Techniques for designing inclusive buildings using the example of theater architecture

Sokolova Alina ORCID: 0009-0005-6989-2160 Postgraduate student, Department of Architecture of Public Buildings, Moscow Architectural Institute (State Academy) 107031, Russia, Moscow, Rozhdestvenka str., 11/4, building 1, p. 4 a.sokolova@markhi.ru

Introduction.

The integration of people with limited mobility into public and cultural and social life, as of today, is still one of the priority tasks in which theater and theatrical practices can play one of the main roles, and the environment and architecture surrounding people directly affect their condition. The active reorientation of multidirectional buildings, including theater institutions, towards well-being and inclusivity in recent years has made it possible to increase the number of positive experiences, not only for viewers, but also for theater workers, as well as open access to participation in cultural events for more users. The concept of social theater, which translates the principles of inclusivity and focus on working with groups with increased needs, can have an impact on various aspects of society, and helps them to receive new information about the problems and stories of other people.

The role of such practices has been actively studied and discussed for decades by Western philosophers, sociologists and political scientists working on research in the field of disability ^[4], and various theaters and theater troupes, consisting of or consisting entirely of people with different types of disabilities, are actively working around the world: projects such as the Nedoslov Theater, the #Zazhivoe theater laboratory, the Krug II studio theater operating in the territory of the Russian Federation, or the Graeae Theatre in the UK, the Austrian Back to Back Theatre troupe, the Different Light Theatre Company in New Zealand, the Swiss HORA Theatre team ^[8], etc. However, as practice shows, many companies do not have their own work spaces that would take into account the needs of their participants, and, as a rule, conduct their classes and performances either in rented premises not intended for theatrical events, or rent spaces in existing theaters. This often leads to actors and other employees having to adjust to the constraints that architecture can create for them, which significantly worsens comfort and creates an additional level of stress and spatial and psychological barriers that have to be overcome.

Studying the characteristics of different groups of people shows very clearly that such architectural techniques and methods should be developed that can be taken into account when designing inclusive spaces of different orientations. To solve the tasks correctly, it is necessary to carefully observe and analyze the physical and psychological behavior of a person in a particular environment. Important parameters such as the convenience of staying and moving around the building, sensory comfort and the right "healthy" atmosphere in architecture can help reduce anxiety and stress, increase positive feelings, gain new experiences, as well as significantly reduce the level of segregation of certain groups of people and make the space more attractive for visiting a diverse audience.

Similar concepts such as "Healing Architecture" have proven themselves very well in the architecture of medical institutions ^[14], however, this does not mean at all that they cannot be applied to buildings of a different orientation, such as various cultural, social and cultural entertainment institutions. Considering the use of various practices using theatrical activities as one of the forms of art therapeutic methods of working with people of different groups, including those with increased needs, with mental or physical characteristics, spaces that take into account the various characteristics of people visiting them are becoming more and more in demand in the modern world. All these points require additional study and analysis, and work on inclusive theater spaces should include an integrated approach that takes into account the study and analysis of the characteristics of different groups of visitors, as well as taking into account concepts such as "Healing Architecture", which can positively affect modern theater.

Healing architecture and its connection with inclusive cultural and entertainment institutions.

The healing architectural environment is one of the important components for a person in the city. The organization of such a space that would have a restorative and positive effect on a person is extremely important, especially today. Such a concept as "Healing Architecture" was originally used to organize various healthcare buildings (hospitals, rehabilitation centers, etc.), however, in recent years, the methods and techniques used there have been actively involved in the development and creation of building projects of other directions, including cultural and entertainment. Various studies conducted in this area clearly prove that various factors controlled by architects in the design process have a very strong impact on the quality of life of people who will be in this environment, their overall satisfaction, emotions and performance, and the physical environment of architectural objects is a very important factor that can influence their safety, stress levels and general well-being ^[9].

