The essay will talk about the creation and fundamentals of universal design, as well as a brief introduction into the 7 principles in which the topic is base on. It will explain that it is not a design style but an orientation to design, but the essay will argue that it is insufficient in addressing its needs of archiving certain social agendas which the space is choosing to address. The essay will also take criticism with the intention of trying to design to accommodate everybody with the vast different issues and needs they face within one singular space, the idea is justifiable but to a degree, and with the understanding that it is unwise to attempt to please everybody risking losing the identity of a space or worse not pleasing anybody at all.
This two issues, will be the bases of my criticism of Universal Design in its current interpretation, the issue of a lack of a significant principle and a proposal of one, while would enhance the overall design thinking while giving justification to it. The second criticism would be the idea of designing for all, and posting the question; "Should we design for all? "Would the space lose its identity in its quest to accommodate as many people as possible?
In seeking justification for these questions, I will look into the "modular man" and the idea of the ideal proportions. In regards to the criticism of the lack of Core principles, I would suggest "emotional content" as a significant proposal, and to be specific, the feeling such as, "emotional security" in regards to Universal design, through research in psychology, Hartmut Esslinger the product designer who conceive the quote "Form follows emotion" with the idea the form a space or object takes, is derived from the emotion it is intended to portray.
In summary these questions and the propose solutions will take us on a journey between current practices, ways of thinking, exploration of emotions, what triggers them? How these could be evoked through spaces. The journey begins from the principles of Universal Design.
The Principles should be questioned
People seek to explore and stimulate their senses regardless if they are able bodied or not. Universal design, namely developed by architects Ronald L Mace (nscu, 2012) and Selwyn Goldsmith (telegraph, 2011), attempts to address the special needs of different people within the space. The question is, "Would we want to design for all?" and "Would the principles of Universal Design be sufficient in its current state?" To comprehend the scope of these questions, we shall first understand the fundamentals. The 7 core principles of Universal design, are briefly described as Oliver(2008, pg 170, 171):
"Equitable use" design which benefits special needs.
"Flexibility in use" design which is adaptable to a range of individuals.
"Simple and Intuitive Use" design which is easy to understand.
"Perceptible information" design which conveys information clearly.
"Tolerance for error" design which has a high tolerance of mistake.
"Low physical effort" design which does not need to exert much physical energy.
"Size and Space for Approach and Use" Sufficient space or dimension to accommodate needs of diverse individuals, Oliver (2008, pg170, 171).
Bringing the question back again, "would we want to design for all within the space?, and would the space risk losing its identity because of its quest to try to please everybody?" that being said, could the issue be address by proposing additional core principle, "emotional content within the space?", which is lacking from the guidelines of universal design by neglecting the "feelings" and the power of "emotions" and only currently seeks to address the physical needs of the users of the space. Certain topics shall explore and interpret qualified individual opinions ranging on the "ideal proportions", phycology of security, risk assessment, significant of emotions and special forms that evoke it. These issues will be address further within this essay.
The problem of designing for all and should we?
Firstly, the fundamentals of universal design seek to create spaces accessible to everyone, by identifying and addressing their special needs. This is commendable and should be encouraged. However in the case of average or ideal proportions which Universal design guidelines incorporate in the quest to have spaces designed to accommodate as wide a range of people as possible, this attempt to find a middle ground to please everybody's needs with a one size fits all, is a paradox to universal designs attempts to design for the different and special needs of individuals and the groups they fall under.
It has been discussed about what should be included under universal design, since it has a "social justice agenda", so it cannot just be for the "handicapped" as described by Edward Steinfeld, director of IDEA Centre (2006). However, physically preparing the spaces for the targeted individuals does not totally fulfill the social justice agendas which universal design seeks to address. This is because, they may be secure only to the extent that they are able to navigate through the space but this does not necessarily mean they feel secure. The difference between being and feeling secure is that the former is a physical aspect in which through guidelines and best practices, the individual will be provided physical aid in navigating the space, while the latter focusses on the emotional wellbeing of the individuals utilizing the physical aspect of the space, invoking a positive emotional response through the senses which makes the individual feel as if he could transcend his apparent limitations and feel confident enough to navigate the space.
Flaws of the Ideal Proportions
The "Vitruvian man" created by Da Vinci (Fig.1) and later the Modular man by Le Corbusier (Fig. 2) seek to attempt to identify the "ideal" proportions of the average human male, and thus design around this formula, which is based likely on the average English male for the modular man, Francis (2007, pg318).
