Category: Co-design & Design tools

The right to participate and co-design

A graphic of a group of people including a wheelchair user.How do you include people in decisions that will affect them when it’s not easy for them to participate? It’s a chicken and egg situation. So, asking people with disability to contribute takes more than a survey or a community meeting. It needs a much more thoughtful process. Janice Rieger has some thoughts on the right to participate and co-design polices and processes.

Janice Rieger discusses the issues in relation to the next National Disability Strategy. Her briefing paper is titled, Right to Participate: Co-designing Disability Policies in Australia. Focusing on process rather than the end product sets the framework to reach a shared understanding. Her three recommendations for co-designing in practice are:

      1. Focus on abilities not disabilities
      2. Employ expertise to help
      3. Value the importance of creative practice

Public sector co-designing is an emerging field of practice. It provides the opportunity for creativity and innovative ideas. Reframing participatory engagement through a social justice lens takes us towards a co-designing process. 

Editorial Introduction

“We are entering a new era in Australia as we envision a new disability strategy to replace the current national disability strategy (2010–2020). During this transition, we can reflect on and recognise the changing disability landscape in Australia and ensure that we create a just and inclusive Australian society.

Recent consultations and reports have called for people with a disability to directly engage in designing the new disability strategy in Australia, but what does that entail, and how will the rights of people with disabilities be upheld throughout this process?

This brief describes public sector co-designing practice—an emerging practice aiming to open up new trajectories for policy development through a co-design process and to provide best practice recommendations for the next disability strategy in Australia.”

Playmobile helps with design translation

Playmobile figure in a bed with a doctor figure standing by.Doctors and architects speak different languages. That’s understandable – they’ve been to entirely different schools. We can get by in a foreign country with gestures. But when it comes to communicating detail we need a phrasebook. Similarly, architects and health professionals a similar tool – Playmobile. It helps with design translation. 

Using Playmobile figures and 3D printed beds and hospital equipment designers and medical staff can shape the spaces together. Not everyone can grasp the concept of spaces on a two-dimensional drawing. Likewise, designers do not have an intimate understanding of how clinics work. But everyone has played with toys. 

This is a great example of Universal Design for Learning (UDL). The short article on FastCompany doesn’t mention this specifically, but it follows the basic tenets: multiple means of engagement, representation and expression. 

This is not a new idea – Lego has been used in other situations.

Human-centred design playbook

Front cover of the Human-Centred Design Playbook from the Government of Victoria. The cover is dark blue and bright pink with white text. Human-centred design is an approach to problem-solving that puts people at the heart of the process. It’s about empathy with users. This style of approach has the potential to generate more varied ideas for design solutions. It’s more than community engagement – it’s a collaborative and iterative design process. Collaboration and iteration are at the core of a universal design approach.

The Victorian Government’s Human-Centred Design Playbook is specifically for the public sector. And not just those with job descriptions that are about policy, planning and design. 

The aim is to help staff collaborate better with the service design team, service designers, and external design agencies. The guide does some of the thinking in helping to assess options and practical steps for implementing the project.

Taking an iterative approach to design is at the heart of the process. “We iterate because we know that we won’t get it right the first time. Or even the second… it allows us to keep learning.” 

At 100 pages covering methods, design plans, outputs and case studies this playbook has everything. The Digital, Design and Innovation branch of the Department of Premier and Cabinet produced the playbook. It is designed as a starting point for planning and scoping design-based activities. 

You can download a copy of the playbook directly from the website. 

The playbook complements the Victorian Government’s Whole of Government Universal Design Policy. 

Principles of human-centred design

Design consultant David Townson discusses his seven principles of human-centred design in a Design Council blog article. He has spent his career developing products and services to make them work for people. He argues that users are human beings – that includes every human being a design impacts.

New designers often miss this subtle point and focus on a specific primary user, says Townson. And there could be more than one primary user. The factory-workers that make it, the courier that delivers it, the installer, and the mechanic who fixes it. Even the person who disposes it at the end of its life.

“All design should be human centred, it’s as simple as that. And I mean human-centred, not ‘user-centred’ or ‘user-friendly’”

David Townson, design consultant

A hand holding a large potato being peeled using an OXO Good Grips vegetable peeler.

7 principles of human-centred design

According to Townson, these are briefly, the seven principles of human-centred design:

Get past your own great idea. Observe the environment in which you are designing, watch people in that environment, talk to people and observe them in shops.

