By Kate Sheehan, occupational therapist

I had the great privilege to meet some inspirational people this week during filming for Open Road Access discussing how accessible transport can impact a client’s rehabilitation outcome, enabling them to access with ease any essential medical and therapy appointments. 

The discussion developed into the impact of poor transport on a client’s social life. Martyn Sibley reminded us that limited access to family, friends, social activities and the local community can significantly affect an individual’s overall well-being and may indirectly influence the success of any agreed rehabilitation programme. If restrictions on participation in necessary or meaningful activities are prolonged due to circumstances beyond our clients’ control, are we potentially contributing to occupational deprivation?

The day prompted me to revisit the Rehabilitation Code 2015, which sets out best practice for collaboration between insurers and solicitors to ensure that clients involved in the litigation process receive timely and effective rehabilitation.

The Code is underpinned by several core principles

1. Early Intervention: Encourages the early identification and provision of rehabilitation needs, preferably at the outset of the injury claim process.
2. Collaboration: Promotes a cooperative approach between insurers, solicitors and rehabilitation providers, with the aim of streamlining access to essential services and ensuring an efficient rehabilitation process.
3. Injured Person’s Well-being: The health, welfare and recovery of our client is placed at the centre of the rehabilitation process, ensuring personalised care.
4. Cost-Effectiveness: While prioritising the client’s recovery, the Code also recognises the importance of managing costs. It supports cost-effective rehabilitation solutions that provide quality and effective outcomes.

The Code’s core principals encouraged me to reflect on how a client’s home environment can influence their rehabilitation journey, support the achievement of their goals and enable them to maximise their occupational performance.

Following a traumatic injury, a client’s primary goal is often to return home as soon as possible and begin re-establishing a sense of normality in their life. However, the reality is that their home environment may now present daily barriers to mobility, personal care, family life and participation in meaningful occupation.

When a client’s home becomes a barrier to engagement in rehabilitation, it raises important considerations for how the multidisciplinary team can adhere to the Rehabilitation Code. If a client cannot safely access key areas of their home, or there is insufficient space to deliver recommended therapy or accommodate specialist equipment, how many opportunities for rehabilitation are lost or compromised? Can the multidisciplinary team truly deliver the most effective and cost-efficient rehabilitation programme if the home environment itself is limiting progress and preventing the client from regaining function, developing skills and participating fully in everyday life?

It would therefore be beneficial for the multidisciplinary team to develop a comprehensive understanding of the client’s home environment at an early stage following injury. This would enable therapy interventions to be tailored realistically within their home and where the home is unsuitable, allow timely consideration of alternative accommodation.

What should early intervention under The Code look like? 

Early intervention must include the critical medical interventions required to support physical recovery and the therapeutic programmes that enable an individual to regain function. However, it should not stop there. Practitioners must also consider the suitability of the client’s home environment, their access to activities that bring them meaning and purpose and remember that without considering all of the above it will significantly impact our client’s occupational deprivation and their ability to recover.

By Michael Clifton, Architectural Technologist, Adaptation Design

Michael Clifton graduated in 2009 with a degree in Architectural Technology. With a creative eye, impressive track record for delivering thoughtful design, securing planning permissions for complex sites and guiding his clients through different project phases, Michael thinks broadly and always puts people first. 

In our new 4-part series, Michael examines the importance of a client-centred approach to accessible design and build – so houses truly become homes.

Part 3 – clinical can look good

In part three of this four-part series, Michael Clifton, Architectural Technologist, Adaptation Design, addresses the integration of clinical requirements within residential design. He demonstrates how essential adaptations can be delivered with discretion, warmth and aesthetic sensitivity, ensuring that functionality enhances rather than diminishes the comfort and character of the home.

In my previous articles in this series, we’ve looked at personality, curation and the more subtle signals of style. However, for many of the clients Adaptation Design work with, there’s another crucial layer – clinical needs. These are not optional. They’re essential for safety, wellbeing, independence or interdependence. But here’s the danger, if we handle them poorly, homes can start to look and feel like hospitals and not homes. 

So, how do we balance these needs?

How do we integrate ramps, lifts, hoists and other healthcare adaptations without stripping away the humanity of a space? This is where design is tested most deeply. It’s not enough to tick the box of functionality. The challenge is to go beyond and create environments that still feel like home.

