Marc Dujardin Introduction of a user-orientated design paradigm

UniversalUniversal
DesignDesign
““Universal DesignUniversal Design”” –– ““DesignDesign forfor AllAll”” –– ““InclusiveInclusive
DesignDesign””
IntroductionIntroduction of aof a useruser--orientatedorientated designdesign paradigmparadigm
dr.Marcdr.Marc DujardinDujardin, architect, architect
Intensive program (IP)
« Designing in the Dark »
Gh t 3 D b 2007
EducationEducation
ProjectProject
UDEP.be

1. Statement of1. Statement of problemsproblems
Universal Design as design paradigm
Hubert Froyen argues that the following question should be
asked 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 large
as possible group of persons?
According to Froyen, there is no scientific ground that may
justify the segregation between physically and/or mentally
handicapped persons and the non-handicapped”
(Froyen, 2001, from UDEP.be report)
UDEP.be

1. Statement of1. Statement of problemsproblems
UD is:
– Contextually integrated universal
matter
– Contributes to a more
« inclusive » man-built
environment
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
UDEP.be

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’
UDEP.be

2.2. FrameworkFramework ofof 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)
UDEP.be

2.2. FrameworkFramework ofof termsterms UDEP.be

2.2. FrameworkFramework ofof termsterms
UD is:
“In-obtrusive”
bv. Ramp at the World
expo Hannover 2000
“multiple choice as
standard”
eg. Layout of
InterCity (IC)-trains
versus
InterRegion (IR)-trains
UDEP.be

● clearlyclearly defineddefined
positionposition ofof thethe
entranceentrance
● pyramidspyramids asas
distinguishingdistinguishing
orientationorientation
pointspoints
●● equalityequality ofof
experienceexperience
enteringentering thethe hallhall
usingusing lift orlift or
staircasestaircase

TATE MODERN GALLERY
MILLENIUM BRIDGE
ST. PAUL’S CATHEDRAL
View from the top
of Tate modern.
From St. Paul’s to
the Tate modern is
step free walk.

http://upload.wikimedia.org
ST. PAUL’S CATHEDRAL

3. UD as3. 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 holistic
approach and aiming to accommodate the needs of people
of all ages, sizes and abilities, including the changes that
people experience during their life span. Consequently,
universal Design is a concept that extends beyond the
issues of mere accessibility of buildings for people with
disabilities and should become an integrated part of
architecture, design and planning of the environment”
UDEP.be

3. UD as3. 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 an
integral and compulsory part of the mainstream
initial training of all occupations working on the
built environment
UDEP.be

4.4. UDUD--PrinciplesPrinciples asas 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)

UniversalUniversal
DesignDesign
DesignDesign””
Gh t 3 D b 2007
EducationEducation
ProjectProject
UDEP.bePRINCIPLE ONE:
Equitable Use
The design is useful and
marketable to people with
diverse abilities.
1a. Provide the same means
of use for all users: identical
whenever possible;
equivalent when not.
1b. Avoid segregating or
stigmatizing any users.
1c. Provisions for privacy,
security, and safety should
be equally available to all
users.
1d. Make the
designappealing to all users.

UniversalUniversal
DesignDesign
DesignDesign””
Gh t 3 D b 2007
EducationEducation
ProjectProject
UDEP.bePRINCIPLE ONE:
Equitable Use
The design is useful and
marketable to people with
diverse abilities.
1a. Provide the same means
of use for all users: identical
whenever possible;
equivalent when not.
1b. Avoid segregating or
stigmatizing any users.
1c. Provisions for privacy,
security, and safety should
be equally available to all
users.
1d. Make the
designappealing to all users.
YESNO

UniversalUniversal
DesignDesign
DesignDesign””
Gh t 3 D b 2007
EducationEducation
ProjectProject
UDEP.bePRINCIPLE TWO:
Flexibility in Use
The design accommodates a
wide range of individual
preferences and abilities.
2a. Provide choice in
methods of use.
2b. Accommodate right- or
left-handed access and use.
2c. Facilitate the user's
accuracy and precision.
2d. Provide adaptability to
the user's pace.

