Industrial design practice Archives

Colour combinations for everyone

Observations during the 2011 Tsunami disaster in Japan showed that the colour of signage matters a lot. A short research paper outlines the colours and colour combinations that are easily seen and interpreted quickly by people who have one of the colour blindness conditions. The result is colour combinations for everyone.

The results of this study and other colour studies are reflected in the Japanese standards for the paint, printing and design industries. The colour scheme-set contains 20 colours and is divided into groups depending on whether things are small scale or large scale. Bright pink turned out to be a colour for large signage. For more on the colours go to the Open Journal of Social Science and download the five page article, “Color Barrier Free Displays in Disaster Situations”.

Furniture for later life

There is much written about older people and their attachment to their home, but what about furniture? I’m sure most of us are familiar with grandfather’s “favourite chair”. So, what makes it a favourite? Comfort, ease of use, or does it go further than that to self image? A study on furniture in later life has some interesting findings for furniture in all types of housing.

What kind of relationship do older people have with their furniture? How does moving to a new home affect their relationship with their furniture? What can that relationship tell us about the affect of furniture design on older people? The study found that older people had emotional bonds with their existing furniture. It is part of their identity. This leads to the conclusion that it is important for people to take their furniture with them when they move. It gives a better sense of home even if it is a new environment.

Issues arise in places such as nursing homes where staff have their preferences for furniture design. Also, family members can make choices that aren’t the preferences of the older person. As with many studies, the conclusion includes the need to involve older people in the design process, particularly in residential care settings. Furniture can support and enrich older people and should be part of understanding the living conditions and their emotional bonds, culture and history.

Furniture for Later Life: Design Based on Older People’s Experiences of Furniture in Three Housing Forms is by Oskar Jonsson. It is a doctoral thesis so there is a lot of information. Unfortunately, Oskar tells me he did not publish any shorter papers from his thesis. However, the Table of Contents provides links to the key information.

From the abstract:

Generalizations made regarding older people’s needs have proved to be too limited in scope to meet their needs and wishes. There is great variety in what old people express regarding furniture and reveal a diversity of interests, needs and wishes. In the light of the research results, it is unreasonable to reduce older people to a homogeneous group or attempt to specify their needs in advance. Despite this, the results reveal needs and wishes for furniture that provide comfort, pleasure and independence and that contribute to desired experiences of dignity, meaningfulness and freedom.

No need to fear the ugly

The Washington Post extols the virtues of universal design making the point that it can look beautiful. Regardless of how it looks, many people think it feels beautiful. That’s because it is good design – design that has a focus on comfort and convenience for the whole family.

As with many articles, the article focuses on wheelchair access. The article discusses interior design in different settings and emphasises the “wellness” aspect of design.

One key point is that of Boomers watching their parents go to age segregated living and they know they don’t want that themselves. Dallas interior designer Chad Dorsey says, ” “It starts outside with an ease of approach — something gracious,” he says: simple, elegant entrances that accommodate a wheelchair; shallow, illuminated steps with a handsome handrail; or a textured stone that provides traction.

There are all sorts of ways to make a front door welcoming. “The more we talk about it, discuss it and show it, the more solutions we’ll find. Accessibility is a lifestyle, and it can be beautiful and natural.” ” There is no need to “fear the ugly”.

The article has lots of pictures, which are worth a look, showing how universal design can create access and comfort for everyone. The title of the article is, Accessible design is growing. But can it be beautiful?

Image courtesy of Motionspot. Note that while the lift provides access to the upper floor, the staircase has no hand rail or balustrade. If anyone trips or loses their balance, at least there is a lift if they become immobile!

Design for Humanity: People and Planet

Is the quest for inclusive design so difficult that we need so many different terms? Are new-fangled methodologies improving the situation if the aims are the same? Many different ways of promoting the process of designing inclusively is surely confusing everyone. Enter “Humanity-Centred Design”. This one is a bit different because it’s about the planet as well as people.

