Preiser W., Smith K.H. Universal Design Handbook

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xxi

ACKNOWLEDGMENTS

The first edition of the Universal Design Handbook was published in 2001. Its editors, Preiser and

Ostroff, wish to acknowledge the crucial role of the National Endowment for the Arts (NEA) and

the National Institute on Disability and Rehabilitation Research (NIDRR) in supporting universal

design through their policies as well as grants for education, research, product development, technical

assistance, and promotion. The impact of both agencies is reflected in the work of a number of the

authors from several countries. In addition to their research and program support, both agencies

have used their position to inform other government agencies and the public about universal design.

Three national Rehabilitation Engineering Research Centers on universal design are now in place,

with NIDRR support. Two on the built environment are the Center for Universal Design at North

Carolina State University and the RERC on Universal Design, University at Buffalo. The RERC on

Information Technology Access is at the Trace Research and Development Center, University of

Wisconsin, Madison.

The editors of the second edition, Preiser and Smith, greatly appreciate the contributions of the

author teams. They worked diligently, often rewriting their chapters several times to reach the clarity

that reflects the excellence of their work.

Thanks are also owed to the persons who got the editors interested in the field of accessible and

universal design in the first place and to the agencies which helped sustain that interest through

grants and other support.

In the case of Editor-in-Chief Preiser, the National Science Foundation (NSF) assisted research

leading to the publication of Public Building Accessibility: A Self-Evaluation Guide by the

University of New Mexico School of Architecture and Planning in 1978, authored by Gray, Gendron,

Heath, Green, Fish, and Johnson. This guide would allow businesses, hospitals, or any organiza-

tion to check out their facilities for accessibility without necessarily hiring consultants. Later, the

NEA provided several grants to help develop an electronic Guidance System for Visually Impaired

Persons for buildings and the campus of the University of New Mexico, as seen in “A Combined

Tactile/Electronic Guidance System for Visually Impaired Persons in Indoor and Outdoor Spaces,”

by Preiser, in Design for Disabled Persons, published by Freund Publishing House in 1988. Thanks

go to Ray Marshall, coordinator for special services at that university, for his excellent cooperation

and for providing subjects for the research that led to a prototype of that guidance system. Preiser

also thanks William Davis at the New Mexico School for the Visually Handicapped in Alamogordo,

New Mexico, for assisting in the testing and research, which was awarded the 1984 Progressive

Architecture Annual Award in Applied Research.

Senior Editor Smith is extremely appreciative of the experience to work on this second edition,

with gratitude to the previous editors for that opportunity. Likewise, Smith is grateful for the support

of administrators, faculty members, and staff members at the Fay Jones School of Architecture at

the University of Arkansas, in addition to the continued sponsorship of various agencies in Arkansas,

including Arkansas Rehabilitation Services, Arkansas Department of Human Services, UAMS

Partners for Inclusive Communities, Arkansas Development Finance Authority, Arkansas AARP, and

others. Finally, Smith would like to make special note of the treasured mentorship and friendship

of Beth Tauke, lead author of Chap. 27, whose combined energy, sincerity, empathy, and perception

have inspired all who have known her.

Editor-in-Chief Preiser acknowledges the role that previous Senior Editor Elaine Ostroff and

present Senior Editor Korydon Smith played in recruiting authors into this book project. More

particularly, Ostroff’s national and international network reflects her work of more than 30 years

in the field of accessibility and in universal design, and her knowledge of this emerging field was

invaluable in the editorial process. Ostroff, the founding director of Adaptive Environments (now the

Institute for Human Centered Design) in Boston, developed the Universal Design Education project

noted throughout the handbook, and was instrumental in organizing the international conferences

“Designing for the 21st Century,” held in New York City in 1998, Providence, Rhode Island, in 2000,

and Rio de Janeiro in 2004. The growing number of presenters and attendees is evidence of the fact

that universal design is sweeping the world as a movement, apparently unstoppable and particularly

significant in aging societies.

