Marc Dujardin Introduction of a user-orientated design paradigm

Universal Universal Design Design

““Universal DesignUniversal Design”” –– ““Design Design forfor AllAll”” –– ““InclusiveInclusiveDesignDesign””IntroductionIntroduction of a of a useruser--orientatedorientated design design paradigmparadigm

dr.Marcdr.Marc DujardinDujardin, architect, architectIntensive program (IP)« Designing in the Dark »

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EducationEducationProjectProject

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1. Statement of 1. Statement of problemsproblems

Universal Design as design paradigm

Hubert Froyen argues that the following question should beasked at the beginning of any design task:

“How can a product, a graphical message, a building, a public space, etc. be both esthetical and of optimal use for an as largeas possible group of persons?

According to Froyen, there is no scientific ground that mayjustify the segregation between physically and/or mentallyhandicapped persons and the non-handicapped”(Froyen, 2001, from UDEP.be report)

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1. Statement of 1. Statement of problemsproblems

UD is:– Contextually integrated universal

matter– Contributes to a more

« inclusive » man-builtenvironment

UD & education:– Ethical problem of the designer– No exclusive field of the designer– Interdisciplinary field of action– Involvement of the enabling and

dis-enabling end-user

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2. Begrippenkader2. Begrippenkader

UD is:– No eufemism for the term « accessibility »– “Accessibility” and “accessible design” are dated terms with a

mere focus on ‘Design for Special Needs’

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2. 2. FrameworkFramework of of termsterms

UD & threshold:

– Universal Design is about ‘spatial mediation’– Spatial and temporal characteristics of the threshold:

• Spatial and physical thresholds/barriers• Temporal and mental thresholds/barriers (stigma)

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2. 2. FrameworkFramework of of termsterms UDEP.be

2. 2. FrameworkFramework of of termsterms

UD is:“In-obtrusive”

bv. Ramp at the World expo Hannover 2000

“multiple choice as standard”

eg. Layout ofInterCity (IC)-trainsversus

InterRegion (IR)-trains

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● clearlyclearly defineddefinedpositionposition ofof thetheentranceentrance

● pyramidspyramids asasdistinguishingdistinguishingorientationorientationpointspoints

●● equalityequality ofofexperienceexperienceenteringentering thethe hallhallusingusing lift or lift or staircasestaircase

TATE MODERN GALLERY

MILLENIUM BRIDGE

ST. PAUL’S CATHEDRALView from the top of Tate modern.

From St. Paul’s to the Tate modern is step free walk.

MILLENIUM BRIDGE

http://upload.wikimedia.org

ST. PAUL’S CATHEDRAL

3. UD as 3. UD as politicalpolitical tooltool

Resolution ResAP (2001): February 15th, 2001

– “The Universal Design Concept promotes a shift to more emphasis on user-centered design by following a holisticapproach and aiming to accommodate the needs of peopleof all ages, sizes and abilities, including the changes thatpeople experience during their life span. Consequently, universal Design is a concept that extends beyond the issues of mere accessibility of buildings for people withdisabilities and should become an integrated part of architecture, design and planning of the environment”

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3. UD as 3. UD as politicalpolitical tooltool

ResAP (2001) & design education:

– The resolution recommends that governments of member states take into account the ‘principles’ of Universal Design in curricula and other matters of education, training and awareness-raising

– The concept of Universal Design should be anintegral and compulsory part of the mainstreaminitial training of all occupations working on the built environment

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4. 4. UDUD--PrinciplesPrinciples as as guidelineguideline UDEP.be

The 7 Universal Design Principles:– 1. ‘EQUITABLE USE’ (Bruikbaar voor iedereen)

– 2. ‘FLEXIBILITY IN USE’ (Flexibiliteit in het gebruik)

– 3. ‘SIMPLE AND INTUITIVE USE’ (Eenvoudig en intuïtief gebr.)

