The Directorate for Cultural Heritage is now publishing a new guide for universal design of cultural heritage sites.
- Universal design is good for everyone, says Audun Skeidsvoll, Assistant National Historian.
- Cultural heritage should be for everyone, which is why we have created a new guide to make it easier to adapt protected buildings and facilities.
The guide is intended to help owners and authorities, and has been prepared in collaboration with, among others, Statsbygg, Funksjonshemmedes fellesorganisasjon, Fortidsminneforeningen, Kulturdirektoratet and Akershus County Council. The guide is accompanied by inspirational examples that show how it is possible to achieve universal design in listed or protected buildings.
See good examples of universal design of cultural heritage sites here.
- "Universal design and accessibility of cultural heritage and cultural environments have a lot to say for society - universal design is about independence in everyday life for everyone," says Skeidsvoll.
- Universal design is about both meeting specific needs and creating solutions that are good for everyone.
At the same time, in listed buildings it is not always possible to satisfy all the requirements for universal design under the Planning and Building Act and technical regulations. A solution that is perceived as good in one place may have unfortunate consequences elsewhere.
- That's why it's important to collaborate with several parties and tailor the design to the facility in question," says Skeidsvoll. "We have good examples of universal design all over the country, but we need more, because the need is real.
For example, the listed buildings Edvard Munch videregåande in Oslo, NBMU, Haugesund Public Library, Sortland Town Hall, Kongsvoll Fjellstue and the vessel Hestmanden have achieved good solutions.
Good advice on process
The guide provides advice that can contribute to a good process for planning measures.
- With a thorough and inclusive process with relevant parties, it will in most cases be possible to achieve good solutions that both improve accessibility and preserve the cultural-historical values.
The process is about setting goals, mapping both the cultural asset and the need for adaptation, and making the expectations and wishes of both owners and users clear, so that the needs can be assessed in reality.
- "As a cultural heritage authority, we have a responsibility to place particular emphasis on measures that are of significant importance to society. This applies very much to universal design," says Skeidsvoll.
It is necessary to consider measures for, among other things, impaired mobility, hearing or impaired vision and orientation.
Examples of adaptation include step-free access, lifts and ramps, contrasts in colors and materials, or induction loops that can improve the sound quality of conversations. Furthermore, strategic lighting can clarify visual communication, such as important signage. Information should be available both in writing and visually, and fire alarm systems should be both visible and audible to everyone.