Don’t be restricted by your own knowledge. During the research process ask smart, naive questions. Eliminate all your assumptions and turn them into validated knowledge. Being convinced you know everything isn’t conducive to that outcome.

Spend time with real people in real environments. Observation of people is crucial. It is this keen and open-minded observation that triggers off a great idea in the first place. That’s how the famous OXO Good Grips came to be designed.

Identify other users. Following on from the OXO story, the designer discovered that it wasn’t something only his wife needed. They identified expert users – chefs.

Follow your users lead and needs. Chefs wanted it too. But they wanted a blade with steel. So that’s what they did and improved the design.

Think about the whole journey of the product. As a designer you cannot just stop at your primary user as the product has a life before and after that and impacts on people beyond them. Think about what happens during and at the end of the product’s life.

Prototype and test your idea. Prototyping forces you to share your ideas rather than developing them in a vacuum. Seek out people who may have a different take on things allowing you to validate your idea and gain constructive feedback from potential users – beyond the easy feedback given from family and friends.

For more detail on Townson’s ideas see the Design Council article, Seven tenets of human-centred design.

For interest, here is the OXO story on YouTube.  

 

What is human centred design?

It isn’t just about consulting with humans in the design process. It is about understanding the impact that design has on us as humans. Sarah Williams Goldhagen argues that people undervalue good design. 

A large arched walkway at night with purple bougainvillea flowers overhead. The pathway is well lit but has the line shadows of the arches across it.

There is no such thing as neutral when it comes to design of the built environment. It has either a positive or negative effect on people.

A place should inspire uses and passers by. If it doesn’t support what people need to do then it is eroding wellbeing and impoverishing people’s lives. This is especially the case when you can’t even get into a place or space because it is inaccessible. Goldhagen goes on to say that good design is less about personal taste and more about human bodies and minds. Goldhagen’s article is in the Journal of Urban Design and Mental Health. It is titled, What is Human-Centered Design? Should Anyone Care? 

Design details and everyday experiences

Title of the article in white text over an image of the top of an escalatorWhat is it about designs that either include or exclude users? Many designs are everyday – the things we hardly notice. That is, until we have difficulty using them. Design students need to see how exclusion happens.

Deborah Beardslee takes the perspective of physical ability to analyse how inclusion and exclusion happen in the design process. She notes that most designs work reasonably well for most people even if they aren’t designed that well. But we are all familiar with some degree of compromised experience. For example, hard to read instructions, doors that are difficult to open, places difficult to navigate and generally unappealing places.

Beardlee’s article will be of interest to design educators as well as practitioners. It focuses on examining everyday interactions with commonplace items with analysis of several examples. The aim of the paper is to encourage strategies for educating designers to be more inclusive. 

The title of the article is, Inclusive, High Quality Decisions? Macro/Micro Design Impacts within our Everyday Experiences, and was accessed from SEGD.org Universal Design webpage.

Abstract:  Age and physical ability are natural filters for assessing the successes of designed objects, messages, and experiences. Design problem solving contributes (or not) to the resolution of challenges faced by aging and/or physically challenged individuals as they interact with products and contexts in the built environment. This paper examines some design details, solutions, and situations that impact everyday inclusivity and quality of experience, and suggests approaches toward understanding and increasing interaction success for all of us.

The comparisons presented in this work are intended to initiate an evolving platform for the discussion and development of design education strategies and content that prioritize aging and physical ability issues. Some familiar macro and micro examples have been chosen to illuminate everyday user interactions, challenges, and considerations. Ideally, increased exposure to these aspects, through audience-, age-, and ability-related projects, courses, and curriculum, will strengthen awareness and empathy in young design students, and encourage thoughtful, and more inclusive, design in the future.

Colours for colour blindness

Title of the blog article using light blue and dark blue colours.Colour is often used in charts, maps and infographics, but what if you can’t see some colours? One in twelve men are colour blind, but not for all colours or the same colours. Infographics are becoming more popular as a means of explaining things. So choosing the best colours is to everyone’s advantage. Venngage website has an good guide and lots of tips on making charts more accessible. It shows the three types of colour blindness and compares them with normal vision. Different colour palettes are provided along with templates. The blog page includes links to other resources. Colour combinations to avoid include:

    • Red & green
    • Green & brown
    • Green & blue
    • Blue & gray
    • Blue & purple
    • Green & gray
    • Green & black

Most colour blind people can detect contrast, so as a last resort, if you must use these colours, make the contrast as strong as possible. Patterns and textures also work. The article is titled, How to use color blind friendly palettes to make your charts accessible.  Colour blindness is technically referred known as colour vision deficiency (CVD). 