Preiser and Smith wish to thank the many individuals and organizations that helped shape this

book as well as refine the emphasis of its contents. Given the handbook’s global scope, a number of

difficulties had to be overcome, ranging from communications in general, to an equitable editorial

process, which recognizes regional and cultural differences in universal design, as well as accessibil-

ity for persons with disabilities in different countries. Perhaps the most important source of inspira-

tion and continuing involvement in the field of universal design has been students and colleagues of

Preiser and Smith over the course of the past decades. Without their help and genuine care, it would

not have been possible to carry out this and numerous other projects.

Preiser and Smith thank Joy Bramble, senior editor at McGraw-Hill, for shepherding the daunt-

ing process of creating this handbook on universal design. Likewise, Deepti Narwat Agarwal,

senior project manager at Glyph International, Noida, India, was a true facilitator in managing the

book production, including copy editing, as well as the page composition and proofing process for

McGraw-Hill.

Finally, Preiser and Smith must recognize the invaluable and unending support that their spouses,

Cecilia Fenoglio-Preiser and Julie Haase-Smith, provided throughout this challenging project.

xxii ACKNOWLEDGMENTS

xxiii

INTRODUCTION

Wolfgang F. E. Preiser and Korydon H. Smith

A CENTURY’S WORTH OF CHANGE

Since the publication of the first edition of the Universal Design Handbook in 2001, the world of

design has seen major transformations. In less than a decade, the world has experienced a century’s

worth of change, the scope and diversity of which were unimaginable in 2001. Social, technological,

economic, environmental, and legal changes have altered both the philosophical discourses and the

physical practices of design disciplines at all scales.

In 1900, only 13 percent of the world’s population lived in urban areas. In 2005, the world’s

population reached the tipping point, as 49 percent of people lived in urban areas. With the publica-

tion of this book, the scale has shifted, and for the first time in world history, more people live in

urban areas than nonurban areas (United Nations, 2008). As cities have grown, how have the roles

of designers changed?

In 2006, the world output, a chief measure of the worldwide economy, reached 59 trillion inter-

national dollars, a growth of 4.8 percent from the previous year (World Bank, 2008). East Asia and

the Pacific “increased their share of global output from 9 percent to 14 percent.” The gains, however,

were short-lived. As economies, such as that of the United States, slid downward throughout 2008,

politicians around the globe assured their constituents that the downturn would be temporary. By the

beginning of 2009, nations around the world were experiencing the greatest economic hardships since

the Great Depression. The year 2009 showed the first decline in world output on record. Asia was

hardest hit, as countries such as Japan saw a 40 percent decline in exports in January 2009 compared

to the previous year (World Bank, 2009). What effects have these economic shifts had on design?

Worldwide health has also been a major concern over the past decade. Throughout 2009, the

World Health Organization (2009) scrambled to combat the swine flu (H1N1) pandemic, as more

than 200 countries and territories had laboratory-confirmed cases of the virus. Likewise, since 2001,

regions throughout the world were also struck by numerous natural disasters. In December 2004,

a tsunami struck Indonesia, killing nearly one-quarter million people. In August 2005, hurricane

Katrina struck the Gulf Coast of the United States, flooding most of New Orleans and causing

more than $80 billion in damages. The largest percentages of Katrina fatalities were older adults

and people with disabilities. In May 2008, just months prior to the Summer Olympics, earthquakes

devastated the Sichuan Province of China, leaving 5 million people homeless. In the same month that

year, Myanmar lost more than 100,000 citizens to cyclone Nargis. In early 2010, earthquakes also

destroyed much of urbanized Haiti, killing tens of thousands of people and leaving millions home-

less. If these regions were designed differently, how might the outcomes be different?

In spite of these catastrophes, lots of technological progress has been made since the first edition of

the Universal Design Handbook. Apple, for instance, released the iPod in late 2001, selling nearly

200 million since that time. Google and YouTube have become household names. Toyota, in 2006,

released the first mainstream hybrid SUV, the Highlander, following its decade of success with the

Prius hybrid. Space exploration reentered popular conversations, as the exploration rover Spirit

touched down on Mars in January 2004 and has been sending data back to Earth ever since. The list

of medical and assistive technologies invented since 2001 is too staggering to mention. Nevertheless,

Time magazine’s Best Invention of 2008, an at-home DNA test, illustrates that advanced medical tech-

nologies are being taken out of experimental research and are entering mainstream consumer markets.