One of the first principles here is discretion. Not everything needs to announce itself as ‘accessible.’ A ramp doesn’t have to look like an afterthought. It can be integrated seamlessly into the landscape, using gentle gradients; or formed in matching materials to blend with the façade. A homelift can be placed in a way that feels part of the architecture, not a bolt on. Even hoists, when carefully considered and evaluated against existing structure, can be designed to recess or feel less intrusive in a bedroom or bathroom environment.

But discretion is not just about hiding. It’s about dignity. When a client enters their home, they shouldn’t feel labelled by their equipment. They should feel welcomed by their environment.

Let me give you an example…

In one project, the client needed ceiling hoists throughout the home. The straightforward solution would have been exposed tracks running through every room. But instead, we worked with the ceiling design itself — building in coffers and recesses that allowed the hoists to blend almost invisibly into the structure. The functionality remained, but the clinical feeling disappeared. The client told us later that visitors often didn’t even notice the equipment until it was in use. That was the point: the client’s dignity was preserved.

The second principle is warmth through materiality. Clinical environments often feel sterile because of the materials used — vinyl floors, wipe-clean plastics, harsh lighting. Conversely, with careful selection, we can achieve the same durability and hygiene without sacrificing atmosphere. For example, timber-effect finishes, natural textures, soft lighting and colour psychology can transform a space. Instead of echoing corridors, we can create spaces that feel soft, tactile, and genuinely comforting.

I think lighting most definitely deserves a special mention here. As in healthcare settings, light is often bright, flat, cool and functional. But in a home, it should be layered, adaptable, and responsive. For clients with sensory sensitivities, glare can be particularly distressing, so indirect or dimmable lighting makes a huge difference. And for those with limited mobility, automated controls allow them independence — being able to adjust the mood of their own space without needing to call for help.

The third principle is integration with daily life. Clinical needs should not dominate but support. Kitchens, for example, can be designed with adjustable motorised work surfaces, but still look like elegant, modern kitchens. Bathrooms can be fully accessible while also being spa-like and inviting. The key is to integrate these solutions, so they don’t stand out but instead feel natural.

We often have families who tell us, “We want the bathroom to feel like a sanctuary, not a hospital wet room.” And we can achieve that by combining accessibility features, like level access showers, support rails… with beautiful finishes such as ceramic wall and floor tiles, a rainfall shower, and gentle underfloor heating. The result isn’t just a functional bathroom for the client but a place of dignity and care.

And finally, beyond discretion, warmth and integration, there’s a fourth principle: joy. When everything is clinical, joy is often the first casualty. Nevertheless, homes should bring joy. That might mean a splash of colour, a favourite artwork, a playful pattern or even a quirky detail. These touches remind us that a home is not just for managing needs, it’s for living, for celebrating personality and for creating moments of delight.

At the heart of all this is a belief: function should never eclipse identity. Yes, clinical needs must be met, often with precision. However, when executed thoughtfully, they can be woven into the design so elegantly that they almost disappear into the background. 

It also follows that the measure of success is not when someone says, “That’s a clever adaptation.” The measure of success is when what stays at the forefront is not disability, equipment or compromise, but ‘home’.

And that leads us to the final part of this journey. Because if design is about uncovering personality, curating ideas, reading subtle tells and weaving in clinical needs without compromise — then where does it all lead? It leads to the moment the client moves in. The culmination of years of dreaming, planning, and effort. The catharsis of finally walking through the door of their forever home. And that’s what I want to explore in my next and final article of this series: the power of home.

Contact

If you are a housing, healthcare or legal professional seeking a home for a client with disabilities, Michael is standing by to assist. He can be reached on: 

Michael Clifton
Adaptation Design Limited, 4 Carters Row, Hatfield Park, Hertfordshire. AL9 5NB
Tel: 020 8492 1617 / 07983 735 976 Email: michael.clifton@adaptationdesign.co.uk

A blog by Kate Sheehan, Occupational Therapist

I recently attended the launch of the Royal College of Occupational Therapists, ‘Building Health into Homes’ strategy report^[i] which prompted me to reflect on the importance of our homes and the impact poor housing has on our client’s occupational engagement. It states that poor housing costs health and social care £1.5 billion per year^[ii] This represents a significant cost that could be redirected to other services, if our housing stock provided for the needs of our population.

The launch made me reflect on my occupational therapy training, where I was first introduced to Maslow’s Hierarchy of Needs, developed by Abraham Maslow in the 1940s and 1950s, a theory that remains relevant today. This psychological theory explains that human motivation is driven by five fundamental categories of need, typically represented as a pyramid. It suggests that the essential needs at the base must be met before individuals can focus on the more advanced growth needs at the top. Within this foundational tier, one of the most critical requirements is shelter.