In their study of the same name "Healing Architecture" ^[10], devoted to the consideration of the main methods of implementing these techniques in projects, Menatalla Ghazali, Dima Badohon, Naela Alyamani and Sarah Alnumani consider both individual elements of the building and architecture on an urban scale, as well as biophilic design strategies, incorporating "green" natural elements into the structure of the created environment. Considering the individual techniques that can be applied in the design of theaters, we can highlight:

The interaction between light and color. Research proves the importance of natural lighting in a building. An increased number of windows, stained glass windows and other sources of natural insolation (light lanterns, glass roofs, light atriums, etc.) have a positive effect on the human condition. Places that cannot receive a sufficient level of natural insolation are illuminated with artificial light, which also allows users to remain active and cheerful, and the use of color and its interaction with light can directly affect the mood and general condition of visitors. In the case of cultural and entertainment institutions, light and color can be used in different situations. This can be one of the ways to organize navigation for people, where travel routes and rooms are separated from each other by light or color contrast (this method is especially practical for people with hearing problems, where a person can navigate in space by contrasting inscriptions, or by sight, when a person can only see blurred light and color spots). Certain contrasting colors and light intensity can have a positive and relaxing effect on people with mental problems (for example, when organizing rooms for working with children with autism spectrum disorders, certain colors are used, and for people with Alzheimer's, contrasting separation of floors, walls, doors, stairs, etc., becomes extremely important for orientation in space). Also, natural light can be used on stage, as the main or additional source of lighting, which can be very convenient for small chamber halls.

Circulation (movement and interaction inside the building) and organization of space:

1. Common areas and movement. Routes should be simple and clear, especially in large buildings. Confusing paths should be avoided, as this can lead to loss of time, stress and discomfort when moving around the building. Common recreation areas can be organized at the intersections of the paths, which will make the stay of visitors more comfortable and enhance the healing effect of architecture.

2. Clear paths – a hierarchy of paths. The paths should be clearly divided into public, semi-public and private and almost do not intersect. Well-designed routes should be effective and used for specific purposes, which will reduce the time spent on the transition from one point to another, as well as help ensure a comfortable stay for visitors, staff and special users of the building, and avoid places with excessive crowds.

3. The transition between external and internal. The connection with the outdoor space (nature and greenery) is one of the important factors of the healing environment. Organizing the transition between them becomes an important task, and can provide additional comfort. Semi-closed transitions with shading can reduce the level of negative feelings when there is a sharp change in the intensity and spectrum of light, as well as climate differences.

4. Zoning and location of premises. Based on their functions, the rooms are grouped and located in certain places. It is better to place similar functions close to each other, with identical architectural techniques, which facilitates the overall orientation.

Such solutions in the organization of space are also important for inclusive theaters, which include not only visitors with a particular type of disability, but also those working with people with limited mobility (actors, directors, costumers, set designers, etc.). Ease of movement around the building, the use of various structural elements such as ramps, special elevators, rooms with a special purpose (storage of outdoor wheelchairs, sensory recreation rooms, etc.), separation of different flows of people (some visitors or participants of theater troupes need more intimate places to work and, as a result, paths separated from the general flows of visitors), as well as the creation of routes based on the principle of "short distances" (simplifying movement for people with musculoskeletal problems, and who cannot stay in an upright position for a long time), creates a comfortable environment for different groups of people.

Building systems and forms. Taking into account natural insolation, manipulating it with the help of various surfaces, eliminating unnecessary glare, etc., as well as controlling ventilation and heat inflow (climate control systems, etc., or using natural ventilation), create a favorable internal environment. Working with shapes and parts of a building can provide greater functionality of the interior environment. Techniques for organizing passive systems that use natural processes to improve the condition of visitors are more often used. Such solutions in inclusive theaters are becoming important, for example, for troupes that include people of older age groups or people with spinal cord injuries, since they may find it difficult to control their body temperature, especially during active rehearsals, and people with autism spectrum disorders may negatively tolerate a sharp change in climate.