UniversalUniversal
DesignDesign
DesignDesign””
Gh t 3 D b 2007
EducationEducation
ProjectProject
UDEP.bePRINCIPLE TWO:
Flexibility in Use
The design accommodates a
wide range of individual
preferences and abilities.
2a. Provide choice in
methods of use.
2b. Accommodate right- or
left-handed access and use.
2c. Facilitate the user's
accuracy and precision.
2d. Provide adaptability to
the user's pace.
YESNO

UniversalUniversal
DesignDesign
DesignDesign””
Gh t 3 D b 2007
EducationEducation
ProjectProject
UDEP.bePRINCIPLE THREE:
Simple and
Intuitive Use
Use of the design is easy to
understand, regardless of the
user's experience,
knowledge, language skills,
or current concentration
level.
3a. Eliminate unnecessary
complexity.
3b. Be consistent with user
expectations and intuition.
3c. Accommodate a wide
range of literacy and
language skills.
3d. Arrange information
consistent with its
importance.
3e. Provide effective
prompting and feedback
during and after task
completion.

UniversalUniversal
DesignDesign
DesignDesign””
Gh t 3 D b 2007
EducationEducation
ProjectProject
UDEP.bePRINCIPLE THREE:
Simple and
Intuitive Use
Use of the design is easy to
understand, regardless of the
user's experience,
knowledge, language skills,
or current concentration
level.
3a. Eliminate unnecessary
complexity.
3b. Be consistent with user
expectations and intuition.
3c. Accommodate a wide
range of literacy and
language skills.
3d. Arrange information
consistent with its
importance.
3e. Provide effective
prompting and feedback
during and after task
completion.
YESNO

UniversalUniversal
DesignDesign
DesignDesign””
Gh t 3 D b 2007
EducationEducation
ProjectProject
UDEP.bePRINCIPLE FOUR:
Perceptible Info
The design communicates
necessary information
effectively to the user,
regardless of the user's
sensory abilities.
4a. Use different modes
(pictorial, verbal, tactile) for
redundant presentation of
essential information.
4b. Provide adequate
contrast between essential
information and its
surroundings.
4c. Maximize "legibility" of
4d. Differentiate elements in
ways that can be described
(i.e., make it easy to give
instructions or directions).
4e. Provide compatibility with
a variety of techniques used
by people with sensory
limitations.

UniversalUniversal
DesignDesign
DesignDesign””
Gh t 3 D b 2007
EducationEducation
ProjectProject
UDEP.bePRINCIPLE FOUR:
Perceptible Info
The design communicates
necessary information
effectively to the user,
regardless of the user's
sensory abilities.
4a. Use different modes
(pictorial, verbal, tactile) for
redundant presentation of
4b. Provide adequate
contrast between essential
information and its
surroundings.
4c. Maximize "legibility" of
4d. Differentiate elements in
ways that can be described
(i.e., make it easy to give
instructions or directions).
4e. Provide compatibility with
a variety of techniques used
by people with sensory
limitations.
YESNO

UniversalUniversal
DesignDesign
DesignDesign””
Gh t 3 D b 2007
EducationEducation
ProjectProject
UDEP.bePRINCIPLE FIVE:
Tolerance for
Error
The design minimizes
hazards and the adverse
consequences of accidental
or unintended actions.
5a. Arrange elements to
minimize hazards and errors:
most used elements, most
accessible; hazardous
elements eliminated,
isolated, or shielded.
5b. Provide warnings of
hazards and errors.
5c. Provide fail safe features.
5d. Discourage unconscious
action in tasks that require
vigilance.

UniversalUniversal
DesignDesign
DesignDesign””
Gh t 3 D b 2007
EducationEducation
ProjectProject
UDEP.bePRINCIPLE FIVE:
Tolerance for
Error
The design minimizes
hazards and the adverse
consequences of accidental
or unintended actions.
5a. Arrange elements to
minimize hazards and errors:
most used elements, most
accessible; hazardous
elements eliminated,
isolated, or shielded.
5b. Provide warnings of
hazards and errors.
5c. Provide fail safe features.
5d. Discourage unconscious
action in tasks that require
vigilance.
YESNO

UniversalUniversal
DesignDesign
DesignDesign””
Gh t 3 D b 2007
EducationEducation
ProjectProject
UDEP.bePRINCIPLE SIX: Low
Physical Effort
The design can be used
efficiently and comfortably
and with a minimum of
fatigue.
6a. Allow user to maintain a
neutral body position.
6b. Use reasonable operating
forces.
6c. Minimize repetitive
actions.
6d. Minimize sustained
physical effort.

