Queenslander property, completed in 2013, incorporated a two-layer movement system. External carers could access therapy areas directly without disturbing the family's private spaces, maintaining a critical sense of privacy and connectedness for the residents. The architect's personal experience with autism informed the design, ensuring the home was not 'entirely dedicated to care' but rather enabled a secure yet integrated living environment, highlighting the importance of balancing therapeutic needs with a family's desire for normal home life. The final project, House for Taylor, designed by BLOXAS, is currently under construction and is being developed in collaboration with a young woman living with Myalgic Encephalomyelitis/Chronic Fatigue Syndrome (ME/CFS). This design prioritizes flexibility and future adaptability, acknowledging the inherent uncertainty of ME/CFS. The focus is on Taylor's movement and energy consumption, aiming to create a functional, purposeful, and delightful environment that supports her unique needs, particularly given her limited mobility and connection to the external world. This project, along with the others, underscores the value of vulnerability from both client and architect, leading to a reflexive design process that addresses complex concepts like agency and ableism and results in significant advantages for the occupants. The article concludes by referencing neurologist Oliver Sacks, emphasizing the importance of centering the 'suffering, afflicted, fighting, human subject' in design to create truly meaningful spaces. #ResidentialArchitecture #InclusiveDesign #DisabilityAccess #Neurodivergence #EmpathicDesign #AgingInPlace #DementiaCare #AutismFriendlyDesign #AdaptiveHousing

Accessible or universal design often conjures images of institutional public spaces, a perception that can overshadow its potential for residential applications. However, at its core, accessibility is about creating environments that cater to the diverse needs of all individuals who inhabit or visit a space. When viewed from this perspective, universal design transforms into a solvable design challenge, capable of producing beautiful, creative, and uplifting homes. This article highlights nine distinct residences, encompassing both renovated properties and newly constructed homes, that exemplify and champion accessible design principles. One featured home is a 1952 midcentury ranch, transformed to be wheelchair-accessible after a motorcycle accident prompted Derek and LeAnne Lavender to seek suitable housing. Their experience underscored the prevalence of inaccessible design features in many homes, such as sunken living rooms and upstairs bedrooms, leading them to select a property with renovation potential. Another example is a family guesthouse designed by architect Neal Schwartz. This project aimed to accommodate an aging relative and a wheelchair user within a 775-square-foot limit imposed by local zoning. The solution involved a single-level structure connected to the main house via a breezeway, incorporating a sculptural roof opening for natural light and ventilation. Karen Braitmayer, an architect specializing in universal access and ADA compliance and a wheelchair user herself, revamped her 1954 Seattle home. Although its original single-level, open layout was beneficial, the family's evolving accessibility needs, particularly those of her daughter, also a wheelchair user, necessitated updates. The renovation integrated the main living area, dining space, and Braitmayer’s workspace, with interiors by Lucy Johnson and windows/doors from Lindal and Marvin, respectively. A family of five with two wheelchair-using daughters collaborated with Kuklinski + Rappe Architects in Chicago to design an accessible home with a long-term vision. Their focus on the family’s lifestyle and health over time led to a non-traditional layout centered around courtyards, including a shared courtyard accessible from the children's bedrooms. TJ Hill and Jay Heiserman opted to replace their cramped bungalow with an accessible and affordable prefab home from Connect Homes. Architects Jared Levy and Gordon Stott designed a 16-foot-wide house, utilizing the remaining space for a large deck, thereby creating a flexible and seamless first-floor plan that prioritized universal design and affordability. Ed Slattery sought to create a sustainable and accessible home that avoided a clinical feel after one of his sons became a wheelchair user due to an accident. The design incorporated universal features such as drop-down kitchen counters, a cooktop from Freedom Lift Systems, and smooth, barrier-free polished concrete floors, balanced with warm wood materials for a homely ambiance. Frank Lloyd Wright's Kenneth and Phyllis Laurent House, completed in 1952, stands as his only handicap-accessible building. Designed for Ken Laurent, who was paralyzed from the waist