It is important to acknowledge that Maslow’s theory has been subject to criticism. Critics argue that it lacks robust empirical evidence, oversimplifies human motivation, reflects predominantly Western values, and offers a generic framework rather than placing the individual and their personal priorities at the centre. Nevertheless, there is substantial evidence that supports the view that having a home, or shelter, is fundamental to human wellbeing. 

Without a shelter that we can call home, we cannot survive. So what constitutes shelter? According to the RCOT report, a ‘home should be a safe, supportive space where health and wellbeing can thrive.’ As occupational therapists, are we discussing with our clients the impact their home environment has on their recovery and their ability to choose to do the occupations that bring them meaning and joy?

When working with our clients at Adaptation Design, the initial meeting is with our in-house occupational therapy team, as the meaning of home for each individual needs to be explored through an in-depth conversation about what they need to do and more importantly what they want to do in their own home. What does ‘self actualisation’ mean to them? We may not use those words but our goal is always to enable them to reach what they see as their potential.

It is important to remember that often our goals as therapists may not align with our client’s ‘wants’ and we must stop and listen to them to understand their priorities. A classic example is, we may be looking at how a client will be showering themselves as a task, yet the client may articulate they would rather be assisted to give them energy to play with their child. The environment should then be designed around a space suitable for paid care support; a working environment, with the future proofing element that as the client’s children grow and leave, they may wish to shower themselves.

In conclusion, accessible and well-designed housing is not simply a matter of comfort, it is a foundation for wellbeing, independence and participation. By understanding what home means to each individual and designing environments around their priorities, occupational therapists can help people achieve meaningful outcomes and improve their overall quality of life.

^[i] https://www.rcot.co.uk/latest-news/poor-housing-damaging-health-driving-pressure-health-services

^[ii] https://www.health.org.uk/sites/default/files/pdf/2023-12/2023%20-%20Housing%20and%20health_0.pdf

An advice blog for housing and healthcare professionals by Kate Sheehan, Occupational Therapist

During a recent visit to a client, we discussed grab rails, including their design, colour and texture, she made a particularly clear and insightful observation:

“I do not want anything white, ‘council swimming pool’ blue, yellow, plastic, cold metal or fluted. I want style, I want colour and I need a rail that integrates into my bathroom seamlessly, a rail that doesn’t look like a grabrail.”

At Adaptation Design we work from a client centred approach and a request like this makes us review the market and provide options for our client to choose from. Often it is our clients who have found a particular product they like and ask our opinion on its function, design, manufacture and availability.

The grab rail market has slowly changed over the last few years with more thought going into their design and more importantly how they can be used for multiple functions. We have found a significant number of products that are dual purpose, a grab rail that integrates a soap dish within its design (Hewi), a toilet roll holder that doubles as a grab rail (Keuco), a shower riser bar that is also a grab rail (Triton), a mirror with a shelf that is also a grab rail (Invisible Creations). These products have often been designed with customers as part of the design team, making sure style is an integral part of the final product.  What is interesting is companies within the mainstream market now showcasing their own accessible ranges and just recently IKEA has entered the market with their BASINGEN range.

As a team, we need to make sure we adhere to regulations and standards where necessary and appropriate, with regards grab rails Building Regulations (Approved Document M) states that the diameter should be between 30mm to 500mm. The most common diameter is 32mm.

Standards are an excellent resource as a starting point. However, we know that everyone is different and when working with a child, we may wish to choose a different diameter rail for them in the early part of their lives to make sure they can hold onto it successfully and take into account their personal grip and hand dexterity requirements.

The key to the use of all these rails, whether they have a single or dual purpose .is the fitting of them in the home. Walls must be built to take the load required and the right fixtures are fitted in accordance with the manufacturer’s guidelines. Without this attention to detail a rail could come loose in the middle of a transfer and cause injury or create a psychological fear of using equipment which could impact significantly on someone’s quality of life and engagement in activities.

A grab rail is not always simply a grab rail. Its value lies in it being multi-functional use, while grab rails are certainly products that may be required by the client for reasons such as safety or accessibility, they can also be products that are genuinely desired and chosen by the client to meet more than one need. Adaptation Design embraces the challenge of finding products that meet our clients’ functional needs while reflecting their individual style, because accessibility should enhance a home, not define it.

