Universal Design Handbook
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												  Planning Curriculum in Art and DesignPlanning Curriculum in Art and Design Wisconsin Department of Public Instruction Planning Curriculum in Art and Design Melvin F. Pontious (retired) Fine Arts Consultant Wisconsin Department of Public Instruction Tony Evers, PhD, State Superintendent Madison, Wisconsin This publication is available from: Content and Learning Team Wisconsin Department of Public Instruction 125 South Webster Street Madison, WI 53703 608/261-7494 cal.dpi.wi.gov/files/cal/pdf/art.design.guide.pdf © December 2013 Wisconsin Department of Public Instruction The Wisconsin Department of Public Instruction does not discriminate on the basis of sex, race, color, religion, creed, age, national origin, ancestry, pregnancy, marital status or parental status, sexual orientation, or disability. Foreword Art and design education are part of a comprehensive Pre-K-12 education for all students. The Wisconsin Department of Public Instruction continues its efforts to support the skill and knowledge development for our students across the state in all content areas. This guide is meant to support this work as well as foster additional reflection on the instructional framework that will most effectively support students’ learning in art and design through creative practices. This document represents a new direction for art education, identifying a more in-depth review of art and design education. The most substantial change involves the definition of art and design education as the study of visual thinking – including design, visual communications, visual culture, and fine/studio art. The guide provides local, statewide, and national examples in each of these areas to the reader. The overall framework offered suggests practice beyond traditional modes and instead promotes a more constructivist approach to learning.
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												  'Design for All' Versus 'One-Size-Fits-All': the Case Of‘Design for All’ versus ‘One-Size-Fits-All’: the Case of Cultural Heritage 1 2 Daniela Fogli , Alberto Arenghi 1Dipartimento di Ingegneria dell'Informazione Università degli Studi di Brescia, Brescia, Italy [email protected] 2Dipartimento di Ingegneria Civile, Architettura, Territorio e Ambiente e di Matematica Università degli Studi di Brescia, Brescia, Italy [email protected] Abstract. This paper would like to discuss the design trade-offs that might emerge during the development of technological solutions for promoting and enhancing the fruition of cultural heritage. To this aim, the paper briefly describes the UniBSArt4All project, which employs advanced interactive technologies, such as artwork recognition and wireless sensors, to obtain engaging and accessible visitor experiences customized to different users’ profiles. By reflecting on the project development and its preliminary results, the paper finally proposes a meta-design approach to inclusive design in the CH domain. Keywords: Cultural heritage, augmented reality, beacon, end-user development, meta-design, inclusive design, design for all 1 Introduction In our everyday life, we often encounter trade-offs, namely situations where we need to renounce to something in order to gain something else. Problem solving usually represents such a situation, in which a solution must be designed by taking into account both the goals one would like to satisfy and the different constraints that impose choosing among those goals. Therefore, usually design “is the identification, discussion and resolution of trade-offs” [15]. Indeed, as underlined by Gerhard Fischer, a design problem does not have a correct solution or a right answer, but the solution or the answer depends on the values and interests of the involved stakeholders [6][7].
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												  Building Design GUIDELINES Table of ContentsBuilding Design GUIDELINES Table of Contents Acknowledgements . 1 Part I. Introduction Background . 2 Goals . 3 Applicability of This Document . 3 Part II. Building Design Guidelines A Context Fit. 5 B Pedestrian Friendliness. 8 C Visual Attractiveness . 18 D Sustainable Design . 32 Appendix I. Public Input Process . 36 II. Design Review Procedure . 40 III. Design Guidelines Checklist . 42 IV. Façade Renovation Toolkit . 43 Acknowledgements The Building Design Guidelines for the City of Naperville, Illinois were prepared through the help of many citizens, staff and officials of the Naperville community who participated in the planning process at stakeholder meetings, on-line surveys and open house meetings. Their involvement and insights are sincerely appreciated. City Plan Commission Derke Price, Chairman Bill Jepson Mike Brown Joe McElroy Ann Edmonds Jeffrey Meyers Paul Hinterlong Reynold Sterlin City Council George Pradel, Mayor Jim Boyajian Kenn Miller Bob Fieseler John Rosanova Richard Furstenau Darlene Senger Doug Krause Grant Wehrli City Staff Allison Laff, AICP, Planning Services Team Leader - TED Business Group Ying Liu, AICP, Community Planner - TED Business Group Suzanne Thorsen, Community Planner - TED Business Group Prepared by the City of Naperville with assistance from Lohan Anderson, LLC and A Design Consulting. 1 INTRODUCTION Background From just a handful of families residing within the City Council adopted Resolution #05-020 that states: original settlement, Naperville has grown to a community of over 140,000 people and is now a dynamic city with “It is the City of Naperville’s vision and expectation both old-fashioned charm and a high-tech corporate that issues related to design and architecture, corridor.