down, the Usonian home featured innovative accessible designs for its time, including flush thresholds and ground-level floors for easy indoor-outdoor transitions. Wright also designed much of the built-in furniture. In New York City, David Carmel, paralyzed from the waist down after a diving accident, worked with Della Valle Bernheimer to create an apartment that is both beautiful and accessible, featuring a lightweight sliding wall to separate the bedroom and living area. Finally, a loft-cum-farmhouse in Sebastopol, California, designed for a family from Manhattan, needed to be open, rustic, and accommodate a son who uses a power wheelchair. The home features wide, generously sized spaces, from the front door to an open central living area, facilitating ease of movement and communal living. #AccessibleDesign #UniversalDesign #HomeRenovation #WheelchairAccessible #InclusiveDesign #ModernHomes #Architecture #PrefabHomes #AgingInPlace

This article explores the application of inclusive design principles in transforming five derelict 19th-century barns in West Dorset into holiday homes specifically catering to guests with diverse accessibility needs. The project, undertaken by Clementine Blakemore Architects, highlights a unique approach to accessibility, moving beyond mere compliance with building regulations to create universally welcoming spaces. Unlike typical projects bound by Part M compliance, this historical retrofit, situated within an Area of Outstanding Natural Beauty and part of the Dorset Hideaways collection, presented a challenge due to the absence of specific regulatory mandates for accessibility. The client's primary objective was to maximize inclusivity for a broad spectrum of accessibility requirements, necessitating a more nuanced and judgment-based design process. At the core of the design philosophy was the integration of accessibility features in a way that rendered them almost imperceptible. The architect aimed to eliminate any visual distinctions or separate provisions that might compartmentalize guests based on their accessibility needs. This meant ensuring that all routes, parking, and features were universally accessible without explicit 'accessible design' signposting. Initial research involved a three-month study of similar holiday properties in the Southwest, many of which were charity-operated and often conveyed an institutional aesthetic. This research underscored the importance of creating spaces that felt genuinely inclusive and appealing to all families, regardless of whether they had a member with accessibility needs. While there is an abundance of guidance on inclusive design, the architect found it overwhelming and ultimately reverted to the Part 3 Approved Documents for clarity. The project initially targeted Part M Category 3 for wheelchair user dwellings, but this standard, primarily designed for new builds, proved unviable for a retrofit project given the constraints of the existing structures, budget, and business model. For instance, Category 3 kitchens required larger dimensions than could be accommodated while maintaining the independent lettability of the five cottages. To address this, the architect collaborated with an access consultant and consulted local wheelchair users. This engagement informed practical solutions, such as providing kitchens with height-adjustable 'rise and fall' worktops that allow wheelchair access underneath. Although these kitchens did not meet regulatory stipulations for overall counter length or storage, they were deemed suitable for short-term holiday lets. Other accessible features included visual contrasts, switches at accessible heights, and vibrating fire alarms for guests with hearing impairments. Bedrooms were equipped with height-adjustable and profiling beds featuring bespoke timber surrounds. A strategic decision was made to include a hoist in one bedroom, with the option to retrofit another, ensuring that the hoist mechanism was discreetly integrated by recessing the track into existing timber beams and making the motor detachable. Bathrooms largely achieved compliance, with a conscious effort to minimize visual clutter. The architect sourced attractive sinks with integrated handrails and noted the emergence of new products in higher-end inclusive design projects that help avoid an institutional appearance. Externally, the landscape was designed with gently sloping pathways, eliminating the need for visible wheelchair ramps or handrails. The fundamental challenge throughout the project was making continuous judgment calls on the level of accessibility to provide, given the lack of strict obligations. The overarching goal was to preserve the cottages' character and create elegant interior spaces that seamlessly integrated accessibility, avoiding any segregation of users. The client, Nick Read, expressed satisfaction with the outcome, affirming that the project successfully delivered beautiful and peaceful accommodations that surpass expectations for guests with accessibility requirements, who are often underserved by existing options. #InclusiveDesign #AccessibleDesign #HistoricRetrofit #HolidayHomes #ArchitecturalDesign #ClementineBlakemoreArchitects #WraxallYard #PartMCompliance #UniversalDesign #ArchitecturalInnovation