Another resource for map colour by Tedora Zareva is useful too. You can also find out more about CVD or colour blindness from going to the National Eye Institute website

Four circular charts showing how people with colour deficiency see different colours on the colour wheel

Which colour to use – A new standard?

part of a London underground transport map.

There is a growing body of science on the topic of colour use and choice. On the second page of the International Ergonomics Association newsletter there is an item advising that in developing an international standard (ISO 24505) for colour use, accessibility needs to be considered. In four parts, the first part of the standard has been published for older people taking into account age-related changes in human colour vision. The remaining three are under development. Here is a snippet from the newsletter:

You understand me? Maybe

Front cover of the toolkit with three overlapping circles, bright pink, purple and turquoise.This toolkit about communicating with customers follows its own advice. The information is written in a straightforward way. Lots of graphics illustrate key points, and the information is very specific, such as when to write numbers as digits or as words. While the information might not be new to some, it serves as a good reviser of current practice. Designed for organisations but good for everyone.

The Customer Communications Toolkit for the Public Service – A Universal Design Approach has sections on written, verbal and digital communication. At 134 pages it is comprehensive. Each section has examples, tips, checklists and links to learn more. The intention of the toolkit is for public service planning, training and informing contractors. But of course, it works for anyone who is communicating with the public. 

Another great resource from Centre for Excellence in Universal Design in Ireland. Interesting to note that they have chosen colours for the cover and their logo that almost everyone can see – that includes people with colour vision deficiency.

Double Diamond: Tool for Design

Two red squares are placed on the diagonal with one corner touching each other. The left hand square has the words Discover and Define. The right hand square has Develop and Deliver. The diamond name comes from placing the squares in a diamond shape.Design isn’t just about tangible objects, it’s also about services and processes. This is where the Double Diamond Tool for Design comes to the fore. The Design Council devised the Double Diamond as a way of graphically explaining the design process. The two diamonds represent a process of exploring an issue and then taking focused action. The key elements of this model are:

Discover. The first diamond helps people understand, rather than simply assume, what the problem is. It involves speaking to and spending time with people who are affected by the issues.
Define. The insight gathered from the discovery phase can help you to define the challenge in a different way.
Develop. The second diamond encourages people to give different answers to the clearly defined problem, seeking inspiration from elsewhere and co-designing with a range of different people.
Deliver. Delivery involves testing out different solutions at small-scale, rejecting those that will not work and improving the ones that will.

The latest iteration of the Double Diamond is available in a PDF document and is explained on the website and a video. Several different design organisations have taken this model and made it their own. 

This model now has a fifteen year history. The Design Council has much more on their website about their Double Diamond and how to use it.  

Co-design with older adults

A creative workshop scene. A woman is holding a pair of scissors, another is holding a pen over paper. Co-design with older adults.Finding out what older adults might want and need in their daily living experiences takes more than just asking them, especially if they have a cognitive impairment. Using creative methods, such as drawing and creating models, older people can express their needs in a tactile format. This also creates rapport with designers who can then devise better mobility, dining and leisure activities. This method is enjoyable for all participants.

The title of the article is, Participatory Design with Older Adults: Exploring the Latent Needs of Young-Old and Middle-Old in Daily Living Using a Universal Design Approach. You will need institutional access for a free read from SpringerLink.

Or ask for a free read through ResearchGate.

From the abstract:

This paper discusses co-design experiences with various stakeholders to explore latent needs of older persons in their daily living using a universal design approach. Through iterative use of creative methods, freehand sketching and physical models, older adults express their needs in a more accurate, tactile format.

Findings reveal that commonality of interest among older persons are important in building rapport among other participants. It also helps designers develop designs related to health care, mobility, dining and leisure activities.

Older adults and co-design

Close up of an older man and woman with their heads together dancing. He is wearing a hat and cravat, and she is wearing a red flower in her hair. They look loving.Older adults want the same designs as anyone else. Too often older people are gathered together under the umbrella of “the elderly”. This term assumes everyone is the same. It’s applied to people as young as 60 or 65 and every age after that. We can debate the terms but in the end, we are talking about people and design.