Building enclosing structures. The shell of the building should take into account the connection with the external environment with the help of various elements, such as various light openings (windows, lanterns, etc.), their orientation and location, the depth of the room, to ensure the influx of light, and in places with an excess of sunlight, it is necessary to organize such facade elements that would prevent them from entering the rooms (facade blinds, special ledges, shelves, etc.). The roof design must take into account the needs and functionality of the building. Materials must be non-toxic, having a positive effect on humans by their properties (thermal conductivity, transparency/opacity, noise reduction, texture and color).

Separately, we can highlight the effect of healing architecture on a city scale. The general appearance of the building, its connection with the urban environment, as well as the outdoor areas provided by it, have a positive impact on the urban environment. In his article "Healing Architecture" ^[12] B. Lawson sees the Sydney Opera House as a great example of the overall integrity of the building and its integration into the urban landscape. The snow-white sails fit perfectly into the surrounding harbor, creating an attractive place of attraction for the public. However, the interior of the building did not correspond at all to the concept of healing architecture. Many rooms had terrible acoustics, some functional features made work much more difficult for opera staff, and accessibility problems discriminated against low-mobility visitors. All these nuances had to be leveled after the completion of construction, during the operation of the building, as well as during the reconstruction of 2015-2022.

Similar problems, in particular, regarding the inclusion of inclusive practices and the possibility of access to them for people with increased needs, are typical for other theaters, especially historical ones. In an attempt to balance the preservation of the historical appearance of the building and its compliance with modern requirements, it is not always possible to achieve a result that would satisfy the needs of all groups of visitors. We have to make various compromises and use additional solutions that do not violate the overall structure of the building. When working on the creation of new projects that take into account the concepts of inclusivity and healing architecture, and focus not only on providing entertainment services to the public, but also the theater as a place of rehabilitation and art therapy, architects should use a more holistic and integrated approach that takes into account the characteristics of different groups. It will also help to attract an additional flow of visitors, and provide more jobs for employees with increased needs. While working on such spaces, you should also know the characteristics and needs of the end user groups, and in order to find techniques that can be implemented in the design of inclusive cultural and entertainment institutions, you should study the experience of specialists and consider spaces designed for different groups of people with disabilities.

Methods and techniques of organizing inclusive spaces for different groups of people in buildings of different orientation.

The techniques used in the construction of medical institutions following the concept of "Healing Architecture" are quite successfully applied in an inclusive architecture that takes into account the needs of people with limited mobility. Some features and techniques are being upgraded in the process of research and communication with a group of end users, which is a very correct approach to working with such structures. However, the almost complete absence of existing inclusive theaters that would take into account the needs of different groups of visitors, including people with various physical or mental problems, forces researchers in this field to study buildings of a completely different orientation, often unrelated to the architecture of theatrical spaces. Identifying the techniques used by architects based on the portrait of the end user will help to organize the space more competently, including in cultural and entertainment institutions. Several facilities designed for people with certain disability groups were selected for analysis: a school for children with hearing and mental development problems, a cultural center for people with visual problems, a sports center for the disabled and a day center for people with mental problems.

Deyang School for Deaf & Intellectually Disabled Children (school for deaf and mentally retarded children in China, Deyang). Architects: China Southwest Architectural Design and Research Institute Corp. Ltd.

A charitable educational institution located in China, in the urban district of Sichuan Province, Deyang - Deyang School for Deaf & Intellectually Disabled Children (school for the deaf and mentally retarded), organizes educational programs for children with mental development problems and hearing and speech impairments. The educational institution consists of a complex of five buildings, and includes residential, educational and sports areas, a library, as well as rehabilitation therapy rooms. The very appearance of the project is a small "children's village" consisting of white houses with pitched roofs (Fig. 1). This idea came to the architects thanks to simple drawings of children, and was transferred to the project, reflecting students' ideas about houses, as well as expressing warmth and care for them.

Fig. 1. Deyang School for Deaf & Intellectually Disabled Children, view from the courtyard. Photo: Liu Yi. URL: https://www.archdaily.com/433968/deyang-deaf-and-intelectual-disability-children-education-school-china-southwest-architectural-design-and-research-institute-corp-ltd (date of application: 02/26/2024).