Similarly, the digital revolution has impacted a number of subcultures. For instance, as reported by

Aviv (2009), less than 10 percent of legally blind Americans now read Braille, which is attributable

to digitized text and which signals a shift back to an oral culture. What roles did designers play in the

technological advancements of the past decade, and how have various cultures changed as a result?

Social advancements were also made in the past decade. In regard to universal design, in 2000, the

United Nations (U.N.) appointed Miloon Kothari, an architect from India, as its first Special Rapporteur

on Adequate Housing. During his eight-year term, Kothari’s office drafted the first U.N. resolutions on

housing. Kothari helped substantiate the importance of housing as “a vital element for achieving socially,

economically and environmentally sustainable development” and that a home “is a key element for

fostering family integration, contributing to social equity and strengthening of the feeling of belonging,

security and human solidarity” (United Nations, 2004). More particularly, the rights of persons with

disabilities were included in these seminal U.N. resolutions: “Persons with disabilities have particular

needs in regard to . . . the full and equal realization of adequate housing as a component of the right to

an adequate standard of living” (United Nations, 2004). On December 10, 2008, little more than a month

after the United States elected the first black (biracial) President in its history, Barack Obama, the United

Nations celebrated the 60th anniversary of The Universal Declaration of Human Rights. The United

Nations reaffirmed its focus on “dignity” for “all members of the human family” and for “freedom,

justice and peace in the world,” values and nomenclature that are at the heart of universal design. In the

past decade, has the world become more conscious of the necessity of good design?

All the aforementioned have furthered the importance of universal design education and practice.

As stated by both Ostroff (in Chap. 1) and Preiser (2009), a paradigm shift in design is evident, and

universal design appears to be at the center. Universal design (UD) concepts have gained significant

traction worldwide, as evidenced in recent years by the emergence of the Design for All Foundation

in Spain, Universal Design GmbH in Germany, the Global Universal Design Commission in the

United States, Design for All Europe in Ireland, the Design for All Institute of India, and numerous

others. UD is not a trend but an enduring design approach that assumes that the range of human

ability is ordinary, not special. UD is a concept about making media, products, buildings, and infra-

structure for the widest range of human needs, preferences, and functioning.

Newcomers to universal design concepts and its parallels—inclusive design, design for all, etc.—

will find this book useful in understanding the origins and definitions of UD provided in the early

chapters. As they progress, they will find real-world exemplars that further articulate the realm of UD

across design disciplines. Readers familiar with UD will find a great number of updates and breaking

developments since the first edition was published. The overarching goal of the second edition of the

Universal Design Handbook is to provide students, advocates, policy makers, and design practitioners

with a theoretical grounding and practical guide on the physical and social roles of design.

As such, the second edition of the Universal Design Handbook brings together a rich variety of

expertise from around the world to discuss the extraordinary growth and changes in the universal

design movement. This edition builds upon the foundational work of the latter part of the twentieth

century, and it adds to the work of the many scholars and practitioners who have contributed to this

field since the first edition was published in 2001. The structure of the second edition is discussed

below, which is followed by a prospectus on the future for universal design.

STRUCTURE OF THE SECOND EDITION

A primary goal in developing this second edition of the Universal Design Handbook was to provide a user-

friendly guide to universal design without compromising the breadth of topics covered. Like the first edition,

xxiv INTRODUCTION

this edition contains an international mix of authors. In addition, it contains a combination of updated and

new chapters. The chapters are concise and highly focused, providing insight for both newcomers to univer-

sal design and experts in the field. The chapters have been organized into seven parts, moving from the most

comprehensive to the most specific topics. A synopsis of each part and chapter follows.

Part 1: Premises and Perspectives

The chapters in Part 1 provide a historical and theoretical context for universal design. In Chap. 1,

“Universal Design: An Evolving Paradigm,” Elaine Ostroff offers a brief background on universal

design and recent international developments. Susan Szenasy situates universal design within the

broader realm of sustainable design in Chap. 2, “Toward Social, Economic, and Environmental

Sustainability.” In Chap. 3, “Universal Design and the Majority World,” Singanapalli Balaram

discusses the growing chasm between developed and developing nations and the role that universal

design plays. This part establishes a foundation upon which the remainder of the book builds.

