
The value of home modifications

More people have difficulty reading than most people think. Low vision, dyslexia, low literacy, and learning disabilities are some of the reasons. Previous posts have covered the topic of plain language and Easy Read. But choosing the right typeface is also important for communicating successfully. Without understanding typefaces, things like colour contrast will make little difference.
Gareth Ford Williams explains key elements in his article. He says claims of some typefaces being more accessible than others are not backed up by evidence.
Different typefaces provide different styles in how letters are formed. For example, Gill Sans upper case ‘i’ and lower case ”l’ and ‘1’ look the same. However, in Verdana they are distinct from each other.
Mirroring is something than young children do. For example, muddling ‘b’ and ‘d’ and ‘p’ and ‘q’. However, the letter flipping effect can be lifelong.
Spacing or ‘visual crowding’ is another consideration. Some typefaces have the same space between letters regardless of letter width. Helvetica is one example. Calibri has different spacing between letters. A wide letter like m has more space around it than an i or a t. In some cases the letters can look joined up such as ‘ol’ or ‘vv’. Tight letter spacing is not great for people with good vision either.
The article has several good examples to illustrate points made. The title is, A Guide to Understanding What Makes a Typeface Accessible. Williams makes the point that there is no one right typeface. As always, it depends on your audience. However, this article provides great insights into yet another aspect of communicating accessibly. The article is technical in some places.
Thanks to Dawn Campbell on Linked In for alerting me to this article.
The art of audio describing has improved considerably since it was first trialled some sixteen or so years ago. Australian produced television programs signal when a program is audio described with a distinct sound. And more movies and stage shows are offering this option. Audio describing (AD) is designed for people with vision impairment, but could sighted people benefit too?
A group of researchers looked at two questions – the quality of the AD, and the additional benefit to people who are sighted. Currently, the AD process sits outside the creative process. It’s added later in a similar way to captions and subtitles. However, lack of integration can cause misunderstandings about the plot and the characters.
The research group carried out an experiment with people with vision impairment and sighted people. A short film was shown with enhanced sound effects. For example, bed spring sounds for someone sitting on a bed. Their article explains in more detail and applies the seven principles of universal design to their method.
In conclusion, the study showed that sound design – that is, non-verbal cues – can replace verbal cues in some films. The enhanced audio description was accepted by both vision impaired and sighted audiences. One sighted participant said that because the AD was integrated into the film it didn’t feel like they were listening to AD.
The article shows the potential for everyone to have an enhanced experience at the cinema and in their lounge rooms. It indicates a strong case for considering AD in the creative process and not leaving it as an afterthought. Integration of AD into the design process is another example of universal design.
The tile of the article is, Enhancing Audio Description: Inclusive Cinematic Experiences Through Sound Design. The introductory page has both and abstract and a lay summary. Be prepared for a long but easy read.
Audio Description (AD) is a third person commentary added to film and television productions to make them accessible for visually impaired audiences. Traditionally, AD is added to productions after they have been completed, meaning that the creative and accessibility teams do not work together to produce the accessible version of the production.
This paper explores an alternative to traditional AD, called Enhanced Audio Description (EAD), whose methods are integrated to filmmaking workflows. EAD moves away from a focus on verbal descriptions and instead focuses on sound design strategies. In EAD the traditional third person commentary is replaced by the combination of three techniques.
The first is the addition of sound effects to provide information on actions, convey abstract scenes as well as indicate time, place, and the presence of characters. The second is the use of binaural audio (3D audio over headphones) to convey the position of characters and objects portrayed on the screen. Finally, first-person narration is used to portray feelings, gestures, colours as well as certain actions.
The application of EAD methods results in a form of accessibility that can cater for both visually impaired and sighted audiences, championing inclusive cinematic experiences. Focus groups with audiences of visually impaired and sighted people demonstrated the potential of the format to be widely enjoyed, and to be offered alongside traditional Audio Description (AD) in order to provide accessible experiences which cater for different aesthetic preferences.
War damages buildings and transport systems. It causes them to fall into disrepair and become inaccessible. Sri Lanka is one such example. But what to do? Sri Lanka is committed to disability access in their re-building process. However, they have a complex web of building compliance, heritage and accessibility to navigate. A universal design training program for built environment practitioners is a good start.