Fig. 2. Deyang School for Deaf & Intellectually Disabled Children, 1st floor plan, section and facades. URL: https://www.archdaily.com/433968/deyang-deaf-and-intelectual-disability-children-education-school-china-southwest-architectural-design-and-research-institute-corp-ltd (date of application: 02/26/2024).

The multi-sized buildings are located throughout the entire area of the allocated site, and surround a courtyard with a small outdoor amphitheater for outdoor events. Closed corridors run between the buildings for safe movement from one building to another ^[13], organizing interesting routes for movement, which also serve as a link between closed and open spaces and create additional zones for research (Fig. 2). Each building has its own atrium: a street space cut out of the total area of the building, creating chamber recreation areas. The orientation of the rooms inside the building follows the general relationship "room (classroom) – atrium – courtyard", which allows you to create a multi-level interaction between public and private spaces. Such a structure allows you to take into account the general specifics of the building and the characteristics of the students.

Fig. 3. Deyang School for Deaf & Intellectually Disabled Children, interiors. Photo: Liu Yi. URL: https://www.archdaily.com/433968/deyang-deaf-and-intelectual-disability-children-education-school-china-southwest-architectural-design-and-research-institute-corp-ltd (date of application: 02/26/2024).

High and sloping ceilings prevent the formation of echoes, which can interfere with students with hearing problems. Soft vinyl was chosen as the floor material, which, in this case, is safer for children when falling ^[11]. For the interior spaces, the most comfortable colors for visual perception were chosen: white for walls and ceiling, and blue for the floor, which, due to contrast, allow you to visually separate the planes from each other, which contributes to a more convenient understanding of the space. All buildings are penetrated by a system of large windows of different sizes, which not only provides good insolation and ventilation of the premises, but also connects them with the street, creating interesting places to explore. Ceiling lighting creates an additional source of daylight in the corridors. The interior of the open atriums is highlighted in yellow, separating it from the interior areas (Fig. 3).

Center for the Blind and Visually Impaired (cultural center for people with visual impairments in Mexico, Mexico City). Architects: Taller de Arquitectura-Mauricio Rocha.

Created within the framework of the government program of the City of Mexico (Mexico), for Iztapalapa – one of the most densely populated and disadvantaged areas, where the largest number of people with vision problems live in the capital, the cultural center serves as an excellent space for meetings, work and improvement of the general cultural condition of residents. Located on a corner plot bounded by two avenues, the center, with a total area of 14,000 m2, is a whole complex with a courtyard and buildings of a simple rectangular configuration, supported by concrete frames and covered with flat concrete roofs. The blank wall surrounding it on four sides works as an acoustic barrier, in fact, blocking external sounds, which is important for the overall concept of the building: to create such a special environment that would create a new experience for visitors, activate the senses of perception (especially for visually impaired or completely blind visitors), and improve the overall spatial perception.

Fig. 4. Center for the Blind and Visually Impacted, view from the courtyard. Photo: Luis Gordoa. URL: https://www.archdaily.com/158301/center-for-the-blind-and-visually-impaired-taller-de-arquitectura-mauricio-rocha (date of application: 02/28/2024).

A small water channel passing through the center of the courtyard creates a murmur of water, which serves as an auditory identifier and directs visitors to the main building (Fig. 4). Six different species of plants located around the perimeter of the site emit a different aroma, and act as olfactory sensors for different parts of the complex (Fig. 5). Concrete on the facades, located at arm height, dotted with vertical and horizontal lines, creates tactile landmarks, which allows you to identify each building. Each group of buildings is oriented towards certain structural and spatial relationships, and their different dimensions, weight and contrast of materials such as brick, concrete, steel and glass, and the intensity of the ratio of light and shadow, make each space identifiable to visitors.

Fig. 5. Center for the Blind and Visually Impacted, inner garden. Photo: Luis Gordoa. URL: https://www.archdaily.com/158301/center-for-the-blind-and-visually-impaired-taller-de-arquitectura-mauricio-rocha (date of application: 02/28/2024).