Many of our current and future designs will be inhabited by upcoming generations whose consumption patterns will have different values. According to an article from the UK designers need to embody the values of inclusion, ethics, empathy and cooperation. Designs will need to be meaningful to appeal to upcoming generations. Hence the proposition of a new paradigm or model – Humanity-Centred Design.

The title of the article is, Humanity-Centred Design – Defining the Emerging Paradigm in Design Education and Practice.

The Sustainable Development Goals also embody similar values and these are gaining traction in many fields of work.

The chart below is from the paper and shows the evolution from functional approach to a people focused approach.

From the abstract

Several different paradigms define product design as it has evolved to meet the needs and desires of people. As the needs and desires of people are increasingly met by products at all price points, companies need to embrace a new paradigm which will enable them to differentiate their products from the competition. People are also increasingly aware of both the limited and depleting natural resources of the planet and the prevalence of inequality and poverty present in the world.

A paradigm is emerging which enables companies to address all the above simultaneously. This paradigm and approach to designing products is referred to as ‘Humanity-Centred Design’ in intentional reference to the ‘User-Centred Design’ and ‘Human-Centred Design’ methodologies.

There is a greater focus on designing products which are both sustainable and actively contribute to the alleviation of poverty in all forms and promote human development and wellbeing worldwide. This paradigm is being taught to students of Product Design at Buckinghamshire New University to ensure that they are prepared to design products for the newest and future generations and the greatest proportion of consumers.

Intuitive to use: Does it work as a design guide?

The seven classic principles of universal design were developed in the 1990s and are still applied in many contexts. The concept of universal design continues to evolve. Today, the concept is better understood as a way of thinking about inclusion throughout the design process. Newcomers to the concept of universal design often try to apply the principles literally rather than as a guide for design thinking. Maybe it is time for a product recall?

The classic principles are not themselves intuitive to use. And herein lies the problem. Consequently, Steinfeld and Maisel devised the 8 Goals of Universal Design in 2012. The 8th Goal is about cultural inclusion. These goals are easier to apply and more suited to adaptation to different design disciplines. However, they have yet to receive the same attention as the classic principles.

Not surprisingly, there have been many academic papers critiquing the seven principles. Academics are now arguing nuances between universal design and intuitive design, or applying principles in a tick-box fashion. One such paper is focused on the third principle, simple and intuitive to use.

The author concludes that as a design principle it doesn’t work because it doesn’t say how it is done, but is useful as a reminder to think about a broad range of users. It is worth noting that the researcher did not consult with users during the design. Rather, an example from an existing design was used to critique the principle of intuitive to use.

The author reports on the application of an automatic locking system on a toilet door on a new train in Norway. The trains were designed with the principles of universal design. This includes an electronic door locking system for the toilet. However, this system has many passengers confused in spite of written instructions and icons. Consequently passengers have found themselves in embarrassing situations due to the door not being locked.

Clearly there is something wrong with the design for everyone. It fails the test of intuitive to use. But is this a problem with the principle, or the designers who failed to properly test the design? Did following the principles give unfounded comfort to the designer such that no product testing was used?

The title of the article is, Intuitive use in design guidelines: Can intuitive use be applied to a product? An article in Medium has picked up the story and concludes it is bad design. It adds the critical point that if you need lots of instructions on how to use something then it is definitely not intuitive.

Abstract

Several design guidelines recommend to design for intuitive use and marketing often advertises products as intuitive in use – but what does it mean for a design to be intuitive? One design guideline that embraces intuitive use is described by the principles of universal design. The third principle says that the design should strive for ‘Simple and intuitive use’ regardless of experience and cognitive abilities.

This article will examine the concept of intuitive use and address the case of an automatic toilet door system that, even though universally designed, seems to be confusing to many users. From the literature, the focus will lie on the concepts of affordance and familiarity, due to its relation to intuition.

The case is further used to evaluate these concepts and to see if principle three of universal design is possible to fulfill. The article concludes that the principle is a good reminder of an important concept; however, the design process needs supplements from other design literature to fulfill the principle.