An article in Design Week challenges assumptions about older people and design. It reports on a study involving older people in design projects. They found older people “want what we want”. The ‘we’ in this context is young designers.

A key point is that people can live independently for longer if things are designed around their needs. In the end, age isn’t relevant. But designing inclusively is. That’s why devices designed specifically for older people are bought but often abandoned. 

The title of the article is, Why age is often the “least relevant thing” when co-designing with the elderly.  It’s an easy read magazine article with good points for designers. 

Maximise inclusion for ageing in place

A row of red brick terraced houses where people will age in place.
An image from the report

What does ‘ageing in place’ actually mean? For some it means staying put in the family home in their later years. For others it means staying in the same community. 

Researchers at the University of Manchester developed a ‘village’ model of support based on those in the US. The residents came together to identify the services that they need and how they could be better managed. Storytelling was an integral part of the data collection. Ideas were generated for supporting ageing in place at a local level. 

Front cover of the report on ageing in place.
Front cover of the report

The report recounts the difficulties recruiting volunteers and participants as well as overcoming distrust of decision-makers. Access to formal and informal meeting places was also an issue.

Recommendations include building social infrastructure and strengthening organisations led by older people. The title of the report is, Community interventions to promote ‘ageing in place‘. This is a large file. 

Co-designing with people living with dementia

A diagnosis of dementia used to mean staying home and being cared for. Those who work in the area of dementia are doing their best to change this view. But is the design community prepared to embrace people living with dementia? Paul Rogers reports in Co-designing with people living with dementia disruptive design interventions to break the cycle of well-formed mindsets. The co-design method has provided ways for people with dementia to continue contributing to society and have fulfilling lives.

The co-design project was to create a new tartan design. Each person with dementia directed the researcher to co-create their digital design one colour at a time.

A tartan from the research paper with orange and green colouring. Co-designing with people with dementia.

The Disrupting Dementia tartan project shows how co-design methods and tools can enable people living with dementia to make a significant contribution to society after diagnosis. Although dementia changes some aspects of a person, it does not affect their sense of self. Projects such as these not only inform designers, they also give a sense of inclusion and belonging to people with dementia.

From the abstract

This paper illustrates methods for co-designing with people living with dementia in developing a mass-produced product. The research was carried out in collaboration with Alzheimer Scotland using a range of disruptive design interventions. The aim was to break the cycle of we-formed opinions, mindsets, and ways-of-doing that remain unchallenged. The research has resulted in co-designed interventions to help change the perception of dementia.

People living with dementia can offer much to UK society after diagnosis. Co-designed activities and interventions help reconnect people recently diagnosed with dementia to help build their self-esteem, identity and dignity. Co-design processes help keep people with dementia connected to their community, thus delaying the need for formal support,

We worked collaboratively with over 130 people with dementia across Scotland in the co-design and development of a new tartan. The paper concludes with recommendations for researchers when co-designing with people living with dementia.

Altering design mindsets

Breaking Well-Formed Opinions and Mindsets by Designing with People Living with Dementia is a similar paper. You will need institutional access for a free read, or access via ResearchGate.

The paper reports on three design interventions using co-design activities with people diagnosed with dementia. The interventions offer innovations for co-designing with this group.

To move or not to move?

We expect to grow old, but because we don’t aspire to grow old, we rarely plan for it. “I’ll worry about it when the time comes” is a usual response. A report from AHURI looks at the housing situation for older Australians and some previous research is confirmed.

Front cover of the AHURI report on older Australians and the housing aspirations gap.

Most respondents felt their current home would suit them as they grow older, but they are not planning ahead. If they are, they lack information on how to go about it, what to look for, and what their options are other than age-segregated housing.

A significant proportion of respondents hadn’t thought about planning ahead for their living arrangements. This is one reason why we need the Livable Housing Design Standard adopted in all states and territories. It is in the 2022 edition of the National Construction Code and there is a handbook for designers. 

Title of the report is, Older Australians and the housing aspirations gap. There’s a full report and an executive summary.

But do all older people want to stay put?

Apartment block with blue windows and balconies with plants and washing drying.

It is often said that older people want to stay put, but this may not be the case for everyone. A study from Berlin, Germany looked at this issue in depth. While some of the findings might be specific to Berlin, the article raises interesting questions.

The researchers found that social class, gender, age and migrant history were not necessarily measures of movement behaviour. The top three reasons that emerged were: to have a smaller apartment, an obstacle-free apartment, and to have to a cheaper apartment. 

