The Helen Hamlyn Research Associates Show 2004: An inclusive design process for an inclusive design exhibition (original) (raw)
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This paper looks at the author’s experience of five years of organising the DBA Design Challenge – an annual inclusive design competition organised by the Helen Hamlyn Research Centre in collaboration with the Design Business Association (DBA). Leading design firms in the UK work with younger consumers with severe disabilities to develop inclusive product and service prototypes for the mainstream market. Attitudinal barriers to inclusive design in the design community and the diverse nature of their information needs will be outlined as will case studies from the Challenge. They will be chosen to illustrate ways in which designers with no previous experience of working to an inclusive brief have received information and stimuli that have enabled them to do so and in the process change their perceptions of inclusive design.
2019
www.designingwithpeople.org is a new web tool created to support and inspire designers to design more inclusively. Constructing this web tool revealed a number of insights, and some thoughts for the future of inclusive design are embedded in it. This paper describes these insights as the rationale of the web tool. From influencing policy and business practices to repositioning the subject of design, the concept of Inclusive Design is evolving. What are the next steps? What are the specific questions for inclusive design practice? We explore three more layers of the question, each of which is the title of a subsection: How do we start people-centred design process? What are the methods in user researches for design? What are the ethical procedures when designers design with people? The answers to these questions are our attempt to offer multiple perspectives in understanding people and the prompt adoption of Web 2.0 technologies. We hope that designers' use of multiple perspectiv...
How the Inclusive Design Process Enables Social Inclusion
… , International Association of Societies of Design …, 2009
Royal College of Art, Helen Hamlyn Centre London, UK * yan-ki.lee@rca.ac.uk ** julia.cassim@rca.ac.uk ... Abstract: Inclusive Design responds to Design Exclusion and aims to create designs that are mainstream in nature, which can benefit the majority by ...
Involving People with Disabilities: Lessons from a Designer-Centred Inclusive Design Competition
Involving end-users can make a real difference in producing products and designs that actually meet their needs and wants. This is particularly important when it comes to older and disabled users, who often differ markedly from designers. This paper considers how such participatory design with older and disabled users can be put into practice in an industrial setting, through examining a study of an industrial inclusive design competition. We discuss designers' different reactions to the involvement of users and different ways in which they drew on the users' expertise and insight, and we draw out some implications for encouraging the uptake of user involvement in industry.
The adoption of inclusive design approach into design practice is compatible to the needs of an ageing society. However, tools and methods that promote inclusivity during new product development are scarcely used in industry. This paper is part of a research project that investigates ways to accommodate inclusive design into the design process in industrial context. The present paper is based on the finds from the observations and interviews with industrial designers and interviews with stakeholders. The outcomes from the study supported a better understanding of the client-designer dynamic as well as the stages in the design process where information related to inclusive design could be introduced. The findings were essential to inspire the develop-ment of an inclusive design interactive technique to be used by clients and designers.
Developing and evaluating a booklet for inclusive design
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The aim of inclusive design is to make products accessible to the widest possible population. Although inclusive design is not a new genre, given that similar ideas already existed in the 1970s, the context today is different from that of thirty years ago. The new technology, the emerging 'grey' market and the growing disability movement leading to the integration of disabled people into the mainstream society, etc., have formed a new paradigm of designing for inclusion.
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The adoption of inclusive design principles and methods in the design practice supports the equity of use of everyday products by as many people as possible irrespective of their age, physical, sensorial and cognitive capabilities. Although the intention is valuable, inclusive design approaches have not yet been widely applied in industrial context. This paper analyses the findings of an empirical research study conducted with industrial designers and product managers. The research indicates some of the hindrances to the adoption of inclusive design, such as the current way the market is considered and targeted, and; the way the designers’ research strategy and activities are driven by the project’s brief and budget. This paper proposes a way to improve the current industrial mode by strategically supplying clients, designers or both with information about inclusivity.
Design that keeps designing: designing for participation
What role does participation take when engaging the public in communication design projects? What considerations and capacities in the communication design process and practice are required to enable participation? These questions are considered in this paper through critically reflecting on a project entitled Fashion City, which explored engaging the public as co-author of the communication content. The unexpected and confronting outcomes of the project provided valuable insights into designing for participation. The paper summarises three of the key lessons learned during the project that revolved around issues of releasing control and de-centralising the designer and the outcome of design. Following the understandings arising from the project, a ‘scaffold’ model is proposed. This scaffold can act as a framework that respects the individual’s agency and their participation as well as their rights to choose to ignore or interact, engage or disengage in a ‘conversation’ initiated through design. These scaffolds may be risky and unconventional to normative commercial processes, however, it is argued that they can lead to generative situations of uncertainty and indeterminacy to occur, enabling the discovery of new concepts, knowledge and practices in communication design.
Obstacles and Solutions to Inclusive design (2002)
Delegates to the 'Include 2001' conference, hosted by the Helen Hamlyn Research Centre, were asked, as part of an 'obstacles and solutions' workshop, to identify barriers to the uptake of more inclusive design strategies, and to propose remedies to them. It became clear, from analysis of these contributions, that they fell into two major domains-that of the designer and that of the client. Three areas of concern were identified: the broader context in which designers operate, professional practice and the client/designer relationship, and each solution identified required action from both designer and client or importantly, provision of pre-and post-professional training and education. The need for education at all levels was seen as a key obstacle for both designers and clients, which could be speedily and effectively addressed. In light of this some options are explored for continuing professional development (CPD).
2007
This paper will look at the Challenge Workshop, a knowledge transfer model on the inclusive design process based on the seven DBA Inclusive Design Challenges organised at the Royal College of Art (RCA) since 2000 by the author in collaboration with the Design Business Association, the leading trade association for designers in the UK. This mentored annual competition sees leading UK design firms work with consumers with severe disabilities to develop innovative, inclusive and aspirational product and service prototypes for the mainstream market. It will focus on how this collaborative model has been further developed into creative workshops of varying lengths and iterations in different contexts in the UK, Japan, Israel and Singapore to inspire and inform designers, engineers and others of the innovative possibili-ties of inclusive design and in the process change their perceptions. The paper will also describe how the workshop has been adapted to and addressed the different knowledge transfer challenges of each cultural context and will show examples of some of the outstanding design proposals that have emerged.