For more detailed advice, feel free to contact Adaption Design on 020 8492 1617 or email info@adaptationdesign.co.uk

Picture credit: Gainsborough Healthcare Group

By Michael Clifton, Architectural Technologist, Adaptation Design

Michael Clifton graduated in 2009 with a degree in Architectural Technology. With a creative eye, impressive track record for delivering thoughtful design, securing planning permissions for complex sites and guiding his clients through different project phases, Michael thinks broadly and always puts people first. 

In our new 4-part series, Michael examines the importance of a client-centred approach to accessible design and build – so houses truly become homes.

Part 2 – driving design through perception

In part two of our four-part series, Michael Clifton, Architectural Technologist, Adaptation Design, explores the role of perception when clients are unable to clearly articulate their preferences for home design. Michael discusses how careful observation, input from families and support teams, and attention to subtle personal cues, allow designers to build an accurate and authentic picture of a client’s style and needs.

So far in this series, we’ve talked about uncovering personality and curating ideas when clients can articulate them. But what happens when they can’t? What if they can’t put it into words or their communication is limited?

This is where design requires not just empathy, but perception. Sometimes the loudest signals aren’t spoken, they’re observed.  It’s where, as designers, we become detectives piecing together the client’s aesthetic from the subtler signs of daily life to build a picture of them to reflect back to them, their family and support team.

Take clothing, for example. You can learn a great deal about someone’s style instincts just by noticing how they dress. Are their clothes vibrant, patterned, expressive? That might suggest they are drawn to bold colour in their environment. Do they prefer soft fabrics, neutral tones, a restrained palette? That could point towards a minimalist or more calming aesthetic.

And it’s not only clothing. Sometimes the cues come from the things people surround themselves with. Their bookshelves, the art they hang, even the objects they choose to keep close at hand. 

This is also where family members and carers become crucial voices in the design process. Especially when we’re working with clients who have complex needs or limited communication. Families often come with one perspective, shaped by history, tradition or their own preferences. Carers, Case Managers and Occupational Therapists, on the other hand, may see the client’s daily rhythms and reactions in real time. And those perspectives can be very different.

I had a project where the client’s parents insisted he was ‘traditional.’ They wanted us to consider a very classical, muted approach. But his carer, who spent every day with him, said: ‘No, he loves modern things and bright bold colours.’ And the carer was right. The finished design, with the client’s input on colours, tile choices and finishes were well received by all. That contrast reminded me how essential it is not to privilege one voice but to listen to all perspectives within the dialogue. 

Of course, sometimes we still must work with limited information. And that’s where we have to get creative, making reasonable suggestions with broad appeal and flexibility. In these instances, I will often lean into neutral colour palettes and guide clients to accessorise with bolder colours on cushions, curtains, throws, lamps and artwork. This brings a personal stamp but also the flexibility to change the palette over time. 

However, this is never about guessing blindly. It’s about staying alert, noticing trends and questioning until patterns emerge.

Here’s the main point: style is not always verbal. It doesn’t always show up in a neat mood board or in design vocabulary the client can articulate. Sometimes it shows up in a shirt, a bookshelf or in a casual comment.

And as designers, it’s our job to ask: what if that is the clue? What if that is the real preference? What if that’s the beginning of their story?

When we tune into these subtle tells, we don’t just create spaces that are aesthetically pleasing. We create homes that are empathetic, deeply personal and often more authentic than if we had relied only on words.

And that leads us to the next challenge: what about when a home must incorporate not just style, but very real clinical needs? How do we ensure those functional requirements don’t overpower the soul of the design? That’s when we move beyond the clinical which I’ll explore in part 3.

Contact

If you are a housing, healthcare or legal professional seeking a home for a client with disabilities, Michael is standing by to assist. He can be reached on: 

Michael Clifton
Adaptation Design Limited, 4 Carters Row, Hatfield Park, Hertfordshire. AL9 5NB
Tel: 020 8492 1617 / 07983 735 976 Email: michael.clifton@adaptationdesign.co.uk

By Michael Clifton, Architectural Technologist, Adaptation Design

Michael Clifton graduated in 2009 with a degree in Architectural Technology. With a creative eye, impressive track record for delivering thoughtful design, securing planning permissions for complex sites and guiding his clients through different project phases, Michael thinks broadly and always puts people first. 