Part 2: Principles, Standards, and Guidelines

Part 2 encompasses the development of performance-based criteria and guidelines for universal design

in varied settings. Molly Follette Story describes the developmental process and articulation of “The

Principles of Universal Design” in Chap. 4. In Chap. 5, “United Nations Convention on the Rights of

Persons with Disabilities,” John Mathiason discusses the role of the United Nations in the furthering of

universal design concepts worldwide. John Salmen, in Chap. 6, “U.S. Accessibility Codes and Standards:

Challenges for Universal Design,” examines the relationship between formal, legal design standards, such

as those defined by the Americans with Disabilities Act, and the more speculative concepts of universal

design. The implications of prominent legal cases in the United States regarding accessibility in public

theaters and stadiums are presented by Sanjoy Mazumdar and Gilbert Geis in Chap. 7, “The ADA and

Accessibility: Interpretations in U.S. Courts.” In Chap. 8, “Life Safety Standards and Guidelines,” Jake

Pauls and Edwina Juillet illustrate the importance of not only access but also egress and other safety

concerns relating to universal design. Richard Duncan, Barbara Brenny, and Hugh Kelsey demonstrate

an alternative framework for defining, structuring, and implementing universal design concepts in Chap. 9,

“The Universal Design Thesaurus: Creating a Descriptive Language for Our Field.”

Part 3: International Perspectives

Part 3 includes analyses of historical and contemporary issues in universal design from seven differ-

ent countries. In Chap. 10, Olav Rand Bringa, Einar Lund, and Kristi Ringard describe “Norway’s

Planning Approach to Implement Universal Design.” Satoshi Kose, in Chap. 11, explores “The Impact

of Aging on Japanese Accessibility Standards.” Louis-Pierre Grosbois discusses “The Evolution of

Design for All in Public Buildings and Transportation in France” in Chap. 12, including several exem-

plars of the movement. Ingrid Krauss, in Chap. 13, discusses “Manifestations of Universal Design

in Germany.” In Chap. 14, Marcelo Pinto Guimarães explores an alternative approach to disability

policy and design in “Writing Poetry Rather Than Structuring Grammar: Notes for the Development

of Universal Design in Brazil.” Assunta D’Innocenzo and Annalisa Morini define “Accessible Design

in Italy” in Chap. 15. Finally, “Planning Accessibility in the Old City of Jerusalem” is described by

Avi Ramot, Yael Danieli-Lahav, and Judith Bendel in Chap. 16.

Part 4: Public Spaces, Private Spaces, Products, and Technologies

Part 4, “Public Spaces, Private Spaces, Products, and Technologies,” of the Universal Design Handbook

discusses exemplars of universal design. This part is divided into three subsections. Like the overall

structure of the book, these subsections move from the large-scale, public design realm, to the small-

scale, private realm of design, and finally to discussions of products and technologies.

INTRODUCTION xxv

The first subsection, concerning public spaces, contains seven chapters. In Chap. 17, “Creating

an Accessible Public Realm,” Sandra Manley discusses universal design at the macroscale. John

Petronis and Robert Robie, in Chap. 18, “A Capital Planning Approach to ADA Implementation in

Public Educational Institutions,” highlight the importance of universal design in higher education

settings, and they provide a framework for strategic planning. Chapter 19, “Universal Design in Mass

Transportation,” authored by Edward Steinfeld, illustrates the significance of clarity convenience,

and safety in navigating through large, mass-transit terminals. Wolfgang Preiser and Korydon Smith,

utilizing a variety of exemplars, provide an overview of “Universal Design at the Urban Scale” in

Chap. 20. In “Designing Inclusive Experiences,” Chap. 21, Roger Coleman explores a creative reen-

visioning of the design of future consumer environments. Susan Goltsman discusses the importance

of play in child development and articulates principles for designing exterior play spaces in Chap. 22,

“Outdoor Play Settings: An Inclusive Approach.” Strategies for accommodating employees with

diverse physical, cognitive, and perceptual needs are defined by James Mueller in Chap. 23, “Office

and Workplace Design.”