Penny Galbraith summarises the training process and the historical context in an article. She explains how the technical training was devised and delivered. Workshop scenarios were key to the success of the project.
More than 80 delegates attended the three day training. They comprised technical staff responsible for compliance with regulations, architects, engineers, town planners, transport operators and civil society organisations. The aim was for participants to understand the concept of universal design as a means of problem-solving the issues. This is because a strict compliance approach was not going to ensure accessibility. Consequently, the emphasis of the training was on design not regulation.
War also increases the level of disability in the population. Many injured people are excluded from work and education. Superstition about disability as a form of punishment for wrongdoing in a previous life exacerbates the discrimination and stigma. While an accessible built environment can’t change attitudes, it can minimise barriers to work, a social life, and education.
The intent of Sri Lanka’s accessibility regulations is commendable. However, in practical terms, the regulations and regulatory process make this difficult to achieve and compliance levels are low. Universal design thinking encourages creative problem-solving which involves users in the design process.
Playing catch-up with investment also allows an opportunity to avoid mistakes and to learn from the journey travelled by other countries towards removing barriers in the built environment.
The title of the article is, A universal design approach to addressing the inaccessibility and disrepair of the built environment in Sri Lanka. It is downloadable from the Design for All India Newsletter, October 2021 (article 3). Note that this publication uses a large bold font which is not easy on the eye.
The combination of accessibility regulations, a rich architectural and cultural history, and recent civil war poses considerable challenges for remedying a damaged and run-down built environment. Sri Lanka has a commitment to removing barriers in the built environment for people with disability and as such has a set of robust regulations that are prescriptive and retrospective. However, drafting and translation errors have made it difficult to achieve these objectives. Consequently, there is a poor level of understanding and compliance with regulations leading to a seemingly intractable combination of difficulties.
A project funded through the aid program of the Australian Department of Foreign Affairs sought to overcome these difficulties through a training program. It was decided that a robust understanding of universal design principles would provide participants with different ways of thinking about the problems and solutions. Lessons from Australia were shared including whole-of-journey transport planning. Community and industry engagement was a central theme to taking more strategic and universal design approach to solving complex problems.
Penny Galbraith is a director of CUDA.
Museums and exhibitions help us understand the world we live in and give context to our lives. Making the content of museums available to everyone is an important part of the work of exhibition designers.
The Helen Hamlyn Centre conducted research to assist with this. Their findings and conclusions are reported in their article, Using Design Thinking to Develop New Methods of Inclusive Exhibition Making.
The project identified clear guidelines as a necessary factor in a universal approach to exhibition design. The key factor is encouraging designers to be creative and experimental with their designs. Making designers feel like they obliged to follow what they consider stifling requirements is counterproductive. It’s also about co-design and a dialogue between users, the institution and the design team.
The article is from the proceedings of the UDHEIT 2018 conference held in Dublin, Ireland, an open access publication.
Arts Access Australia also commissioned a report in 2011, Access and Audience Development in Australia: Museums and Galleries research project.
This article is a call to action for exhibition designers and museum professionals to prioritize the needs of neurodivergent audiences by incorporating these key tools and features into their designs, programs, and institutions:
1. Heightened awareness of sensory needs
2. Emphasis on breathing practices and regulation areas
3. Opportunities for health-awareness exhibits
4. De-stigmatisation of the need for regulation
5. Integration of art therapy practices and PTSD programs
6. Engagement with local community groups
7. Creation of safe centers of belonging and healing
The title of the article is, Neurodiversity & Placemaking in Exhibition Design. Photographs are informative.
Some good advice from a Masters dissertation on how to create inclusive Historic House stories and exhibits. The emphasis is on overcoming the practice of relating the dominant white male narrative. The dissertation discusses issues of diversity of ethnicity, socio-economic status and belief systems.
Seeking stories of forgotten or overlooked people who occupied the house is one way to address the prevailing white male narrative. Gaston advises:
The title of the dissertation is, If These Walls Could Talk: Best Practices for Storytelling in Historic House Museums, by Hannah M Gaston.
Integrating universal design was a priority in the redesigning of the Gateway Arch Museum in St Louis. A gently sloping plaza, architecturally integrated ramps, and engaging exhibitions. An article in the St Louis online news gives a good run-down of the features.