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												  Ergonomics, Design Universal and FashionWork 41 (2012) 4733-4738 4733 DOI: 10.3233/WOR-2012-0761-4733 IOS Press Ergonomics, design universal and fashion Martins, S. B. Dr.ª and Martins, L. B.Dr.b a State University of Londrina, Department of Design, Rodovia Celso Garcia Cid Km. 380 Campus Universitário,86051-970, Londrina, PR, Brazil. [email protected] b Federal University of Pernambuco, Department of Design, Av. Prof. Moraes Rego, 1235, Cidade Universitária, 50670-901, Recife- PE, Brazil. [email protected] Abstract. People who lie beyond the "standard" model of users often come up against barriers when using fashion products, especially clothing, the design of which ought to give special attention to comfort, security and well-being. The principles of universal design seek to extend the design process for products manufactured in bulk so as to include people who, because of their personal characteristics or physical conditions, are at an extreme end of some dimension of performance, whether this is to do with sight, hearing, reach or manipulation. Ergonomics, a discipline anchored on scientific data, regards human beings as the central focus of its operations and, consequently, offers various forms of support to applying universal design in product development. In this context, this paper sets out a reflection on applying the seven principles of universal design to fashion products and clothing with a view to targeting such principles as recommendations that will guide the early stages of developing these products, and establish strategies for market expansion, thereby increasing the volume of production and reducing prices. Keywords: Ergonomics in fashion, universal design, people with disabilities 1.
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												  IPC Accessibility Guide2 TABLE OF CONTENTS FIGURES AND TABLES ................................................................................................................. 8 Foreword ........................................................................................................................................... 10 Introduction ................................................................................................................................. 10 Evolving content ......................................................................................................................... 10 Disclosure ...................................................................................................................................... 11 Structure and content of the IPC Accessibility Guide ...................................................... 11 Content ........................................................................................................................................... 11 Executive summary ......................................................................................................................... 12 Aim and purpose of the Guide ................................................................................................ 12 Key objectives of the Guide ..................................................................................................... 12 Target audience of the Guide ................................................................................................. 12 1 General information
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												  Designing Multi-Sensory Displays for Abstract DataDesigning Multi-sensory Displays for Abstract Data. Keith V. Nesbitt BMath (Newcastle), MComp (Newcastle), Diploma in Technical Analysis (SIA) School of Information Technologies University of Sydney NSW 2006 Australia Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy January 2003 Abstract 2 Abstract The rapid increase in available information has lead to many attempts to automatically locate patterns in large, abstract, multi-attributed information spaces. These techniques are often called data mining and have met with varying degrees of success. An alternative approach to automatic pattern detection is to keep the user in the exploration loop by developing displays for perceptual data mining. This approach allows a domain expert to search the data for useful relationships and can be effective when automated rules are hard to define. However, designing models of the abstract data and defining appropriate displays are critical tasks in building a useful system. Designing displays of abstract data is especially difficult when multi-sensory interaction is considered. New technology, such as Virtual Environments, enables such multi-sensory interaction. For example, interfaces can be designed that immerse the user in a 3D space and provide visual, auditory and haptic (tactile) feedback. It has been a goal of Virtual Environments to use multi-sensory interaction in an attempt to increase the human-to-computer bandwidth. This approach may assist the user to understand large information spaces and find patterns in them. However, while the motivation is simple enough, actually designing appropriate mappings between the abstract information and the human sensory channels is quite difficult.