The second subsection, “Private Spaces,” provides several new chapters. Housing design is

the focus. In Chap. 24, Leslie Young describes “Universal Housing: A Critical Component of a

Sustainable Community.” Jordana Maisel, in Chap. 25, “The Evolution of Universal Design in

Housing in the United States: Toward Visitability and Pattern Books,” provides an overview of

recent U.S. housing legislation and how it may be addressed in community planning and design.

An in-depth look at the design goals and features of his own home is provided by John Salmen in

Chap. 26, “A Home for the Next 50 Years: Remodeling for Aging Boomers Demonstrates Universal

Design in Arts and Crafts Detailing.” Beth Tauke and David Schoell, in Chap. 27, “The Sensory

House,” provide an innovative exploration of the roles that sensory and cognitive perception play

in housing design. In Chap. 28, “Diversity and Equality in Housing: Designing the Arkansas Proto-

House,” Korydon Smith discusses how the ideals of universal design and site-specific design can be

brought together.

The third and final subsection, “Products and Technologies,” contains seven chapters, ranging

from product design to media design. In Chap. 29, “Selling Builders and Remodelers on Universal

Design,” Margaret Teaford, Susan Zavotka, and Christine Price describe how to develop outreach

programs involving builders and remodelers, product retailers, universal design experts, and con-

sumers. Abir Mullick, in Chap. 30, describes the design principles of “Universal Bathrooms.” Aaron

Steinfeld reconsiders automobile design in Chap. 31, “Universal Design of Automobiles,” providing

a number of design principles and suggestions. Molly Follette Story and James Mueller, in Chap. 32,

articulate the importance of the “Universal Design of Products.” In Chap. 33, “Accessibility of the

World Wide Web: Technical and Policy Perspectives,” Judy Brewer discusses principles for website

and digital media design. Trisha O’Connell and Larry Goldberg, in Chap. 34, “Universal Design in

Media,” describe the roles of visual and acoustic information in the design of various media tech-

nologies, such as DVDs. Finally, in Chap. 35, Charles Hitchcock discusses how to design “Digital

Content for Individuals with Print Disabilities,” the contents of which form the underpinning for the

digital version of this book.

Part 5: Education and Research

Part 5 explores current and emerging research and teaching in universal design. In Chap. 36,

“Inclusive Design Research Initiatives at the Royal College of Art,” Jeremy Myerson and Yanki Lee

describe a creative research and design agenda, which partners academicians, students, and industry.

Valerie Fletcher discusses “An International Web-Based Collection of Universal Design Exemplars”

in Chap. 37. Wolfgang Preiser, in Chap. 38, “Toward Universal Design Performance Assessments,”

articulates the importance of developing a more formalized assessment mechanism for universal

design, and he explores what it might contain. In Chap. 39, “Universal Design for Learning in the

College Classroom,” Margo Vreeburg Izzo, Steven Rissing, Christopher Andersen, Jack Nasar,

and L. Scott Lissner collaborate in discussing the principles of universal design learning (UDL)

and defining how teachers can incorporate UDL into their daily teaching practices. An innovative

xxvi INTRODUCTION

design-build program, involving architecture students and a summer camp for children with disabili-

ties, is discussed by Laura Terry in Chap. 40, “Camp Aldersgate: A New Model for Architectural

Education.” In Chap. 41, Jack Nasar begs the question, “Are Retrofitted Wheelchair Entries Separate

and Unequal?” Jon Christophersen and Karine Denizou, in Chap. 42, “Guidepaths in Buildings,” dis-

cuss the importance of way-finding and the role that various architectural and signage elements play,

especially for persons with visual impairments. In Chap. 43, “Redefining Design and Disability: The

Person-Environment Fit Model,” Jennifer Webb, Brent Williams, and Korydon Smith discuss how

universal design ideals may transform attitudes, policies, and practices in the future, proposing a new

conceptual framework of design and disability.