In our new 4-part series, Michael examines the importance of a client-centred approach to accessible design and build – so houses truly become homes.

Part 1 – finding the foundations

In this first of four articles, Michael Cifton, Architectural Technologist, Adaptation Design, outlines how empathy, collaboration and thoughtful guidance form the essential foundations for creating accessible homes that reflect not only functional needs but the individuality and personality of each client.

Let’s start with this question: when does a house truly become a home?

You might say moving day – when the boxes are unpacked and you make that first cup of tea. But in my experience, a home really begins to take shape much earlier, when a client’s personality starts to interface with the design process and we begin to build something together that is truly bespoke and reflective of who they are.

As Adaptation Design work with clients who often have complex needs, the stakes tend to be higher. Functionality is critical but that can’t be the whole story, otherwise we risk losing who they are.

My design ethos, and the heart of our work at Adaptation Design, is that every home has the potential to be transformed into something magical. But that magic doesn’t come from me imposing a vision. It comes from listening – deeply, patiently and often in ways beyond words. All until the client’s essence finds its way into the walls, the textures, the very light and breath of their home.

So how do we make sure personality is not an afterthought, but the foundation? 

Firstly, empathy. We don’t just listen to what our clients (and their wider support network) say, but how they say it. What do they talk about when we’re not discussing the project? Do they light up when they describe cooking Sunday lunch with their family, or when they picture the quiet of their garden? 

These cues are the breadcrumbs of design that go on to find a core understanding of who our clients are and ultimately enable us to tailor their home to their specific needs.  

Secondly, collaboration between all parties is absolutely critical, as the design process is a fluid and ever evolving one. It is a constant dialogue; a back and forth where ideas grow and change together over time. 

True collaboration means holding space for the client’s voice at every stage; from the very first sketch, to walking through unfinished rooms on site, or tweaking colours at the very last moment. 

It also means being transparent with them about the often-critical choices we make as designers. When clients understand why a wall is placed here or a material chosen there, they gain confidence in us and with the final result. 

Finally, this guidance is how we shape a coherent story.

As we know, clients often come in with a flurry of wants and needs that are often contradictory or mismatched to the desired outcome. Our role therefore involves considered challenging. We might say: “That’s great, but does it feel right? Do you think that will give the best result?” Often this is done by providing balanced alternatives with ideas and principles gleaned from deep listening. This reinforces the collaborative relationship and creates a level of trust between us. 

Why is reflecting personality key to successful design?

The moment you live for as a designer is not when the client admires the technical execution – but when they recognise themselves in the space you have created. Something that truly reflects who they are. 

Personality is not just a detail, a tick-box to be incorporated. It’s the key driver.

I have often said: ‘Tell a single story and a world will form around it’. That story must always be the clients. So, if you take one thing from this section, let it be this… the best homes are the ones that feel inevitable; like they could never have been any other way.

That is inclusion. And that is why personality is key.  

Of course, while we are uncovering our client’s personality – we are also beginning a wider process of understanding. Sifting and refining through the information to shape and hone it into something magical. Curation is about shaping that raw material into something coherent, balanced and ultimately liveable. 

Rarely, do we get handed a neat and tidy brief. We usually get fragments – pieces of inspiration and ideas. All of that is precious but if left unfiltered, it’s just chatter. Our role is to listen, honour the intention and gradually tune it into harmony.

How does the process of curation ensure design that resonates for a client?

We all gather inspiration in different ways; sometimes deliberately and sometimes randomly… a Pinterest board overflowing with images, a scrapbook filled with magazine clippings, even a folder of saved posts on Instagram, can all act as modern-day sketchbooks of the imagination. 

These collections aren’t always neat or logical, but that’s the point: they capture raw sparks of curiosity before they fade. In the same way someone might once have torn out a picture of a chair or kept a postcard from a gallery, today’s tools let us assemble a visual diary of what resonates. And while each individual piece might seem random, together they form a chorus of desire, taste and possibility. 

Curation is about refining and elevating that chorus so it’s clearer, truer and more resonant in the final design. It’s the difference between a jumble of notes and a symphony.

Let me share a story that illustrates this…

One client came to me with an enormous Pinterest board… hundreds of images. And it wasn’t just interiors or architecture. Mixed in were pictures of cats, holiday destinations, even recipes. At first glance, it felt chaotic. How do you extract a design language from that? But by stepping back and looking at the collection as a whole rather than each image, a pattern began to emerge. I noticed a strong pull toward classical forms but paired with modern simplicity. The throughline was an underlying attraction to a chic neo-Georgian style, with muted pastels and light airy spaces. That became the seed of my design philosophy for the interiors for their home.