The universal design concepts allow people to interact with exhibits rather than just look at them. The touchable exhibits are a great success, and there are other enhancements for people with disability. The arch and the park are now easier to access by foot or bike as well. The Archinet website features a brief overview by the architects, and pictures of the museum. The timelapse video of the construction is interesting because of the landscaping of the parkland around it.
Here are three articles on universal design policy at national, state and local levels, and CUDA’s model statement. In 2016 the Victorian Government decided to incorporate universal design principles into government procurement processes. New schools were the first examples of Victoria’s universal design policy.
The Victorian Government updated their universal design policy in 2022. There’s also a summary version. The policy documents are intended for use in procurement processes. They are based on the 7 principles of universal design. Embedding universal design into procurement processes helps ensure the project maintains an inclusive focus.
In 1999 Norway turned the notion of universal design upside down. Gone is the idea that it is just about the design itself or the responsibility of the disability officer. Instead, universal design principles were placed at the heart of the planning process. That means everyone has to take responsibility. Their landmark approach to universal design still holds today.
Olav Rand Bringa’s story on how this was done in Norway is reported in a 2007 publication. The title of the book chapter on page 97 is, “Making universal design work in zoning and regional planning: A Scandinavian approach”. The book is, Universal Design and Visitability: From Accessibility To Zoning.
Bringa’s work is the forerunner to the landmark document “Norway Universally Designed by 2025“. He followed up with another update at a UD Conference in 2018 titled, “From Visions to Practical Policy: The Universal Design Journey in Norway. What Did We Learn? What Did We Gain? and What Now?” The paper is based on almost twenty years of experience and has guidance for others.
Having a universal design policy statement to go beyond access compliance is a relatively new thing. And it is a lot of work to start it from scratch. Fortunately Hobsons Bay Council in Victoria has a good example to refer to. Their Universal Design Policy Statement for council buildings and the public realm is comprehensive and nicely written in 18 pages. It covers cost (or lack thereof), the regulatory framework, applying universal design principles and advocacy with business and governments.
CUDA has a generic universal design position statement as a model for others to use. There’s also a plain language version.
An article in The Conversation draws our attention to the need to have separate waiting rooms, specifically designed for indigenous patients. This is because they often leave emergency rooms without receiving treatment. But does that mean non-indigenous patients feel comfortable in waiting rooms? Probably not – we all feel uncomfortable and anxious in hospitals. We need hospitals with healing design.
The title of the article is, Making space: how designing hospitals for Indigenous people might benefit everyone. The article explains design features to improve hospital design. The research is by Timothy O’Rourke and Daphne Nash from University of Queensland.
Although the article doesn’t mention universal design specifically, cross cultural awareness to create inclusive spaces and places is synonymous with universal design. There are links to other resources in the article.
The Dementia Enabling Environment Virtual Information Centre has a section on the design of hospitals. This interactive web tool shows a layout of a typical section of a hospital. Clicking on each room takes you to another page which is illustrated with Before and After features. A slide bar takes you between the Before and After illustrations. Design ideas for the staff station, bed area, patient or family lounge and reception area show how a few tweaks can make the place more dementia friendly. For a more in-depth guide see the guide from Ireland on using a universal design approach.
No-one wants to go to hospital, either as a patient or a visitor. This is especially the case in hospital wards where children are very unwell. Putting families and patients at the centre of hospital design makes for a more welcoming place.
An article in FastCompany tells how a design committee made up of families of patients acted as an advisory group. Parents whose babies and children experienced long-term hospital stays were consulted. Useful information emerged such as the distance to bathrooms and the lack of privacy for dying children.
The feedback was instrumental in guiding the final design. For example, the devastating experience of watching child die in an open ICU bay led to having only private rooms. Doctors’ experiences with over-stimulated children guided colour and lighting choices. Natural light and access to outdoor spaces were also essential.
The end result was not perfect, but the participatory design process made the hospital a better place. Clinical staff also informed the design process and made them think about the way they deliver care.
The article is titled, See inside a hospital designed by patients, and has several highlight the design ideas.
A related article is the presentation by Stefano Scalzo at UD2021 Conference.