Universal Design

A Practical Guide to Creating and Re-Creating interiors of Academic Libraries for Teaching, Learning, and Research

Gail Staines

• Publisher: Chandos Publishing
• Year: 2012
• ISBN:
  9781780633077
• Topic: Architektur
• Subtopic: Architekturdesign

Universal Design provides practitioners, graduate students, and other professionals interested in obtaining practical advice on how to effectively create and re-create interiors of academic libraries for teaching, learning, and research. The academic library 'as place' continues to evolve around the idea that the existing environment can have multiple uses. Partnerships with other college and university agencies, such as centers for teaching excellence and writing centers have compatible missions with those of academic libraries. Established within the building-proper these facilities will better serve students and faculty. The book fills the need for current information about how to effectively design and re-design academic library spaces to meet the ever-changing needs for today's and tomorrow's students, faculty, and researchers.

• Provides practical advice that can be applied immediately
• Includes brief and to-the-point explanations and information for the time-crunched reader
• Easy-to-locate references are provided if the reader seeks additional information

1

Why interior design matters

Abstract:

This chapter discusses why interior design matters in academic libraries. It provides a summary of relevant research and current thinking in academic library design. Research cited includes the literature on work environments and productivity, the influence of acoustic and visual aesthetics on productivity and life work, the role of neuroscience in creativity, relaxation and alertness, current studies on the effect of interior design of school buildings on teaching and learning, and the impact of interior space design on library employees. The definition and importance of Universal Design, examples of Universal Design principles, and designing effective spaces for today’s students and faculty, as well as current thinking in academic library design are explained.

Key words

academic library design

interior design

learning styles

service-oriented design

Introduction

Spaces where we work, play, contemplate and interact in a variety of activities – both as individuals and in groups – are designed, or should be designed, to enhance our experiences in that space. Think about the spaces you visit. Museum space is usually large, open and uncluttered – inviting you to explore exhibit pieces in an unfettered environment. Cafe space is almost always close and cozy – with the aromas of coffee and bakery treats – inviting intimate conversation. Children’s spaces are colorful with smaller, comfortable furniture scattered about soft carpeting, thus inviting you to learn, listen and play. These spaces all have form and function – they are more often than not unifunctional. Academic research libraries, in comparison, are traditionally large, sometimes over-powering structures originally designed to house print materials, but now in need of renovation – and sometimes rebuilding – to meet the multifunctional demands of a new generation of students and scholars.

The importance of interior design

So why is it so important to pay close attention to the interior design of academic research libraries? A look to the literature on environment and productivity may provide some initial answers. One of the most expansive studies on this topic was the Buffalo Organization for Social and Technological Innovation study conducted in 1984 (Brill, Margulis and Konar, 1984). More than 10 000 workers over a period of four years revealed that aesthetics, noise level, lighting, privacy and comfort all contribute to the level of job satisfaction and performance. An interesting finding was that employee involvement in work space design occurred with only 25 percent of study participants, even though worker participation in design significantly contributed to higher ratings across the board in measures of job performance and environmental and job satisfaction.

Other studies support this research. Davies (2005) found that acoustic (noise level) and visual aesthetics in the workplace influence productivity and life outlook. Both elements were found to impact employee engagement in work regardless of the type of workspace. Schwede, Davies and Purdy (2008) discovered that effective workspace design requires employee input throughout the design process, whether it is renovation or new construction.

Experts in neuroscience have also begun exploring the impact space design may have on such mental activities as creativity as well as physical responses such as relaxation and alertness (Anthes, 2009). Results of this research are being implemented into design. For example, The Lodge at Broadmead, located in Victoria, British Columbia, Canada, was constructed to reduce noise levels, and the interior designed to be less clinical and more home-like. Anecdotal evidence indicates that residents of this facility are calmer and less agitated (Gnaedinger et al., 2007).