– 4. ‘PERCEPTIBLE INFORMATION’ (Verstaanbare informatie)

– 5. ‘TOLERANCE FOR ERROR’ (Marge voor vergissingen)

– 6. ‘LOW PHYSICAL EFFORT’ (Beperkte inspanning)

– 7. ‘SIZE AND SPACE FOR APPROACH AND USE ( Geschikte afmetingen en gebruiksruimten)

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UDEP.bePRINCIPLE ONE:

Equitable Use

The design is useful and marketable to people withdiverse abilities.

1a. Provide the same meansof use for all users: identicalwhenever possible; equivalent when not.

1b. Avoid segregating orstigmatizing any users.

1c. Provisions for privacy, security, and safety shouldbe equally available to allusers.

1d. Make the

designappealing to all users.

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UDEP.bePRINCIPLE ONE:

Equitable Use

The design is useful and marketable to people withdiverse abilities.

1a. Provide the same meansof use for all users: identicalwhenever possible; equivalent when not.

1b. Avoid segregating orstigmatizing any users.

1c. Provisions for privacy, security, and safety shouldbe equally available to allusers.

1d. Make the

designappealing to all users.

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UDEP.bePRINCIPLE TWO:

Flexibility in Use

The design accommodates a wide range of individualpreferences and abilities.

2a. Provide choice in methods of use.

2b. Accommodate right- orleft-handed access and use.

2c. Facilitate the user'saccuracy and precision.

2d. Provide adaptability to

the user's pace.

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UDEP.bePRINCIPLE TWO:

Flexibility in Use

The design accommodates a wide range of individualpreferences and abilities.

2a. Provide choice in methods of use.

2b. Accommodate right- orleft-handed access and use.

2c. Facilitate the user'saccuracy and precision.

2d. Provide adaptability to

the user's pace.

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UDEP.bePRINCIPLE THREE:

Simple and Intuitive Use

Use of the design is easy tounderstand, regardless of the user's experience, knowledge, language skills, or current concentrationlevel.

3a. Eliminate unnecessarycomplexity.

3b. Be consistent with user expectations and intuition.

3c. Accommodate a widerange of literacy and language skills.

3d. Arrange informationconsistent with itsimportance.

3e. Provide effectiveprompting and feedback during and after task

completion.

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UDEP.bePRINCIPLE THREE:

Simple and Intuitive Use

Use of the design is easy tounderstand, regardless of the user's experience, knowledge, language skills, or current concentrationlevel.

3a. Eliminate unnecessarycomplexity.

3b. Be consistent with user expectations and intuition.

3c. Accommodate a widerange of literacy and language skills.

3d. Arrange informationconsistent with itsimportance.

3e. Provide effectiveprompting and feedback during and after task

completion.

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UDEP.bePRINCIPLE FOUR:

Perceptible Info

The design communicatesnecessary informationeffectively to the user, regardless of the user'ssensory abilities.

4a. Use different modes (pictorial, verbal, tactile) forredundant presentation of essential information.

4b. Provide adequate contrast between essentialinformation and itssurroundings.

4c. Maximize "legibility" of essential information.

4d. Differentiate elements in ways that can be described(i.e., make it easy to giveinstructions or directions).

4e. Provide compatibility witha variety of techniques usedby people with sensory

limitations.

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UDEP.bePRINCIPLE FOUR:

Perceptible Info

The design communicatesnecessary informationeffectively to the user, regardless of the user'ssensory abilities.

4a. Use different modes (pictorial, verbal, tactile) forredundant presentation of essential information.

4b. Provide adequate contrast between essentialinformation and itssurroundings.

4c. Maximize "legibility" of essential information.

4d. Differentiate elements in ways that can be described(i.e., make it easy to giveinstructions or directions).

4e. Provide compatibility witha variety of techniques usedby people with sensory

limitations.

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UDEP.bePRINCIPLE FIVE:

Tolerance forError

The design minimizeshazards and the adverseconsequences of accidentalor unintended actions.

5a. Arrange elements tominimize hazards and errors: most used elements, most accessible; hazardouselements eliminated, isolated, or shielded.

5b. Provide warnings of hazards and errors.

5c. Provide fail safe features.

5d. Discourage unconsciousaction in tasks that requirevigilance.