The title of the article is, Why Do(n’t) People Move When They Get Older? Estimating the Willingness to Relocate in Diverse Ageing Cities. This is an open access article in Urban Planning journal. The results indicate decisions to move are multifaceted. Older adults are not an homogeneous group with the same needs. As with other studies, older people want the same things as younger people. 

What does inclusion actually mean?

Graphic of stick people in various poses with the caption, "Inclusiveness,, looking at everyone. What does inclusion mean?Kat Holmes found the origin of include was to “shut in”. Similarly, the origin of exclude was to “shut out”. Maybe “inclusion” is not the right word for describing the inclusion of everyone in products, places and things. So what does inclusion actually mean?

Holmes explains in the video below, that the topic of diversity is discussed as gender, sexual orientation, religious belief, ethnicity, and race. Disability is usually mentioned last in the list, if at all. “But it is the one category that transcends all other categories”, she says. “Abilities are constantly changing”. 

Holmes’ offers an alternative way for designers to consider diversity, and is based on her book, Mismatch: How Inclusion Shapes Design. An engaging talk for all upcoming designers in any field. And not just professional designers either. We all design things every day, so we all have a role to play. 

Editor’s Note: I discussed this issue in a 2009 paper. Inclusion requires those who are already included to invite into the group those who are excluded. Semantics are important. What we need is inclusiveness – that’s where inclusion has already happened and there are no exclusions. Inclusion is a futuristic concept – it’s something we are striving for. It it were achieved, no further discussion would be needed.

Does your access map have the right colours?

A woman holds a tablet with a map on the screen, She is standing in the street. Does your access map have the right colours?
A digital map

Being able to find places easily is key to getting out and about at any age or level of capability. Online maps are becoming more sophisticated with interactive content and different layers of information. Graphics and colour are used to emphasise places and attributes. But not everyone can see certain colours. So, does your access map have the right colours?

The number of people with colour vision deficiency (CVD) is growing as some people acquire it as they get older. Map Design for the Color Vision Deficient provides a background to this issue and tools for selecting the colours when designing maps. You will need institutional access for a free read. A similar paper is available on ResearchGate.

From the abstract

The golden rule of map design states that one should carefully consider both a map’s purpose and its audience. Maps designed for the general public frequently fail to consider the portion of our population with color vision impairment or color vision deficiency (CVD), known more commonly as color blindness. Recent studies indicate that over 5% of our Caucasian male population are susceptible to congenital or inherited color vision deficiency.

CVD also can be acquired from chemical exposure, injury, illness, medication, and aging. With the exception of aging, little or no data exists on the number of people impaired by any of these non-congenital causes. Recent research has revealed that as many as 20% of those studied over the age of 72 suffer from a blue-yellow defect that increases with age to nearly 50% at age 90.

This acquired blue-yellow defect also is the predominant CVD for those suffering from chemical exposure. This chapter examines the effects of CVD and attempts to illustrate the impact of color choices on visually impaired audiences. It shows that the acquired CVD population is growing and suggests colors and alternatives in map design to minimize that impact. 

Maps in shades of grey: is that what you want?

A wheel of all the colours of the rainbowMap design usually relies on colour to convey information. But what if you can’t see all the colours?  You get maps in shades of grey.  Directional maps, such as street maps for example, use colour to indicate train stations and heritage sites. Geographical maps use colour to show height of land, temperature, and to separate land from water. And it’s not just maps – websites suffer the same issues.

Many of these are age-old conventions that designers follow. So how do you know what colours are best to use? The Colblinder website give examples of what geographic maps look like to people with CVD. It also has links to other references and a colour blindness simulation tool. Although this is about maps, it can also apply to websites and printed documents, such as guidelines, and manuals where pictures and graphics are used to inform and instruct.

For research on this topic Anne Kristin Kvitle’s article is worth a read. The article is titled, “Accessible maps for the color vision deficient observers: past and present knowledge and future possibilities”. 

From the abstract

Color is part of the visual variables in map, serving an aesthetic part and as a guide of attention. Impaired color vision affects the ability to distinguish colors, which makes the task of decoding the map colors difficult.

Map reading is reported as a challenging task, especially when the size of stimuli is small. The aim of this study is to review existing methods for map design for color vision deficient users. The study identified two main approaches: pre-processing by using accessible colors and post-processing by using enhancement methods. Some of the methods may be applied for maps, but requires tailoring of test images according to map types.