World-renowned interior designer Thom Filicia, known for his work with celebrity clients and brands, and his appearances on popular TV shows, shares his insights on the crucial role designers can play in the mattress industry. Filicia, who heads the influential New York design firm Thom Filicia Inc., advocates for a stronger partnership between designers and mattress manufacturers, highlighting the mutual benefits such collaborations can bring. He notes that the bedding industry, with its continuous influx of new companies and diverse mattress types, often presents a confusing landscape for consumers. Designers, as trusted authorities on home and lifestyle, can bridge this information gap, offering clarity on various mattress attributes like look, feel, price point, and thickness. This guidance empowers consumers, whether homeowners, architects, or hotel brands, to make informed decisions without the exhaustive process of individual research and in-store testing, ultimately boosting their confidence in purchases. Filicia emphasizes that a strong relationship between designers and manufacturers is mutually advantageous. For his design firm, having a curated selection of preferred mattresses would streamline the design process and enhance client satisfaction. He recounts instances where the absence of designer involvement in mattress selection led to client dissatisfaction or overlooked purchases, underscoring the necessity for integrated product recommendations. He envisions a scenario where his firm could confidently recommend specific mattresses, detailing their comfort, health benefits, and sustainability, backed by a reliable manufacturer relationship that ensures product quality and easy exchanges if needed. This type of collaboration would simplify the purchasing journey for clients and solidify the designer's role as a comprehensive resource for home furnishings. Beyond client-facing benefits, Filicia believes that designers can significantly amplify a manufacturer's market presence. Designers often share information and expertise within their community, acting as enthusiastic advocates for products they trust. Their deep understanding of product details, often beyond what the average consumer knows, allows them to articulate a product's value proposition effectively. Filicia views the bedding world as an "untapped moment" for such collaborations, suggesting that designers can contribute to a product's stronger presence both in sales and within the design community. He expresses a desire to be part of the product story, from manufacturing processes to material benefits, ergonomics, and sizing, ensuring that he can genuinely believe in and promote the items. When asked about potential improvements to mattresses, Filicia advocates for greater clarity and user-friendliness, acknowledging that mattresses are a significant part of one's life. He suggests simplifying the understanding of different mattress sizes and thicknesses, as many consumers do not grasp the reasons behind these variations. He also proposes designing mattresses to be aesthetically pleasing even when uncovered, complementing the interior decor. For his hypothetical mattress line, a key must-have would be a balance of competitive pricing, sustainability, health, and wellness, making the purchasing process as straightforward as ordering lunch. His design philosophy for bedrooms centers on creating a personalized oasis that reflects the resident's lifestyle, whether it's a primary or secondary residence, and accommodates various functions from work to relaxation. The pandemic has further solidified the bedroom's role as a multifunctional space, adapting to needs like recuperation, family connection, work, and entertainment. He defines the modern bedroom as a reflection of personal style and adaptability, moving beyond a simple set of sheets to become a bespoke environment that is inspiring, comfortable, stylish, cool, and warm—embodying all the best attributes one would associate with a trusted friend and a fulfilling life experience. #BeddingDesignTrends #InteriorDesign #ThomFilicia #MattressIndustry #BedroomDesign #HomeDecor #LuxuryBedding #DesignerCollaboration #ConsumerConfidence