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UDEP.bePRINCIPLE FIVE:

Tolerance forError

The design minimizeshazards and the adverseconsequences of accidentalor unintended actions.

5a. Arrange elements tominimize hazards and errors: most used elements, most accessible; hazardouselements eliminated, isolated, or shielded.

5b. Provide warnings of hazards and errors.

5c. Provide fail safe features.

5d. Discourage unconsciousaction in tasks that requirevigilance.

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UDEP.bePRINCIPLE SIX: LowPhysical Effort

The design can be usedefficiently and comfortablyand with a minimum of fatigue.

6a. Allow user to maintain a neutral body position.

6b. Use reasonable operatingforces.

6c. Minimize repetitiveactions.

6d. Minimize sustained

physical effort.

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UDEP.bePRINCIPLE SIX: LowPhysical Effort

The design can be usedefficiently and comfortablyand with a minimum of fatigue.

6a. Allow user to maintain a neutral body position.

6b. Use reasonable operatingforces.

6c. Minimize repetitiveactions.

6d. Minimize sustained

physical effort.

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UDEP.bePRINCIPLE SEVEN:

Size and Spacefor Approachand Use

Appropriate size and space is provided for approach, reach, manipulation, and useregardless of user's body size, posture, or mobility.

7a. Provide a clear line of sight to important elementsfor any seated or standing user.

7b. Make reach to allcomponents comfortable forany seated or standing user.

7c. Accommodate variationsin hand and grip size.

7d. Provide adequate spacefor the use of assistivedevices or personal

assistance.

Gh t 3 D b 2007

UDEP.bePRINCIPLE SEVEN:

Size and Spacefor Approachand Use

Appropriate size and space is provided for approach, reach, manipulation, and useregardless of user's body size, posture, or mobility.

7a. Provide a clear line of sight to important elementsfor any seated or standing user.

7b. Make reach to allcomponents comfortable forany seated or standing user.

7c. Accommodate variationsin hand and grip size.

7d. Provide adequate spacefor the use of assistivedevices or personal

assistance.

5. UD at 5. UD at StSt--LucasLucas ArchitectureArchitecture

Structural approach:– Three Flemish schools of architecture take the lead:

• Hogeschool Antwerpen (HA), Departement Ontwerpwetenschappen(Carl Asaert)

• Hogeschool voor Wetenschap en Kunst (WENK), Departement Architectuur, Brussel-Gent

• (Marc Dujardin)• Provinciale Hogeschool Limburg (PHL), Departement Architectuur

(Hubert Froyen)

– The Universal Design Education Project (UDEP.be), withsupport of the Flemish Government (Equal Opportunities)

– Within the new (Bologna) educational landscape, developUniversal Design as one of St-Lucas’ ‘areas of competence’

UDEP.be

UDEP.be:– From Octobre 2001

onwards, structurally and pedagogically introduce UD by means of

• Theoretical courses and workshops

• Research by design projects,• Building a UD-toolkit• Sensibilisation

– Organisation of a ScientificContact forum, with the support of the Royal Flemish Academy of Belgium - KVAB (Koninklijke Vlaamse Academie van België), Brussels, 17 may 2002

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EIDD-Belgium:

– Against the background of the UDEP.be project, founding of the national branch of the EuropeanInstitute for Design and Disability, in order to bring together all Belgian‘Design-for-All related Professionals (DfA’s)

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META-University:– Against the ongoing BaMa-reforms, integrating the topic as

part of the newly formed Meta ‘Joint masters Program’– Universal Design is a component of the course

module‘Sustainable and User-Orientated Planning and Design’– At European level the concept of Universal Design resorts

under the umbrella of ‘Sociallly Sustainable Development’

USO-Built Graduate School:– Participating in an international network of research and

research by design at PhD level– UD resorts under International research Unit 3 that stands for

User-Orientation and Built-in Quality (BQL)