Part 6: The Past and Future of Universal Design

Part 6 of this book contains one chapter. In Chap. 44, “The Rhinoceros Syndrome: A Contrarian

View of Universal Design,” Jim Sandhu develops a metaphorical account of the history of universal

design, which is meant to leave the reader with a set of questions regarding the history and prospects

of universal design.

Part 7: Epilogue

The second edition of the Universal Design Handbook concludes with a personal account of the

suddenness of disability, the immediate life changes that occur, and the role that one’s home plays.

In Chap. 45, “My Story,” Rosemarie Rossetti describes her personal experiences with disability and

the actions she took to design and build a home—the UD Living Laboratory—that not only meets

her needs but also serves as an exemplar of universal design.

THE NEXT DECADES OF CHANGE

Given the century’s worth of change over the past decade, it is uncertain what the coming decades

will bring. Canton (2006) states, “Tracking the future, figuring out what is going to happen when, is

as much art as science.” Given that design is the synthesis of the two—art and science—undoubtedly

designers will play a central role in facilitating and responding to change.

In 2000, the world’s population was slightly more than 6 billion. It is anticipated that by 2025

there will be more than 8 billion people living on Earth (United Nations, 2009). Growth will be

highest in less-developed nations. For example, by the end of the twenty-first century, Europe’s

share of the world’s population will be cut in half, dropping from 12 percent to less than 6 percent,

while Africa’s share will double, to possess one-quarter of the world’s people (United Nations,

2009). India, Pakistan, Nigeria, the United States, and China, respectively, will experience the largest

population growths, while Niger, Yemen, Somalia, Uganda, and Mali, respectively, will experience

the fastest rates of growth over the coming decades. As population centers change, what roles will

designers play?

From 2000 to 2050, the number of persons 80 years of age and older will increase by 446 percent,

with the greatest increases (more than 700 percent) in less-developed regions of the world.

Simultaneously, the world’s population density will rise from 46.5 to 68.4 persons per square

kilometer. In 2050, Niger will hold the lowest median population age, 20.0, while Japan’s median

age will be more than double that at 53.2. By 2050, Japan’s life expectancy will rise to nearly 90 years

of age (United Nations, 2009). With these changes, the number of persons with disabilities will also

grow. What roles will designers play?

Although there is no definitive authority, some estimates suggest that by the time this book is

published, India will hold the largest number of English-speaking persons in the world, barely edging

out the United States and nearly double the number of English speakers in United Kingdom. On the other

INTRODUCTION xxvii

hand, China has the largest number of Internet users in the world, 253 million, followed by the United

States, Japan, India, and Germany. In the future, however, the rankings may change. For instance,

while the United States has seen a 130 percent increase and China has seen a 1000 percent increase

in Internet users from 2000 to 2008, Pakistan has experienced a growth of nearly 13,000 percent dur-

ing the same time period (Internet World Stats, 2008). As technology and language patterns change,

what roles will designers play?

In addition to these changes, the coming decades will bring further economic, cultural, and tech-

nological changes. Climate change and energy consumption will become more central discourses.

Human rights, as well, will be part of a growing international debate. In the opening chapter to the

first edition of the Universal Design Handbook, Ostroff discussed the “new paradigm” of universal

design. At that time, the aspiration of universal design was to integrate into mainstream media, prod-

uct, architectural, urban, regional, and other design practices. Although that goal has yet to be fully

achieved, that ambition needs to be elevated. Universal design concepts hold the promise not only to

impact the design disciplines but also to influence local and international policies and attitudes. As

stated by Lebbon (2002) in a review of the first edition of this book, “The fact that it covers a wide

set of issues across the various design communities is especially useful as it helps designers and

researchers place their own practice and interests in context with approaches in other design fields.”

Similarly, in the next decades, the merits of universal design—and the value of this book—will be

measured according to its integrative capacity: the ability to synthesize with parallel design concepts,

such as green building, as well as the ability to engender a new global paradigm.

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internetworldstats.com/top20.htm. Accessed Apr. 16, 2009.

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designresearchsociety.org/joomla/component/option,com_wrapper/Itemid,135/. Accessed Dec. 21, 2009.

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xxviii

INTRODUCTION

UNIVERSAL

DESIGN

HANDBOOK