Figure 1:Modular Man Figure 2: Vintruvian man Figure 3: Handicap guideline
(Refer to reference list for image source)
It is beneficial to have a system that allows for efficient design without having to second guess the right proportions for people, as it serves the progress of humanity well. If one were to step back and look at it from a macro scale while keeping in mind that an average English male proportion is the basis in which Le Corbusier crafted his spaces, in the context in which the concept was created, it would be functional indeed, but if an architect in Japan was applying the exact same formula, even to an average Japanese man, the experience would be different, due to the average proportion between a Japanese and a English male would vary "effected by the eating habits and environment" (disabled-world, 2008). Hence the comfort level would vary between the two groups, though they would still likely have the same experience within the crafted environment, with variation. One would like to think that the average proportions derived by Le Corbusier would include the average female proportions, but the choice of symbols, in the male form, would be rather deceptive much less those not deem within the "average" of ideal proportions.
Universal design seeks to design for all, and be as inclusive as possible. Yet, the current guidelines which are created to assist in that social agenda, follows the same language as those standards of proportions which were derived from the past (fig.3, shown above). By imposing the "ideal" proportions on individuals with special needs, it assumes that each person has needs of the same degree. Christopher N. Henry, an architect specializing in architecture for autism, is quoted saying "This one-size-fits-all mentality consolidates variation instead of celebrating it" (Archdaily, 2011). Universal Design is flawed by the fundamental obsession over average or ideal proportions. By finding a middle ground and attempting to please everyone's needs with a one size fits all, it contradicts with Universal designs attempt to design for the different and special needs of individuals and the groups they fall under.
The Lack of a Significant Principle, Emotional Content
Turning to the proposal for the inclusion of "Emotional content" into the core principles of Universal design, how does one define it? A good place to start would be the theory by Donald A. Norman in his book, "Emotional Design" (2004, pg38). As a cognitive scientist, his theory is that people perceive and judge design in three levels, "Visceral, behavioural and reflective". Visceral is the aesthetic quality of the object, or visual stimulant, Behavioural is how it feels, its usability while reflective is a deeper level, in which one had to reflect on the design and in time, it would invoke memories, reflective of one's self - image and if one can identify with it, evokes a sense of joy. An example would be observing an old rocking chair, Viscerally it may not be pleasing due to its age, but it triggers a sentimental response, due to the memory of the observer, recalling a fond childhood which is associated with the rocking chair, He may recall how comfortable it was swaying back and forth, and concludes that it is pleasing on a behavioural and reflective level, In addition, one could restore the chair, to improve it on a visceral level. Just by observing the chair, the brain judges it on three difference levels. It can be argued that great design, attempts to fulfill all three of this levels to some degree.
In the context of Universal Design, the current guidelines work on a "behavioural level". It intends designs to be easy to use, as well as accessible to people with special needs and the general population, Donald, (jnd, 2012). As Universal design only seems to fulfill one aspect of the theory mentioned. It is of no wonder that Universal design is describe as "not a design style, but an orientation to design" (accessiblesociety, 2010). It can be argued that a Design style would likely invoke some kind of characteristic emotion, be it the feeling of serenity of "Minimalism" or the energy of "DE constructivism" in the writer's opinion. Before one should attempt to identify the characteristics of Universal Design, it is good to understand the attributes of emotions.
Donald A. Norman made an interesting observation in his book that "a positive emotion is not necessary good and a negative emotion is not necessary bad, depending on the context" (2004, pg24). This reference to define positive or negative would tap on the emotional level of visceral design, behavioural design and reflective design to some degree or not at all, for some levels.
Imagine the three levels stack on top of each other, with the Visceral at the bottom, followed by behavioral in the middle and reflective at the top. These three levels and the process it is accessed be it from the visceral level up to the reflective "bottom up" or reflective down to the visceral level "top down" as was invoke by the "rocking chair" example earlier. All these have a cognitive and an affective component. "Cognitive to assign meaning, affective assign value", Donald A. Norman goes on to give an excellent example on the interplay of positive and negative emotions using the experience of a rollercoaster. The roller coaster taps into our visceral sense of fear and after the ride is accomplished and we so to speak, "rise above our fears" having, conquered it. It taps into our reflective level, which is our pride of accomplishing the ride. It helps to define us against those who refuse to take the ride due to fear (2004, pg24).
Another quality of the interplay of positive and negative emotions is the qualities that it invokes in our state of mind. A space which is positive helps to relax the mind, calm, and open to new ideas, giving one the ability to see the big picture. A negative emotional space would invoke tension, anxiousness, focusing the brain to deal with the problem or space, a very primal state of being, but necessary for survival, Donald, (2004, pg25). Depending on the use of the space, positive and negative emotions can be used to assist the brain to focus and deal with the task at hand or on being open, relax and potentially creative. The ability to transition between the negative and positive tapping into and alternating between the three levels gives the space a potentially engaging or dynamic feel to it, with a risk and reward mechanism.