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Educational approach– 6.1. Building up competence by:– Establishing a state of mind among designers by experience-

based activities guided by impaired accessibility experts– Developing a common and comprehensive UD-vocabulary– Systematic Post Occupancy Evaluation (POE) of celebrated

architecture in search for best practice examples

– 6.2. Research by design:– Designing as core competence– Studio work als lab for the development of a fundamental

theoretical research basis that can be lead to knowledgetransfer between the academic field, the industry and end-user

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6. UD in 6. UD in StSt--LucasLucas ArchitectuurArchitectuur UDEP.be

Designing in the dark working process

EXPERIMENTAL STUDIO

dr. Marc Dujardin

Designing in the dark workshop

– 6.1. Building up UD-competence by:– Sensibilisation and simulation

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Designing in the dark workshop

– 6.1. Building up UD-competence by:– Reconnecting the designer with the ‘dis-enabling end-user

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6.1. 6.1. SystematicSystematic POEPOE UDEP.be

6.2. Research 6.2. Research byby DesignDesign UDEP.be

Design studio strategyA two-way introduction of the UD-concept

• Implicit:Stimulate a design attitude thatis based on a more ‘inclusive’approach and conceptualisationof any design task

• Explicit:Apply the design tools and skills as developed in UD-guidelines and standards addressing the requirementsof a multi-sensorial man-madeenvironment.

Design studio Design studio strategystrategy (Design Studio M.Dujardin)

A design task that takes the UD-paradigm into account is characterised by:

– 1. Key issues and questions that are drawn from current socialdebates e.g. ageing, handicap,......

– 2. An high reality factor concerning programmatic demandsand contextual determinants

– 3. Interdisciplinary approach of the design task by involving the knowledge transfer of D-f-A-specialists

– 4. Interactive involvement of the enabling en dis-enablingexpertise of relevant end-users

“Low by the ground”:– Reconversion: re-designing of

Silo’s Blancke, a 37m high grainstorage facility at Aarsele as aninteractive complex of work and leisure.

– UD-key question:Why is it that the architect merelythinks the built space of disabledpersons horizontally and in most cases merely at ground floor level?

Why does the architects thinks the spatial intercommunicationbetween disabled and non-handicapped in one-way direction

“disabled persons and fire hazards”– Assisted

ResueEvacuation

“Step by step”– Design of a home for a group

of mentally retarded personsin Ghent

– UD-key question:Why is the life of adultpersons with mental and orphysical disablilities merelyconfined to cloister type building estates excludedfrom the city?

“sustainable dwelling”Flexibility in usage of the proposed project:– Kangoeroe housing: 1 social worker and dwelling group– Dwelling of the owner and rental students chambers– Dwelling with attached at home working situation

“The new norm man”– Reconversion of

‘Palinghuizen’, a neighbourghood situated at the 19th century belt of the city of Ghent

– UD-key question:How can an existing tram line, cutting a problematicbuilding block in two halvesact as a spatial mediator instead of a burden in the process of re-designing?

“Trans-generative”Neighbourhood

concept– Collective dwelling block– Individual housing– Universal Hotel

“Life long dwelling”– ADL dwelling concept– LAT dwelling concept– Pre-fitted technology

“Universal Hotel”

“Groendreef”– Reconversion of a black building

spot in Ghent

– UD-Key issue:Inclusive approach of the scalebetween the neighbourhood and the city

– Urban design en architecture:word and counter-word

“life long dwelling”– Design strategies for social inclusion– The vicinity of the water front

benefits all users of the neighbourhood and is not restrictedto the better-off class

“Community center en ADL-dwellings”– Meeting and dwelling within the vicinity of

water– Assistence Daily Living

“Leiekaai”– Reconversion of a ‘black

building block’ in Ghent

– UD-key issue:Socio-cultural and spatialmediation between two urbantissues: the urban and sub-urban type.