Design for participation – inclusion will follow

Designers can relate to the term “inclusive design” more than other terms. This was one of the findings of a Swedish study. Designers had a general sense of “accessibility”, but they felt intimidated by the term. They thought it was for extreme cases for a few people and something they could ignore.

Designers also thought accessibility was a higher requirement than inclusive design. They felt inclusive design sounded more inviting and positive than accessible or universal design. The workshop method used in this study drew out many fears and anxieties designers had about people with disability. The workshop process was therefore a way of educating and allaying these fears and other perceived difficulties.

This is an important study for design educators, advocates for people with disability and older people, and creators of guidelines. Perception is everything – it underpins attitudes and in turn, designs. The caveat of language is that the study was not conducted in English. So the direct translations might not apply elsewhere. But the study has much more to offer than terminology.

Terminology for inclusion has always been a problem in design disciplines. It’s also an issue for people working in the world of universal design, inclusive design and design-for-all. Each of these terms, and others, such as human centred design and user centred design, have evolved from different spaces. But their aims are all the same. Regardless of the term, getting users to participate in designs, not just comment on prototypes, will result in inclusive outcomes.

The title of the article is, “Inclusive Design Thinking: Exploring the obstacles and opportunities for individuals and companies to incorporate inclusive design”. It’s by Esra Kahraman from KTH Royal Institute of Technology EECS, Sweden.

Design for Participation and Inclusion will Follow, the title of this post, is from a separate paper on digital inclusion by Stephan Johansson who is quoted in the article.

Abstract:

Exclusion by design can be seen in every corner of our society, from inaccessible websites to buildings and it has a significant impact on people with disabilities. As designers and people who have a hand in shaping our environment, having a more holistic view of the target groups when designing for available and new technologies is essential, something that is currently missing. Not only to combat design exclusion but also to challenge and improve current and future products.

Related research shows that there are ways to challenge design exclusion but the question of why more inclusive design practices are still not in place remains. This study aims to answer the question: What are the obstacles keeping designers from making more inclusive design choices and what opportunities are there? What are the internal and external factors and how can they be tackled?

The methods chosen to answer these questions were primarily qualitative in forms of interviews, field study, and a workshop. The results from the interviews and empathy building activities done in the workshop highlighted common obstacles the designers felt in their workplace, both on a personal and corporate level.

Design details and everyday experiences

What 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.

Interior design for better hearing

Sooner or later most of us will lose a portion of our hearing – some to the point where it affects our everyday life. How to design inclusively for people who are hard of hearing is the topic of an article in ArchDaily. It lists six design tips and outlines features that can assist people to work and socialise more easily:

- - Interior layout and visibility
  - Brightness, light and reflections
  - Multisensory spaces
  - Acoustic optimisation
  - Materials, objects and new technologies

The article, Architecture for People with Hearing Loss: 6 Design Tips, concludes with: “In short, a truly inclusive design does not always necessitate hyper-awareness of special considerations, but can simply mean incorporating needs that tend to be basic for everyone, regardless of their physical conditions.” There are links in the article to other resources.

Deafness is a major cause of social isolation and inability to work effectively. Hearing aids are only a partial solution – that’s because they amplify all sounds including background noise. Being able to see the face of someone talking is a great help. Captioning of live events and videos is a must for taking in information and enjoying the plot of a movie.

Interior design for brain trauma

Dementia and autism have received a lot of attention in the design world, but what about people with brain injury? No doubt some of the design solutions are similar. Using a human centred approach an exploratory study looked at developing a prototype home that could address common symptoms of people traumatic brain injury.

The idea is to minimise negative feelings and behaviours in the design. For example, designing something difficult to use can cause frustration leading to aggression. The article goes through the common behaviours and how to design for them.

Artist view of an exercise room with a big picture of a forest. — Image from the article depicting an exercise room.