And when I presented the mood boards showing a chic, neo-Georgian direction back to them and their family, they said that was exactly what they wanted and reflected the client’s personality. 

And that’s the heart of curation: taking what the client offers, however fragmented, and helping them see the thread that runs through it – as often they don’t know it themselves.

Now, the process of curation isn’t only about style. It’s also about priorities. 

Clients and their support teams will often bring a long wish list of varying requirements for a property, but of course, not every home can contain every need.

So, with accurate and detailed information given on the client’s needs, curation becomes a process of helping distinguish between ‘wants’ and ‘needs’ – which of these are non-negotiable, which of these are flexible and what could be cut if required. 

This stage is where the designer’s empathy, collaboration and guidance come back into play. This is because refining ideas isn’t about saying ‘no’. It’s about offering structure. It’s about saying: ‘Here are the three or four principles that I think really matter to you. If we hold onto these, everything else can flex.’ That way, clients feel empowered… not shut down.

And here’s another important truth: curation isn’t static. It’s a process of editing and re-editing over time. At the start, the canvas is wide open, but as the design evolves, decisions get sharper. We move from the broad-brush strokes of overall thought and concept to the finer more specific details of production. Each stage is a chance to revisit the client’s story and ensure that we are still on track. 

So why does curation matter so much? Because it’s the stage where we transform inspiration into identity. It’s where we ensure the home doesn’t feel like a catalogue of trends or requirements, but a coherent reflection of the person living there. 

When this is done well, the client feels like they’ve discovered clarity for themselves… distilled, harmonised and made tangible in their home. 

And that leads us naturally to the next question: what happens when a client can’t clearly articulate their style? Well, that’s where the art of noticing comes in. And that’s what I want to talk about in part 2 of this series – driving design through perception.

Contact

If you are a housing, healthcare or legal professional seeking a home for a client with disabilities, Michael is standing by to assist. He can be reached on: 

Michael Clifton
Adaptation Design Limited, 4 Carters Row, Hatfield Park, Hertfordshire. AL9 5NB
Tel: 020 8492 1617 / 07983 735 976 Email: michael.clifton@adaptationdesign.co.uk

Tess Whitehead, Head of Property Search and Occupational Therapist at Adaptation Design, reports on how this year’s event highlighted more accessibility innovations than ever.

In April, The Ideal Home Show ran for nine days at Olympia London and remains one of the most influential events in the home and interiors calendar. The Show Home feature is always an event highlight, showcasing new and innovative products and services that shape how we think about our living spaces.

This year, I was invited to attend the Show Home launch as a guest of Stannah, who were presenting their latest homelift and stairlift solutions.

Personality is key

One of the most valuable aspects of the launch was the opportunity to speak with Sophie Morgan. Sophie is widely recognised as the first woman with a disability to work as a television presenter both in the UK and internationally, including anchoring prime time coverage of major sporting events.

The conversation with her focused on a topic that often gets missed in accessible design – aesthetics. While functionality is essential, the way products look plays an equally important role. For people living with complex needs, homes are frequently adapted with a strong focus on practicality, yet the visual and emotional impact of those spaces can be overlooked.

Sophie spoke about the importance of choice and control in how a home looks and feels. That point resonated strongly with me. A well-designed home should not only meet physical needs, it should also reflect identity, support wellbeing and feel like a place someone is proud to live in. This is something we see consistently in our work and it remains a key takeaway from the event.

Tess (left) at the launch of the Show Home alongside Kate Sheehan, OT (centre) and TV celebrity Sophie Morgan (right).

Challenging trends

Alongside the Show Home, Kate Sheehan, Occupational Therapy Consultant at Adaptation Design, spoke on the main stage about the growing mismatch between housing stock and accessibility needs. Research states that 25% of people aged over 55 feel their current home will not support their long-term mobility, yet bungalows, often seen as the most accessible housing type account for only around 1% of new build homes. This reflects what we encounter daily when searching for suitable rental and purchase properties for our clients who require enabling adaptations.

Advancing accessibility

Attending the show also allowed us to explore emerging products from both specialist and mainstream markets. This is a key part of our role, ensuring we can offer informed and practical recommendations that reflect what is actually available.