“Macharius”– Reconversion of a ‘black building

block’ in Ghent

– UD-key issue:Inclusieve approach of the tensionfield between the scale of the neighbourhood and the

UDUD--studentsstudents 20002000-- UDEP.be

“St-Lucas Architects, the next generation”B E U S M A N S S t a c e y , D A E M S A l e x a n d e r , D E C S I J e s s i c a , D E N Y S W i m ,H E N R I S T E r i c , H O G A N G e r a l d , H O U S T O N C a t h e r i n e , P E V E N A G E J o a c h i m ,R O B B E R E C H T S I v a n , S M E T F a b i a n , S T E R C K X S t i j n , V A N d E N H O V E C a r l ,V A N H O V E J e r o e n - A S S E L B E R G P i e t e r - B E C K E R S J o n a s - B U L C K A E N D a v i d- C R A B B é L o r e - D E C L E R C Q A r n a u d - D E V O S K r i s t o f - E E R E N S F r e d e r i k -P L A S S t e v e n - O O S T E R L I N C K S t i j n - S T R A G I E R C a r l - V A N B E L L E G H E MM a a r t j e - V A N D E K E R C K H O V E A n n i e k - V A N E E S B E E K S t e p h a n i e -V A N D E W A L L E P i e t e r - B L O M M E C h r i s t o p h e , C A R R E I N W i m , D E K E G E LB a r b a r a , D E M E Y W i m , D E C L E R C Q K a t r i e n , D E C O E N E M a r i e k e ,D E S C H I E T E R E L i e s , H A E G E N S N i c o , H O F M A N S K o e n , M A S S O N K a t r i e n ,V A N L I E F F E R I N G E C i n d y , V A N L O O C K J e f , V A N W A S S E N H O V E L a n d e r ,V A N D A E L E K o e n - B A E Y E N S K o e n - C A R R E I N W i m - D E K E G E L B a r b a r a - D EV O S K r i s t o f - D E L A R I V I E R E X a v i e r - D E S C H I E T E R E L i e s - G A R D I N C h r i s t o p h e- G R A U X B a s i l e - L E S C R A U W A E T S t e f a n - M E E R T A n n - S T A E L E N s L y n n -V A N S L E M B R O U C K K l a a s - V E R M E U L E N R u b e n - P A L M E R N i c o l a -C L A E S S E N S A n n i c k - D E S P I E G E L E I R E K r i s t o f - D E V O S K r i s t o f - D O O G H ED a v i d - S C H U T Y S E R F r e d e r i k - S E M I N C K B a r b a r a - S O E T E N S E v a -S T O F F E L S A l e x a n d e r - T O Y i L i n g - V A N H O E C K E G o e d e l e - V A NM A L D E G H E M M i c h a e l - V I L L A Y S P e t e r - B O M M E R E Z J e r o e n - B O N N Y M a r v i n- C U S T E R S J a n - D E B E R D T S o f i e - H A U W A E R T S A n n e l i e s - H O U B A E R T A n j a- J A C O B S T i m o t h y - L A N C K R I E T W e s l e y - P A R E T T h o m a s - P I T T O O R S A n -S T E E N L A N D T B r a m - V A N B E V E R E N R o b i n - V A N D A M M E C h a r l o t t e - V A NN I E U W E N H U Y Z E J o - V A N S T E E N K I S T E L i e n - V E R F A I L L I E P i e t e r -A E L T E R M A N E l i n e - B E E U S A E R T T o m - D E S M E T S u z a n n e - D E S P I E R R EB r u n o - G E L D E R S M a n u - K E P P L E R E l s - R O B B E R E C H T J o - S A N D E R SL e s l e y - S P I T T A E L S K a r l - V A N H O O F N a t h a l i e - V A N W I L D E M E E R S C H S t e v e n- L O P E Z L u c i a - I n a k i - O T A L M a i d e r - S T R U K E L J E v a - Z U B I A U R R E L u c i a -A C K E J a n - A U W E R C K X L a w r e n c e - F R A N C H I T T I P h i l i p - H E U L E U B r u n o -K E P P L E R E l s - S C H R E U R S S a r a h - B O M M E R E Z J e r o e n - D E B R A B A N D E R EL e e n - D E S M E D T F r e d e r i k - D E V O C H T S a m - S P I Y A E L S K a r l -G R Y S P E E R D T E m m e l y n - V A N B E L L E M a a r t e n - V A N D E N H O U W E R o b b y -W E N E S N e l e

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