The floor layout is very specific, and consists of a series of blocks stretching in parallel strips from the entrance group. Each line of blocks has its own function: at the very beginning, visitors are greeted by a building with an administrative function, utility rooms and a common dining room. Further, along the central axis of the water channel, there are two parallel lines of buildings with a "tifloteka-sonoteka" (gallery of sounds and touches), five workshops engaged in decorative and applied arts and an adjacent shop. In the third line there are work areas and classrooms facing the inner garden and private courtyard spaces. In a perpendicular line there is a block with a library, a swimming pool and a large auditorium for events and a sports hall located parallel to each other (Fig. 6).

Fig. 6. Center for the Blind and Visually Impacted, section and plan of the 1st floor. URL: https://www.archdaily.com/158301/center-for-the-blind-and-visually-impaired-taller-de-arquitectura-mauricio-rocha (date of application: 02/28/2024).

Organizing an inclusive space focused on groups with vision problems is a very difficult task for architects. In fact, this means that professionals need to consider the space itself not from the side of its visual perception, but from the side of other senses, exactly as visually impaired people "see" and feel it. The architect of the project, Mauricio Rocha, in his interview notes: "Designing these buildings made us realize how blind we are to our other senses, how limited the possible limits of our perception are." The main idea of the project was precisely the contrast between sound and its absence. Created as part of the Ciudad de los Libros project and the reconstruction of the old library for the blind, the cultural center has become a wonderful place for people with partial or complete loss of vision, and those whose eyesight is only beginning to deteriorate gradually. This is accompanied by symptoms such as blurring of the view when looking, a problem with color, monochrome perception, etc., at the same time, the contrasts between light and shadow become more noticeable, and yellow becomes the most noticeable for perception. These features directly affect the internal appearance of the complex.

Fig. 7. Center for the Blind and Visually Impacted, library interior. Photo: Andra Pereznieto. URL: https://www.architectural-review.com/buildings/building-for-the-blind (date of application: 02/28/2024).

The contrast of chiaroscuro and yellow color prevail in the interior of buildings. This is most noticeable in the preserved reconstructed library of Jose Vasconcelos (Fig. 7). The old building was expanded, which allowed to receive a larger number of people, special attention was paid to natural lighting. Sound booths equipped with special audio equipment and sound insulation that does not allow outside sounds to pass through and does not allow sounds to leave the cabin, "hover" above the open floor plan of the first floor. The enlarged bookshelves, which allow you to place books with Braille (which are usually larger than ordinary books), as well as the protrusions of wooden profiles on the walls adjacent to them, create a more tactile surface. Textures with texts by poets and writers placed along halls, railings and tables create interesting interactive solutions for the space. There is a separate play area for children.

KS Cracovia 1906 Centennial Hall and Sports Center for the Disabled (Cracovia Centennial Hall 1906 with a sports center for the disabled in Poland, Krakow). Architects: Biuro Projektow Lewicki ?atak.

The Cracovia Centennial Hall of 1906 with a sports center for the disabled, is a multifunctional sports center built in honor of the centennial of the local club, organizes a special space for sports activities of the local sports club and various groups of citizens, including those with limited mobility. It is located in a very significant place for the urban community and, in fact, is inscribed into the surrounding landscape (Fig. 8).

Fig. 8. KS Cracovia 1906 Centennial Hall and Sports Center for the Disabled, View of the facade of the building from the side of Blonya Park. Photo: Wojciech Kry?ski. URL: https://www.archdaily.com/902402/ks-cracovia-1906-centennial-hall-and-sports-center-for-the-disabled-biuro-projektow-lewicki-latak (date of application: 02/28/2024).

The shape of the northern facade of the building was chosen based on the view from Focha Avenue: the building was supposed to be an extension of the existing landscape. The view towards Salvator Hill is visible through the hall. There is a panoramic view of the hill with the Kosciuszko mound from the building, from the western facade (from the playing field). The building in its concept is based on the intersection of different planes and slopes, internal and external. Based on the restrictions on the allowed height of the building, it was decided to deepen it lower into the ground. The entrance lobby rises a meter above the level of the sidewalk and protrudes forward from the layered landscape. The road levels of the street connect to it along Focha Avenue, pass through the ground floor and exit towards the Rudava River, combining with the roof terrace, using a ramp system. Korten steel was chosen for the facades, as well as concrete painted in the color of rust, which creates a very memorable image.

