Bringing Joy to Inclusive Design: A Conversation with Caroline Andrew 

“As designers, our work extends beyond a tick-box exercise; we need to take a holistic approach, shaping spaces that champion diversity rather than simply accommodating it.” they say. Accessibility shouldn’t be an afterthought but an integral part of the design process, influencing how a space is navigated and enjoyed. 

For Caroline, inclusive design is a thoughtful blend of function, beauty, and ultimately, joy. “That’s what it’s all about—joy! It’s the joy of a student being able to explore every aspect of theatre, regardless of physical limitations. It’s the joy of shared experiences where everyone feels equally welcome, like they truly belong. These are things many take for granted, but when done right, they can spark joy.” 

Innovation through Inclusion  

When asked about the challenges of designing accessible spaces, Caroline emphasises that they don’t see accessibility as a constraint but as an opportunity to create richer, more immersive experiences. 

“Often, accessibility is framed as a problem to be solved,” they explain. “But in reality, it’s about elevating design. When you create a space that truly considers everyone, you’re designing something more beautiful, more dynamic, and more human.” 

This philosophy is at the heart of their latest passion project: a new monthly feature in ESTA’s Protocol magazine, dedicated to accessibility in design. Through conversations with industry leaders, Caroline’s goal is to spotlight those actively shaping more inclusive environments-not just in theory, but in practice-by curating content that has the power to engage and educate.

There’s magic in the detail 

Caroline’s innovative approach shines through their work on historic buildings. “Working with old buildings presents unique challenges, especially when balancing preservation with modern accessibility,” they say. “It’s about enhancing a space rather than diminishing its character.” 

“It’s not the building itself that’s inaccessible- it’s the design and the approach taken to it’s interior,” they explain. “That’s the social model of disability: society and it’s design that has made me unable to fully participate, not a set of stairs or my illness. Our designs should be human centric. A historical inaccessible building can always change and keep its heritage and historical charm. When you reframe your approach and think creatively about how to marry accessibility with heritage, you realise it’s about being open to new ideas and new priorities.” 

One example they share is the reimagining of catwalks in theatres, which are traditionally too narrow for wheelchair access and required too much twisting and crouching for technicians with bad backs and shoulders.

“And it’s fairly straightforward. While major changes like widening catwalks are visually apparent, many smaller design choices also have a profound impact on user experience.”

At Charcoalblue, we’re fortunate to collaborate with visionary architects who approach these challenges with fresh perspectives.“It’s all in the detail,” Caroline says, while referencing architect Chris Downey, who is a blind, and his focus on tactile design and the importance of sensory elements. Through his work he highlights how even a simple feature- like the texture and shape of a handrail- can transform the experience of moving through a space. “Chris was talking about this handrail he designed for the LightHouse Headquarters in San Francisco, and it was so inspiring to hear about work being done at that level of care and detail. It’s a great example of every design element being an experience in itself.” 

Another key aspect is the ‘eyeline’ when entering a building. “The first thing someone sees when they enter a space should be welcoming, not disorienting,” Caroline says. “If you’re in a wheelchair, your visual perspective is different; if you’re partially sighted, contrast and lighting matter. Thoughtful entrances create an immediate sense of inclusivity and warmth, ensuring that everyone shares the same emotional connection to a space, even if they perceive it differently.”

Debunking Myths About Accessible Design   

One of the biggest misconceptions about accessibility is that it’s prohibitively expensive. Caroline challenges this notion, emphasising that integrating accessibility from the start is not only cost-effective but also beneficial in the long run. 

“Accessible design doesn’t have to break the bank,” they say. “In fact, it often saves money when considered early in the process. A space that works for everyone reduces the need for costly retrofits later.” 

They also highlight the real human cost of cutting accessibility features. “When budgets get tight, accessibility features are often the first to go. But what does that actually mean? Removing a lift to the catwalk isn’t just a cost-saving measure- it’s removing a student’s opportunity to fully participate in theatre. That student could have been an amazing production manager or lighting designer, but we removed their chance to learn. There’s a real human impact to these decisions.” 

The future is bright   

Fortunately, the industry is shifting toward more human-centered design, with a growing demand for sensory and inclusive spaces. Charcoalblue is proud to be a leading voice in this effort, embedding accessibility into projects from the outset. 

Looking ahead, Caroline is tentatively optimistic about the future of inclusive design. “The more we talk about it, the more we raise awareness, and the more we advocate for inclusivity in design, the more it becomes the norm,” they say. “We need to keep accessibility on the forefront of everyone’s minds.” 

“That’s why I’m proud to work for a company that not only supports accessibility but truly understands it. Across the entire team, we ask the right questions: How can we make this an equitable experience for everyone? What features can we integrate? These discussions happen early in every project.” 

They’re also excited about the opportunity to educate others through Protocol. “By sharing these stories, I hope to challenge misconceptions and inspire better practices. We still have a long way to go, but I’m encouraged by projects that genuinely commit to inclusive design. I am so excited about some of our in progress projects that champion accessibility and flexibility, I wish I could show them off to the world! For now, people will have to wait and see.”  

Caroline’s work-both through Protocol and their design practice-reinforces that accessibility is not just a requirement; it’s an opportunity. And with advocates like them leading the conversation, the future of inclusive design looks brighter than ever.