Keeping the above theory in mind, without yet the implementation of Universal design, picture the image within your mind, an individual who turns into a long dark corridor would immediately notice it was dark. But when one looks at the end of the corridor and sees that the walls, floor and ceiling of the space, frames what seems like a well-lit open space at the end, with the sky and trees in the background over what seems like a parapet, hinting at a balcony. The individual notices the breeze being funneled down the corridor, and smells the salt in the air, hinting to a view of the sea. Dotted at consistent lengths are pockets of light being funneled from the sides, informing that the journey through the space would have pockets of relief, when the individual finally reaches the end of the space out into the balcony, one is rewarded with a beautiful view. Risk and rewards, this ability to utilize negative emotions and the willingness to overcome fear is most likely with the precedence of "security". No one in their right mind would attempt to ride a rollercoaster without safety and security in mind.
Identifying the emotions of Universal Design
The feelings and emotions of "security" will be the cornerstone on building the emotional principles of Universal Design., Why the feeling of "security"? It is derived by the existing 7 principles which uses physical guidelines to provide safety and security for people with special needs. As mentioned before, it only addresses this on a behavioural level, proving accessibility and assistants, It does not tap into the reflective level, although to some degree it does tap into the visceral level, especially in designing easy usage by using visually informative yet easy-to-read designs especially for the visually challenged and elderly who have a weakened sense of sight. But again, there is a marked difference between "feeling" secure and "being" secure. Understanding how the brain handles "risk management" helps us understand how we could potentially craft space which feels secure, and not as in its current state in Universal design, which through its guidelines focuses on "being secure".
In the essay "The Psychology of Security, written by Bruce Schneier", a security technologist authors about how people perceive risk, and that feeling secure does not necessary mean they are (schneier, 2008). He seeks to understand why there is a divergence between perceived risk and what it really is. Of interest to this essay is the particular aspects of his study, which considers what may be a "key trigger" to having people feeling secure even if it does not match up to the actual scenario or situation.
He concludes that "familiarity with it helped them see it differently" and, "most people are less afraid of a risk they choose to take than of a risk imposed on them." A good example would be the choice of smoking compared to the negative reaction of a car driven by an individual with a faulty exhaust spewing smoke past them, Bruce, (schneier, 2008).
Understanding how people perceive risk and security and backed up with Donald A. Norman's studies on emotional design, we have a better understanding of how one approach could includes positive emotional design into the core principles of Universal Design. Although a definitive conclusion has not been reached, it has been discussed that emotions and feelings have a difference but are closely linked. Furthermore, can be summarized that objects draw and invoke emotions and that feelings are cumulating experiences of these emotions, (authentic-systems, 2009). With the basis of security as a desirable emotion, other feelings that can be generated would be confidence derived from this feeling of security. There can further be feelings of curiosity, which leads to discovery and the generation of emotions of joy. To summarize, Security, confidence and joy are produced. A product designer who while did not develop the theory as detailed as Donald A. Norman, was one of the original pioneers of applying emotions into forms, putting into practice what was preach and possibly inspiring the theory mention above.
Introducing Product Designer, Hartmut Esslinger
Figure 4 (Refer to reference list for image source)
Hartmut Esslinger (fig.4, shown above) was one of the leading designers and innovator of the concept of emotional design. He helped Steve Jobs of Apple with his company Frog Design Inc. and created the Apple's design formula of the simple to use, white and beautiful unison of software and hardware (businessweek, 2011). In his own words" I always felt that "form follows function"? Was a simplistic and misunderstood reduction of Sullivan's wider description, I also believe that "function" is a must, however humans always strived for a deeper meaning "(design-emotion, 2006). He believed that "function" was a given, yet humans always seek to express themselves and seek deeper meaning. In a sense, it could be seen as seeking a way to stimulate them on a reflective level and visceral level in reference to Donald A. Norman theory.
Esslinger created the "Snow White design language" for the mac computers, by creating the illusion that it was smaller than it actually is using horizontal and vertical strips and varies shades of white as a colour choice, (businessweek, 2011). Because of his work, we enjoy the new Apple products such as the IPAD and IPHONE which were clearly inspired from his earlier works with Apple. His designs made the user feel unthreatened and could comfortably explore the devices giving a sense of comfort and approachability. With this emotions trigger, the user would naturally engage the device, which boosts the perception of the usability of the device. This is a great example of a designer who pioneered the concept of "Form Follows Emotion". These concepts and designs are also translated into Apples stores as well, displaying a clean, easy to read design, through clean lines and shades of white, displaying the products as clear from visual noise as possible, giving a feeling of openness, and secure environment. Moving on in exploring this idea of feelings translated into spaces, the following case studies would show the potential to translate these concepts into a physical space and form in which can be used and inhabit.