Fig. 9. KS Cracovia 1906 Centennial Hall and Sports Center for the Disabled, section and plan of the 1st floor. URL: https://www.architekturaibiznes.pl/en/hala-ks-cracovia-biuro-projektow-lewicki-latak-nagrodawitkiewicza,22781.html (date of application: 02/28/2024).

The building includes a multifunctional hall, fully equipped for the needs of visitors, which is suitable for most indoor games. Coaching, refereeing and locker rooms are organized in the back. The ground floor of the center is organized for an administrative function, and also includes a hotel function where athletes and Paralympians arriving from other places can stay. The entire building is equipped so that people with various physical problems can not only observe the process of games, but also take part in them directly (Fig. 9). A ramp system is suitable for the playing field (main hall), which is perfectly visible due to the panoramic glazing of the facade. The hall has seats for 818 visitors (fig. 10). A tunnel runs under the outer ramp, serving as a connecting passage between the western and eastern parts of the sports center. On level -1 there is an additional hall for conferences, meetings and other events.

10. KS Cracovia 1906 Centennial Hall and Sports Center for the Disabled, a playing field with an audience of 818 people. Photo: Wojciech Kry?ski. URL: https://www.archdaily.com/902402/ks-cracovia-1906-centennial-hall-and-sports-center-for-the-disabled-biuro-projektow-lewicki-latak (date of application: 02/28/2024).

- De Zeester Noordwijk (day center for people with mental problems in the Netherlands, Noordijk). Architects: Architectenbureau Marlies Rohmer.

Known as the "Starfish", the day center for the mentally retarded De Zeester is part of a boarding center for people with intellectual disabilities located on the territory of Willem van der Berg in Noordwijk. Standing out very vividly from other buildings on the campus with its different architectural style, this building is one of the newest models for this orientation in the country (Fig. 11, a). Given how uniquely the needs of people with mental problems are interpreted in this project, and how their needs are considered and taken into account, this space creates an environment that directly contributes to the improvement of well-being and health for all its visitors. De Zeester, at the moment, is open to all comers, and not only for visitors with various psychological difficulties. Such a solution avoids segregation and stigmatization of specific groups of people, and focuses mainly on normalization and socialization.

11. De Zeester Noordwijk, a). general view of the day center; b). window frames are portholes made by people with psychological problems. Photo: Daria Scagliola/Stijn Brakkee. URL: https://architizer.com/projects/de-zeester / (date of access: 02/28/2024).

The facades, despite a very minimal palette of colors and materials (the contrast of brickwork and white concrete under the outrigger consoles), remain very unusual and memorable, thanks to the presence of 275 porthole windows, which are symmetrically arranged and permeate the entire building, creating a connection with the street space, which is very important for people with disabilities (Fig. 11, b). These elements are also symbolic, as the frames were handmade by people with psychological problems living on campus, which is noticeable by the slightly uneven shape and color. The interiors are warm and "friendly" to visitors: warm shades and wooden cladding of the ceiling and floor are used, and white walls create an airy space. Such a color scheme, among other things, reduces the need for temperature control and excessive use of artificial lighting (Fig. 12).

12. De Zeester Noordwijk, a). work area; b). common staircase (used as an amphitheater and common space). Photo: Daria Scagliola/Stijn Brakkee. URL: https://architizer.com/projects/de-zeester / (date of access: 02/28/2024).

Fig. 13. De Zeester Noordwijk, the formation of the center space: volume, common space, outdoor open space. URL: https://architizer.com/projects/de-zeester / (date of access: 02/28/2024).