The article draws together relevant health information with interior design ideas using person-centred design principles. The researchers developed three residential spaces to address common symptoms. These were and exercise room, a re-regulation room, and a quiet meditative space. The strength of the designs is they do not call attention to differing ability. That’s what universal design is all about.

The title of the article is, Chronic Traumatic Encephalopathy and the Built Environment. It lists design measures for different symptoms. The article is technical in parts, but the background, findings and conclusions provide some interesting reading. Also good for those involved in Specialist Disability Accommodation.

From the abstract

This formative exploratory study looked at person-centred design techniques for a person with brain injury. The person-centred design method used for this study was based on a two-tiered reductionist approach. The first tier was to identify
common symptoms and concerns from the literature. This information provided specific symptoms that were addressed through brainstorming ideations.

This method of understanding a health condition through its symptoms, and then
designing for those symptoms can extend the practice of interior design by providing probable solutions to specific health symptoms, thereby including designers into the healthcare team.

The health condition symptoms became the variables of design, and each symptom was assessed through additional data obtained from the literature for environmental causality, mitigation, or accommodation. Once the outcomes were determined, each design implication was assessed for its relationship to specific design actions.

Breakfast Toast Made Easy

How much design thought is needed to make the common pop-up toaster easier to use? An article by industrial designer Ayushi Suri gives us the answer in step by step detail. If you’ve ever wondered how designers go about their projects, this article shows the amount of work and detailed thinking that’s required. In this case Suri had a look at other designs for inspiration. They included fast trains! At the end of the article are pictures of an attractive prototype. I particularly liked the dial for selecting the level of browning. This kind of design is good for people with reduced dexterity and grip strength. It meets most of the 7 Principles of Universal Design – simple and intuitive to use, perceptible information, low physical effort and tolerance for error.

Highlighting the ‘Dark Side’

Critical Design is a way of challenging stereotypes and prejudice. It is a way of looking at the world from the “dark side” of design thinking. A paper presented at a recent engineering and product design conference explains how design students responded to a series of workshops using the critical design method. The process does not focus on designing solutions. Rather, it focuses on designing to highlight the problem. The idea is to get the participants to think about the problem in greater depth. This is where satire and irony can be used to convey the message of stigma and exclusion. Students were also challenged to consider user empowerment, or how they might reshape societal and cultural stereotypes.

The authors explain, “it is essential that they are armed with design methods for tackling the challenges of stereotypes, prejudice, and discrimination. Furthermore, they must gain valuable experience of interdisciplinary work in order to be prepared for the ‘real’ world, outside of university”.

They conclude the article with, “Whether CD alone can help in battling stereotypes, prejudices, discrimination, and stigma – in so doing achieving a more diverse and inclusive society – we don’t quite know but are sure that it’s a good way to start!

The title of the paper is, Addressing the issue of stigma-free design through critical design workshops.

Abstract:

Stereotypes and prejudices are a ubiquitous cultural phenomenon that can impinge on peoples’ wellbeing. Moreover, the power of public stigma can make users of certain products experience discrimination, alienation, and inequality. Such experiences increase the likelihood of individuals rejecting products, services, environments, etc. altogether, often depriving them of e.g. safety, efficiency, and independence.

In a worst-case scenario this can lead to a stigmatised condition that triggers further inequality and exclusion. In an increasingly complex world, it is imperative that those responsible for addressing future needs, challenges, and demands, i.e. the next generation of designers, architects, engineers, etc., are adequately equipped as regards methods and tools for battling existing stereotypes and prejudices related to social growth and development in society.

Through this, they will ensure that stigma-free design is a priority when initiating, planning, and executing future projects. The purpose of this paper is to describe what happens when critical design is used to explore the stigma associated with existing products, services, environments, etc. in the context of interdisciplinary workshops, and to discuss the results so far.

Furthermore, the paper examines whether and how this upside-down way of thinking about and performing design is a good contribution to the fields of design, architecture, engineering, etc. as a method of both teaching and learning about equality, diversity, and inclusion.

Category: Industrial design practice

Colour combinations for everyone

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