Environmental control was a strong theme this year. With more extreme temperatures becoming increasingly common, the ability to regulate internal environments is becoming ever more important. Mitsubishi showcased integrated heating and cooling systems with intuitive, easy to use controls that could be operated via a smart device. The simplicity and accessibility of the displays particularly stood out to us – an area we will be exploring further.

Kitchen design also showed some positive developments. Smile Kitchens presented a range of storage solutions designed to improve access without excessive bending or reaching. Features such as pull-out larders and corner storage systems demonstrate how thoughtful design can make everyday tasks more manageable without compromising on appearance. Of particular interest was their Gate Pull Out Larder and Cornerstone Maxx Larder.

There were also several wash dry toilets on display. While the technology itself is improving, we noted ongoing issues around usability. Some controls were not suitable for people with reduced hand function and in some cases lacked clear, intuitive operation. More importantly, not all products appeared to meet WRAS approval standards, which is a critical consideration in ensuring safety and compliance within UK homes; an essential requirement for products specified by Adaptation Design. 

A positive outing

Overall, the Ideal Home Show 2026 provided a valuable opportunity to review what is emerging in the wider market. It allowed us to assess which products are genuinely suitable for our clients with disabilities and which fall short in real world situations. Overall attending the event enabled us to stay informed about innovative solutions that will benefit the clients and professionals we work with.

If you would like further information about any of the products or themes highlighted or want to discuss how inclusive design can be incorporated into your own project, the team and I are always happy to help. I can be contacted on:

Tess Whitehead
Adaptation Design, Clinical Lead for Housing Occupational Therapy and Property Search Services
Tel: 020 8492 1617 or email here

Kate Sheehan, Consultant Occupational Therapist, reflects on the latest Case Management Society Conference and how its aims synergise with those of Adaptation Design.

The Case Management Society UK, in collaboration with The Society of Research in Rehabilitation, delivered an outstanding conference, Tomorrow’s World, on 17th and 18th March 2026.

The sessions offered a strong mix of practical insight, innovation, research and personal experience.

Crest IT was the main sponsor of the event. David Lees, Managing Director, spoke about AI and its impact on businesses, particularly in relation to data security. Following his session, I spoke with him about the use of AI in expert report writing and whether clinicians can confidently stand by AI-assisted work in Court. He is planning to reflect further on this, as he had not previously considered the implications.

For my first breakout session, I chose to attend one outside my usual area of practice and comfort zone: Neurofeedback in Action: Its Role Within Rehabilitation, led by Dr Maria Walters and Dr Melanie Dakin, Co-Founders of The Brain Collective. They explained how electroencephalogram (EEG), a safe and non-invasive technique, is used to interpret brain activity. Using real-time data, this approach can support clients to regulate their brain function. It was a fascinating insight into the brain’s neuroplasticity and its ability to adapt following significant trauma.

The panel discussion on the power of rehabilitation and the barriers to accessing the right services at the right time, was particularly thought-provoking. A key takeaway was the importance of clear and concise clinical reasoning to support a client’s rehabilitation journey.

Spending time with exhibitors was equally valuable. It was encouraging to see a growing number of occupational therapy-led companies emerging, all focused on delivering high-quality, client-centred services.

As an occupational therapist working from a client-centred perspective, I found it helpful to reflect on two particularly impactful presentations.

Dame Tanni Grey-Thompson shared her journey from elite athlete, winning 11 Paralympic gold medals, to her current role as a crossbench peer in the House of Lords. She spoke about challenging the narrative that “people like you can’t do that”, and the importance of finding allies who support success. This strongly reflects the role of case managers, who act as advocates for their clients, supporting them to achieve their goals and live the lives they choose.

Phillip Eaglesham, a former Royal Marine who contracted Q Fever whilst serving in Afghanistan, spoke powerfully about both his physical and mental recovery. He described his journey back to wellbeing, supported by his family, and his progression to becoming an Olympian. From an environmental perspective, his experience of fighting for essential adaptations to his home, and the time this took, was particularly striking. His words, “every day without an accessible home is a day of my life I will never get back”, resonated deeply.

Ensuring a timely, accessible home environment, whether rented or owned, is fundamental to effective rehabilitation. Without this, clients are unable to fully engage in meaningful activity, which in turn, limits the potential benefits of rehabilitation.

If you are a Case Manager seeking support regarding appropriate home adaptations for a client, contact our specialist team on: 020 8492 1617 or email info@adaptationdesign.co.uk