For greater flexibility of the layout, a structural grid with a width of 7.2 m was used in the design. Such a modular approach to the organization of the internal structure makes it possible to meet more needs of visitors (Fig. 13). Depending on the needs and requirements, this allows you to combine several rooms into one and create different configurations for work and other activities. Moreover, the spaces can be expanded beyond the walls, directly into the courtyard, providing a connection between the interior and exterior. Under the large skylight in the central atrium, there is a common staircase, which is also used as an amphitheater for various events. There are rooms for group work and single rest, a small office area, a workshop for work, storage rooms, as well as a room for sensory relaxation, where visitors can relax from the visual and sound noise pressing on them (Fig. 14). The whole building, as a whole, can be attributed to therapeutic architecture.

Fig. 14. De Zeester Noordwijk, a). 1st floor plan; b). 2nd floor plan. URL: https://architizer.com/projects/de-zeester / (date of access: 02/28/2024).

The use of inclusive techniques in the practice of organizing theatrical space.

The projects discussed above clearly show the competent work on architecture for people with disabilities. The techniques that these buildings use to ensure a comfortable stay, study and work for visitors with increased needs not only meet the concept of healing architecture (interesting routes, competent zoning of space, work with light and color, contrast of materials, etc.), but can also be successfully applied in the practice of organizing inclusive theater spaces. Focusing these projects on specific user groups will help identify the main aspects that should be taken into account either when organizing theaters and productions designed for specific people, or when organizing such a space that could include diverse visitors and theater staff.

For auditory disorders, the most convenient way to perceive information is visual. The use of contrasting colors to build routes and separate one space from another, additional lighting sources in the form of light lanterns, an increased number of windows, which contributes to greater illumination of spaces, a special roof arrangement that prevents the formation of echoes and unnecessary noise, all these techniques used in the project of a school for the deaf and children with developmental disabilities (Deyang School for Deaf & Intellectually Disabled Children), can also be organized in the theater space. This will facilitate easier indoor orientation. In the case of scenic areas, it is necessary to take into account the places on the stage for the sign language interpreter, the accompanying subtitles embedded in the scenery, or organize specific productions such as pantomime and "shadow interpretation", for which the stage surrounded by seats on four sides is best suited for a better perception of the performance.

Visual impairments also require special conditions. The work of the architects of the Center for the Blind and Visually Enhanced project with contrasting tactile materials, sound accompaniment and general acoustics of the complex, which, thanks to competent organization, eliminates external street noises and creates a special internal environment. Working with black-and-white design and color spots that can be perceived by the visually impaired, as well as various tactile elements and an emphasis on other senses (hearing, smell), allow people with a complete lack of vision to navigate inside the building. All these techniques can be applied to organize the foyer and internal work areas of the theater, and create an interesting space for all groups of visitors and employees, bringing elements of immersiveness, even before entering the hall.

Scenic and visual spaces should also be based on the peculiarities of people's perception. The stage should be safe and allow the actors to avoid the possibility of injury from falling, i.e. either on the same level with the floor of the visual area, or special limiters or markings should be taken into account, signaling the edge of the canvas of the stage space, and the location of various elements, including scenery, should be static, since they can serve as points for orientation in space. The specificity of some performances, which include immersive productions, where the emphasis is on other senses besides vision, suggests a more sparse seating arrangement of the audience in the hall.

For people with physical problems, impaired mobility (complete or partial), and using various means of transportation (wheelchairs, walkers, crutches, canes, etc.), special elements in the building are also needed that would allow them to simplify movement and stay in the theater building. The building of the sports center for people with limited mobility "KS Cracovia 1906 Centennial Hall and Sports Center for the Disabled" is riddled with a system of ramps that create routes along which people can move without the help of staff, and can get into any part of the building. The variability of routes should not be overlooked: the presence of elevators and lifting structures can create additional ways to move, and reduce the time to get from one part of the building to another. Moreover, such solutions can be useful for the theater itself. All these elements will make it faster and easier to move decorations, costumes, etc., around the building. Another interesting solution used in the center's project is the availability of a hotel for the temporary stay of Paralympic athletes. For cultural and entertainment institutions, this practice of organizing internal guest areas, where invited specialists and their accompaniment will be able to stay for a while, will help invite troupes from other cities or countries. This will be able to expand the functionality of the building and increase the number of interesting productions, which will be able to attract an interested audience.