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												  Anthropological Records 8:3ANTHROPOLOGICAL RECORDS 8:3 CULTURE ELEMENT DISTRIBUTIONS: XXIII NORTHERN AND GOSIUTE SHOSHONI BY JULIAN H. STEWARD UNIVERSITY OF CALIFORNIA PRESS BERKELEY AND LOS ANGELES 1943 CULTURE ELEMENT DISTRIBUTIONS: XXIII NORTHERN AND GOSIUTE SHOSHONI BY JULIAN H. STEWARD ANTHROPOLOGICAL RECORDS Vol. 8, No. 3 ANTHROPOLOGICAL RECORDS EDITORS: A. L. KROEBER, E. W GIFFORD, R. H. LowIE, R. L. OLSON Volume 8, No. 3, pp. 263-392 Submitted by Editors June 12, 194I Issued July 30, I943 Price, $1.25 UNIVERSITY OF CALIFORNIA PRESS BERKELEY, CALIFORNIA CAMBRIDGE UNIVERSITY PRESS LONDON, ENGLAND The University of California publications dealing with anthro- pological subjects are now issued in two series. The series in American Archaeology and Ethnology, which was established in 1903, continues unchanged in format, but is restricted to papers in which the interpretative element outweighs the factual or which otherwise are of general interest. The new series, known as Anthropological Records, is issued in photolithography in a larger size. It consists ofmonographs which are documentary, of record nature, or devoted to the presentation primarily of new data. MANUFACTURED IN THE UNITED STATES OF AMERICA CONTENTS Page Introduction ...... .. .. .. .. .. 263 Tribes and informants ..... 263 Tribal abbreviations ..... 265 Ethnographic discussion ..... 266 Subsistence . 266 Hunting ...... .. .. .. .. .. 266 Plant foods .... 271 Food preparation ..... ..... 271 Dwellings ............... 272 Sweat houses . 273 Navigation ..... ............. .. .. .. 273 Weapons .....
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												  The LUCID Design Framework (Logical User Centered Interaction Design)The LUCID Design Framework (Logical User Centered Interaction Design) developed by Cognetics Corporation LUCID – Logical User Centered Interaction Design – began as a way of describing the approach to interface design at Cognetics Corporation. Over the years, it has evolved into a framework to manage the process of designing an interface in a way which can, if not guarantee, at least encourage software usability. Its goals are: q To provide UI designers with a framework within which to apply best practices q To allow for seamless integration of design and usability activities with software development methodologies q To support a user-centered approach to interface design q To enhance the usability of the finished software LUCID Logical User Centered Interaction Design The design process builds Software is designed in the Interaction design is treated on a strong conceptual context of the overall tasks as distinct from technical model. and work flow (including design. both manual and Iterative review and The scope of the design is computerized activities). refinement includes user "everything but code" and feedback at all critical Design is based on user includes: stages. activity and employs the q look and feel user's language and context. Successive prototypes and q language team reviews allow The design model fits the opportunities for technical user's mental model rather q screen objects & layout review and ensure viability than the technical q navigation of the design implementation model. q user assistance © 1998, Cognetics Corporation, All Rights Reserved Phone: 609-799-5005 Web: http://www.cognetics.com Email: [email protected] An Introduction to the LUCID Framework Page 2 Over the past 30 years, several techniques for managing software development projects have been developed and documented.
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												  ADA Day DraftAmericans With Disabilities Act ADA DAY 7.26.21 What is ADA Day? History The ADA (Americans with Disabilities Act) is a civil rights law for people with disabilities that was passed on July 26, 1990. The law prohibits discrimination against individuals with disabilities, assuring them of equality and equity of opportunity, full community participation, independent living, and economic self-sufficiency. In enacting the ADA, Congress recognized that physical and mental disabilities do not reduce a person’s right or ability to fully participate in all aspects of society, but that people with physical or mental disabilities are frequently excluded from doing so as a result of prejudice and inaccessibility. With the help of the ADA, 1 in 4 Americans with disabilities is able to participate in their communities and workplaces today. Every July 26th we celebrate the ADA, our fellow individuals with disabilities, and look ahead to the work that is still being done to make a more inclusive, accessible life for those with disabilities. Areas of assistance under the ADA Employment Transportation Public Accommodations President George Bush signing the ADA act on July 26, 1990 Communications and access to state and local government programs and services 01 Overview of Americans with Disabilities Act Title I of the Americans with Disabilities Act (ADA): Prohibits private and government employers, employment agencies, and worker’s unions from discriminating against qualified individuals with disabilities. This covered all termsof employment, including applications, hiring, firing, promotion, and job training. It is enforced by the U.S Equal Employment Opportunity Commission. Those who believe they have been discriminated against on the basis of their disability can file a charge to the department citing disability discrimination.