A recent event at Story in Chelsea brought together design enthusiasts and industry leaders to discuss the evolving landscape of design. The conversation featured Story's founder, Rachel Shechtman, renowned interior decorator and product designer Nate Berkus, and Target's director of home product design, Greg Van Bellinger. Story, known for its dynamic retail concept that refreshes its decor, layout, and product offerings every few months, provided a fitting backdrop for the discussion. This season's theme, "Home for the Holidays," was sponsored by Target and showcased designs from collaborators like Berkus and Toms, all within a rustic-chic aesthetic. The discussion delved into various aspects of design, ranging from personal inspirations to the future of the industry in the digital age. Nate Berkus shared an anecdote about a tortoiseshell, a memento from his mother's vacation, which later inspired a faux version he developed for Target. This highlighted the personal and often unexpected origins of design ideas. The panel also explored the profound impact of digital technology on the design process and consumer engagement. Berkus pointed out that in an era of constant social media sharing, liking, and uploading, designers now have unprecedented visibility into the "full life cycle of a product." This allows them to track a product from its initial design stages through its use by a customer, even if that customer is thousands of miles away and sharing their experience on platforms like Instagram. Conversely, consumers, by following their favorite designers on social media, become more intimately involved with and informed about the design process itself, fostering a deeper connection and understanding. Greg Van Bellinger added that the increasing integration of innovative web and tech design across nearly every industry has elevated the importance of design. He posited that "design is finally getting a seat at the table," indicating a growing recognition of its strategic value and influence. Furthermore, Van Bellinger observed a shift in consumer expectations: people are increasingly interested in the "story behind their products." This includes understanding the inspiration, the techniques employed, the genesis of the product, and its underlying purpose. This demand for transparency and narrative is compelling the industry towards more conscious, purposeful, and globally-minded design practices. The collaborative efforts and perspectives shared by Berkus, Shechtman, and Van Bellinger suggest they are well-aligned with these emerging trends in the design world. #NateBerkus #Target #Story #DesignTalk #HomeDecor #ProductDesign #RetailInnovation #DigitalDesign #HomeForTheHolidays

Interior Design magazine hosted its first ArtbyDesign talk at its new office in PENN1, Manhattan, featuring artist Rebecca Moses and editor-in-chief Cindy Allen. The event, held in collaboration with Garden on the Wall, aimed to provide a platform for emerging designers to network and gain insights from established creatives. Cindy Allen introduced Rebecca Moses, highlighting her significant impact on people's lives through her work. Moses began the discussion by recounting her early ambition to become a fashion designer, which she pursued by graduating from FIT and subsequently working with Pierre Cardin. She emphasized the importance of embracing risks, illustrating this by sharing her experience of moving from New York to Paris to launch her own collection. Moses advocated for confronting fear, asserting that failure can lead to discovery and fuel career progression. Her career path led her to Italy, where she continued to evolve professionally and personally. Moses discussed her fascination with the manufacturing process, stressing that understanding how things are made fuels creative energy. This principle became particularly significant during challenging periods in her life. Following the death of her husband, Giacomo Festa Bianchet, Moses transitioned from fashion design to art, creating illustrations for various magazines. The onset of the COVID-19 pandemic prompted another significant shift in her work. She engaged with communities through social media, offering portrait drawings in exchange for personal insights into people's lives at home. This initiative culminated in “The Stay Home Sisters,” a project dedicated to honoring the contributions of women who worked as nurses during the pandemic. The talk also served as an opportunity for Moses to offer guidance to the young designers in attendance. She encouraged them to tap into their innate creativity and personal resources, advising them to utilize their "mystery inside." The event underscored the value of adaptability, resilience, and continuous creative exploration in the design industry. It provided a platform for networking and inspiration, fostering a sense of community among designers, and offering practical advice on navigating career transitions and challenges. The inaugural ArtbyDesign talk set a precedent for future events aimed at supporting and guiding the next generation of design professionals. #ArtbyDesign #RebeccaMoses #CindyAllen #InteriorDesign #PENN1 #FashionDesign #ArtisticJourney #CreativeProcess #DesignTalk