People with various psychological problems and developmental peculiarities also need special architectural solutions in the theater space. Considering projects such as De Zeester in Noordwijk and the school in Deyang (China), which has students with mental disabilities, one can notice some general patterns in the organization of space. The presence of a large number of windows and light openings creates not only additional light sources, but also the connection of internal and external space, which is very important for visitors with special needs. Contrast of different planes (walls, floors) promotes more accurate orientation in space. The presence of sensory recreation rooms is also mandatory for people with mental disorders, because large and noisy spaces can negatively affect the internal state of these groups of visitors. Similar techniques used in these projects can be traced to the cultural center for people with visual impairments in Mexico, where they are used for private audio listening areas and allow you to create a chamber space without unnecessary noise. These solutions can be very useful in organizing inclusive cultural and entertainment institutions.

However, it should be borne in mind that it is better to make a chamber theater for people with mental problems, since troupe members with special needs can often be afraid of open spaces, a large number of strangers, a noisy crowd, and layouts and color /lighting solutions can be very different from classical theater layouts: unusual interesting routes that smoothly flow into each other in other zones, without abrupt transitions, additional rooms, the hall should be small and transformable, with a free layout, etc., and the main audience, as a rule, are parents and guardians. Therefore, if such functions are organized in a large theater building, then it is better to move them to separate places with their own entrances, rooms and corridors that are in no way connected with the general ones, or organize them as a separate annex.

The introduction of techniques based on the characteristics of different groups of people in the process of designing or renovation of cultural and entertainment institutions, taking into account the concepts of inclusivity, will create a more comfortable and safe environment for more visitors with health problems, as well as make the space more interesting and informative for visitors without disabilities, where they can get a new experience and to learn about the problems and difficulties faced by people with limited mobility.

Conclusions.

Working on theater inclusive programs that allow people with increased needs not only to be spectators, but also to participate in the work of the theaters themselves as various employees, including actors, can not only become a way to avoid social isolation for these groups, and integrate into the cultural life of the city, but also create various rehabilitation programs and work with different groups of people, which will allow them not only to perform in theatrical productions and work, but also to broadcast their stories and problems to an audience that is not familiar with these aspects of life. However, as of today, many theaters do not have the necessary number of additional architectural and design solutions that would create the most comfortable environment for low-mobility visitors in buildings of cultural and entertainment orientation.

Considering concepts such as "healing architecture", it can be concluded that its methods used in the organization of medical institutions are perfectly suitable for working with building projects of other functionality. Such solutions can be especially useful within the framework of inclusive theater spaces that take into account not only diverse visitors, but also theater workers with different characteristics, and with programs designed for the socialization and rehabilitation of people. These solutions will make the theater space not only attractive to all groups of users, but will also improve overall comfort. It will also make it easier for those who need more conditions to move and work there to stay in the building. The space should become inclusive and accessible to everyone, and the peculiarities of different groups of people with limited mobility should be taken into account in the design process. Visual studies should also be conducted to identify and better understand the main characteristics and needs of a particular group.

The analysis of modern projects designed for groups of visitors with physical or psychological characteristics clearly shows that specialists working in this field rely on research of the main features and needs of the end user, which is a very important aspect in the organization of architecture, internal functionality and design solutions of the objects selected for consideration. A similar approach will be necessary when working on the organization of inclusive cultural and entertainment institutions. The main techniques identified when considering these buildings can become the basis for further work on theaters, taking into account the possibility of people with different health characteristics staying and working there. Further research in this direction should not only consider the characteristics and needs of people with a particular form of disability, and take into account the identified design solutions that can make visiting and staying in a building more comfortable, they should also take into account that such techniques should not conflict with each other and create barriers to one or the other another group. All these solutions can positively affect the overall appearance and functionality of the building, which will make the architecture inclusive and memorable.