Case Studies
Figure 5 (Refer to reference list for image source)
(Fig.5, shown above) The first out of three case studies will be Khoo Teck Puat Hospital in Singapore, It was the winner of the Presidents Design Award 2011 (designsingapore, 2012). The hospital consists of three buildings, which is of subsidized ward tower, private ward tower and medical centre. The site is linked by transitional spaces such as corridors and lobbies. Designed by CPG Consultants Pte Ltd, it was produced with the concept of entering into a Shangri-La instead of a conventional hospital, Indeed the building looks like an interconnected Garden of Eden, It was further, designed with patients and staff's comfort in mind. It, not only successfully introduced universal design but also sustainable designs conventions.
The design team collaborated with different government bodies and consultants of various fields. One of the results of this collaboration is the integration of the existing Yishun Park (designandhealth, 2012). This integration of greenery further allowed for the perception that this was not a conventional hospital design, with white dreary spaces.
Amongst key successes of the project was its ability to take the "feelings" and views of a large groups of people, including staff members, patients and, people with varies disabilities and special needs. Through these study groups, small details within the wards such as reduction of "door-closing" noise and location of "support points" for patients without using railings, were considered and included into the final design. The architects made a conscious effort to design the spaces to not look like a typical clinical environment and sought to integrate innovative, eco-friendly features such as façade treatments. These façade treatments were designed with the tropical climate in mind, complete with overhangs, high ceilings and, solar and wind power considerations. The design also called for spaces which generated warm "cuddly" cozy feelings with "high touch" (designandhealth, 2012). This was done by organizing spaces into clusters in which you transition from one cluster to another, and spaces within this clusters or "villagers" had "high touch" or stimulating to the sense of touch through materials or choices of furniture within these clusters. This created a sense of communal living within the spaces. This building is mostly designed on a behavioural as well as visceral level creating a successful series of spaces, in given time it may even generate on a reflective level with its focus on community.
The second case study is Ed Roberts Campus in the, United States of America, designed by Leddy Maytum Stacy Architects. It was, developed by 7 non-profit organizations, that worked with disabled people, with additional funding by government grants, John, (SFGate, 2010). The design of the building attempts to include as many people as possible, Be they wheelchair bound, blind, of old age and even those with epilepsy.
Figure 6(Refer to
Reference list for source)The design largely taps into the behavioural level. Highly functional spaces which include visual and tactile clues assist the visually-challenged to navigate and demark spaces. The key feature of this building is the red spiral ramp which is suspended from the glass ceiling and greets the visitor as he enters the building (Fig. 6). The designers intended the ramp to serve both function and symbolic purposes, as both the abled and people with special needs (disabled) can access the spaces together. At the ends of corridors, fountains are used as a visual and sound landmark to assist visitors in their orientation. Though the building is highly functional the only space which is visually captivating would be the ramps, and even that could be seen as unappealing depending on the perspective of the observer, but this was admitted by the designers to be not as high a priority compared to the whole, as quoted by William Leddy the designer "The more I did this project, the more I realized that good architecture is a social justice issue." John, (SFGate, 2010)
The third case study would be Orestad College in, Denmark, designed architectural Firm 3XNs. The building was nominated for the Mies Van der Rohe Award 2009. It was designed with the belief that architecture can shape "behavioural patterns", 3XN, (2010, pg28).
They intended to create spaces in which the students as well as teachers "took active responsibility for their own learning process and their collective working environment" (2010, pg28). The building is designed with visual stimulation and observation is a paramount consideration. As you enter the building, it becomes clear that you can view all the different levels and pockets of spaces from the entrance. Everyone else within this space can register your entrance as well. As you enter the wide central staircase, you will feel as quoted by a teacher working at the college, Ida Marie Klawonn "You take your first few steps on the wide, central staircase with a certain veneration - almost as if you're entering a cathedral of learning.", 3XN, (2010, pg37). (Fig. 7 & 8, shown below)
Figure 7 Figure 8
(Refer to reference list for image source)
The building hopes to inculcate in students a love for self-learning, seeking knowledge independently through observation, and cultivating good relationships with the teachers by encouraging as visual interactions. Casual lounges are located intermittently between levels, in which students can gather and directly or indirectly learn from each other. This building uses space to cultivate feelings of inspiration and curiosity through its layout and programs within these spaces. It reaches out to the users of the space viscerally, behavioural and reflectively".
By understanding the thought processes of designers, whether they are architects, product designers or physiologist, we are able to identify patterns which would assist in designing spaces with universal design and the inclusion of feelings and emotional security in mind.
Going forward in this essay, we shall explore how these case studies, identified emotions as well as the theories mention above, could be translated into spaces, which would address the question of "should we design for all?" and justify why the propose new principle of Emotional Design should be incorporated into the core principles.
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