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												  Sensory Study in Restaurant Interior Design Xue Yu Iowa State UniversityIowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2009 Sensory study in restaurant interior design Xue Yu Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Part of the Art and Design Commons Recommended Citation Yu, Xue, "Sensory study in restaurant interior design" (2009). Graduate Theses and Dissertations. 11104. https://lib.dr.iastate.edu/etd/11104 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Sensory study in restaurant interior design by Xue Yu A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: Art and Design (Interior Design) Program of Study Committee: Fred Malven, Major Professor Cigdem Akkurt Thomas Leslie Iowa State University Ames, Iowa 2009 Copyright © Xue Yu, 2009. All rights reserved. ii TABLE OF CONTENT LIST OF FIGURES iv LIST OF TABLES vi ABSTRACT vii CHAPTER1. INTRODUCTION 1 Problem Statement 1 Purpose of Study 1 Organization of Document 2 CHAPTER 2. LITERRATURE REVIEW 3 Overview 3 Sight 3 Ornament and Scale 4 Sunlight 5 Kaplan and Kaplan’s Preference Theory 6 Smell 8 Fragrance 9 Hearing 10 Haptic 11 Touch 11 Temperature and Humidity 12 Kinesthesia 12 CHAPTER 3. FRAME WORK 17 Restaurant market analysis 17 Trend 18 Target customer 18 Framework 19 Sight sensory design framework 20 Smell and hearing sensory design framework 25 Haptic sensory design framework 26 Interaction sensory design framework 31 CHAPTER 4.
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												  1 CLOTHING and ARCHITECTURE: More in CommonCLOTHING AND ARCHITECTURE: more in common Han Xu 20107500 1 Clothing and buildings are becoming even more alike. Both have typically served the bodies that inhabit them by maintaining environmental control and by presenting a codified exterior to the world. But now there are new kinds of physical resemblances between architecture and clothing. Various kinds of textiles and weaves are now being exploited in landscape and building design. Vast landscapes are shaped by geotexiles while building structures and envelopes exploit tensile, textile strategies, enabled by new lighter and more flexible materials and by the assistance of digital simulations. As well as becoming lighter, buildings are also becoming increasingly more temporary. The lifespans of buildings are ever shorter as their inhabitants become more transient, moving frequently from city to city. Evidence of this nomadic lifestyle can be found in fashion. Clothing, the portable envelope worn on the body, now provides some of the functions formerly associated with architecture. Designers are exploring the possibilities of integrated lights in clothes, pockets to carry portable electronic devices as well as soft electronic devices that are embedded in technical fabrics. Through other technological advances in textiles, specialized suits offer climatic control in very extreme environments. Yet other designers are integrating structure into clothing or even reviving the primitive model of a portable textile shelter. Many designers switch between fashion and architecture. Even the manufacturing processes for clothing and architecture can now be very much alike as new, highly sophisticated weaving robots automize the manufacturing process for articles of fashion or for components of buildings. In Gottfried Semper’s 1860 Style in the Technical and Tectonic Arts, we find a creation myth for today’s textile buildings and architectural suits.
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												  Arts Council England Grant-In-Aid and Lottery Distribution Annual Report and Accounts | |13 14 Arts Council England Grant-in-Aid and Lottery distribution annual report and accounts | | Arts Council England Grant-in-Aid and Lottery distribution annual report and accounts 2013/14 Presented to Parliament pursuant to sections 34(3) and 35(5) of the National Lottery etc Act 1993 (as amended by the National Lottery Act 1998 and National Lottery Act 2006). Ordered by the House of Commons to be printed 10 July 2014 HC 176 | CONTENTS 20 REVIEW OF THE YEAR 40 THE CREATIVE ECONOMY 41 CHAIR’S REPORT 71 CHIEF EXECUTIVE’S REPORT 02 ACHIEVING GREAT ART AND CULTURE FOR EVERYONE 04 EQUALITY AND DIVERSITY 44 HIGHLIGHTED INFORMATION © Arts Council England copyright 2014 67 GRANT-IN-AID ACCOUNTS The text of this document (this excludes, where present, the Royal Arms and all departmental or agency logos) may be reproduced free of charge in 110 LOTTERY DISTRIBUTION ACCOUNTS any format or medium provided that it is reproduced accurately and not in a misleading context. 130 NATIONAL LOTTERY REPORT The material must be acknowledged as Arts Council England copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. Any enquiries related to this publication should be sent to National Director, Advocacy & Communications, Arts Council England, The Hive, 49 Lever Street, Manchester M1 1FN This publication is available at www.gov.uk/government/publications Print ISBN 9781474100908 Web ISBN 9781474100915 Printed in the UK by the Williams Lea Group on behalf of the Controller of Her Majesty’s Stationery Office ID 12031401 07/14 Printed on paper containing 75% recycled fibre content minimum 1 Review of the year 4 Lottery distribution accounts | | 2 Highlighted information 5 National Lottery report 3 Grant-in-Aid accounts ReVIEW OF 1 THE YEAR Peter Grimes opera on the beach, Aldeburgh Music in Suffolk.