UniversalUniversal
DesignDesign
DesignDesign””
Gh t 3 D b 2007
EducationEducation
ProjectProject
UDEP.bePRINCIPLE SIX: Low
Physical Effort
The design can be used
efficiently and comfortably
and with a minimum of
fatigue.
6a. Allow user to maintain a
neutral body position.
6b. Use reasonable operating
forces.
6c. Minimize repetitive
actions.
6d. Minimize sustained
physical effort.
YESNO

UniversalUniversal
DesignDesign
DesignDesign””
Gh t 3 D b 2007
EducationEducation
ProjectProject
UDEP.bePRINCIPLE SEVEN:
Size and Space
for Approach
and Use
Appropriate size and space is
provided for approach, reach,
manipulation, and use
regardless of user's body
size, posture, or mobility.
7a. Provide a clear line of
sight to important elements
for any seated or standing
user.
7b. Make reach to all
components comfortable for
any seated or standing user.
7c. Accommodate variations
in hand and grip size.
7d. Provide adequate space
for the use of assistive
devices or personal
assistance.

UniversalUniversal
DesignDesign
DesignDesign””
Gh t 3 D b 2007
EducationEducation
ProjectProject
UDEP.bePRINCIPLE SEVEN:
Size and Space
for Approach
and Use
Appropriate size and space is
provided for approach, reach,
manipulation, and use
regardless of user's body
size, posture, or mobility.
7a. Provide a clear line of
sight to important elements
for any seated or standing
user.
7b. Make reach to all
components comfortable for
any seated or standing user.
7c. Accommodate variations
in hand and grip size.
7d. Provide adequate space
for the use of assistive
devices or personal
assistance.
YESNO

5. UD at5. 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), with
support of the Flemish Government (Equal Opportunities)
– Within the new (Bologna) educational landscape, develop
Universal 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 Scientific
Contact forum, with the
support of the Royal
Flemish Academy of
Belgium - KVAB
(Koninklijke Vlaamse
Academie van België),
Brussels, 17 may 2002
UDEP.be

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

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)
UDEP.be

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 knowledge
transfer between the academic field, the industry and end-user
UDEP.be

6. UD in6. 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
UDEP.be

Designing in the dark workshop
– 6.1. Building up UD-competence by:
– Reconnecting the designer with the ‘dis-enabling end-user
UDEP.be

6.1.6.1. SystematicSystematic POEPOE UDEP.be

6.2. Research6.2. Research byby DesignDesign UDEP.be
Design studio strategy
A two-way introduction of the
UD-concept
• Implicit:
Stimulate a design attitude that
is based on a more ‘inclusive’
approach and conceptualisation
of any design task
• Explicit:
Apply the design tools and skills as
developed in UD-guidelines and
standards addressing the requirements
of a multi-sensorial man-made
environment.

Design studioDesign 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 social
debates e.g. ageing, handicap,......
– 2. An high reality factor concerning programmatic demands
and 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-enabling
expertise of relevant end-users

“Low by the ground”:
– Reconversion: re-designing of
Silo’s Blancke, a 37m high grain
storage facility at Aarsele as an
interactive complex of work and
leisure.
– UD-key question:
Why is it that the architect merely
thinks the built space of disabled
persons horizontally and in most
cases merely at ground floor level?
Why does the architects thinks the
spatial intercommunication
between disabled and non-
handicapped in one-way direction

“disabled persons and fire hazards”
– Assisted
Resue
Evacuation

“Step by step”
– Design of a home for a group
of mentally retarded persons
in Ghent
Why is the life of adult
persons with mental and or
physical disablilities merely
confined to cloister type
building estates excluded
from 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
How can an existing tram
line, cutting a problematic
building block in two halves
act 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 scale
between 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 restricted
to 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 spatial
mediation between two urban
tissues: the urban and sub-
urban type.

“Macharius”
– Reconversion of a ‘black building
block’ in Ghent
– UD-key issue:
Inclusieve approach of the tension
field 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 M
M 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 L
B 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 E
V 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 E
D 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 N
M 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 N
N 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 E
B 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 S
L 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 E
L 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

Marc Dujardin Introduction of a user-orientated design paradigm

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Marc Dujardin Introduction of a user-orientated design paradigm

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Marc Dujardin Introduction of a user-orientated design paradigm