Research into the interior design of school buildings has had similar outcomes. In his study of elementary and secondary schools in the UK, Edwards (2006) found that students in schools designed to allow for maximum daylight as well as incorporating natural ventilation had higher rates of student performance. Observations as well as other qualitative and quantitative data analyzed in this study indicate that the level of classroom design quality may play a key role in reducing teacher stress and absenteeism, leading to improved professional performance. Additionally, study participants responded that effective learning space design tells people that the community greatly values education. Edwards offers several effective design strategies including maximizing daylight in learning spaces, keeping the interior temperature comfortable and noise levels to a minimum, and making use of secondary areas, such as alcoves and other recessed openings, for informal learning. Research in the area of environmental psychology as it relates to the design of schools is in its infancy (Edgerton, McKechnie and Dunleavy, 2005). As Judson (2006) explains, “Processes of teaching and learning are inescapably situated. It is time we examined curriculum within the interconnected web of social, cultural, political, and ecological contexts in which we teach and learn.”

Research into the area of the impact that interior space design has on librarians and library workers has uncovered parallel results (Staines, 2009). Survey responses from academic research library leaders located in the USA, Canada and other countries were consistent in regards to ideal meeting space. Good lighting, flexible space, technology- rich, conveniently located refreshment facilities, moveable tables and chairs, fresh air, windows, and residing in an easy-accessible location that was quiet, clean and comfortable were characteristics provided by the survey group. It is interesting to note that just over 50 percent of the study participants held meetings in less than ideal spaces – spaces that had not been renovated or refreshed in many years.

What is Universal Design?

Universal Design is not a new concept, but is becoming increasingly popular in most situations where design is required. From developing user-friendly kitchen tools and appliances to designing flexible furnishings for use in home, office and library, Universal Design seems to be the way of designing for our work and leisure lives today and tomorrow. Its beginnings and constant evaluation are interesting and can be inspiring for the development of library spaces for students, faculty and staff.

The beginnings of Universal Design

Universal Design has its roots in the immediate post Second World War era when disabled war veterans were returning home to the USA, only to discover challenges in using products and moving in, out and through buildings and other structures. For example, door knobs were not designed for use by someone whose hands lacked normal mobility, stairs became barriers to the physically challenged as walking ramps were not required in building design, and the only assistive technology for reading text was the magnifying glass. Two inventors – Thomas Lamb and Marc Harrison – identified these and other related issues, and subsequently spent most of their lives developing products and buildings that could be used, universally – that is by almost anyone – regardless of their mental or physical challenges.

Born in New York in 1896, Thomas Lamb was both a children’s book illustrator and textile designer. Inspired to help injured veterans of the Second World War, Lamb redesigned crutches that were more easily used and more comfortable than previous designs (Hagley Museum and Library, 2011). Lamb eventually became known as “the Handle Man” after he patented a handle that could be universally applied to cutlery, surgical instruments, dental tools, luggage, as well as sports equipment. His invention was used in products developed by the Aluminum Cooking Utensil Company, the maker of Wear-Ever cookware and Cutco Cutlery (Hagley Museum and Library, 2011).

Industrial designer Marc Harrison, born on July 1, 1936, also in New York, was compelled into this field after experiencing a severe head injury during a sledding accident when he was 11 years old. Unable to walk or talk, Harrison had to relearn these basic skills to survive and function. He went on to complete a bachelor’s degree in fine arts in industrial design in 1958 from the Pratt Institute and a master’s degree in fine arts from the Cranbrook Academy of Art in 1959. Most of his career was spent as a professor at the Rhode Island School of Design where he became a leader in the fields of ergonomics, physical and rehabilitative medicine, and adaptive products, as well as serving as principal of his own consulting firm, Marc Harrison Associates, during the 1960s (Hagley Museum and Library, 2011).

Products and physical structures were designed for the “average” person up until the Second World War. Challenging this monolithic design thinking, Harrison focused his research on designing products and environments that could be used by everyone, regardless of their physical or mental capabilities. Harrison is most well known for creating the Red Cross Mobile Collection System as well as the award- winning design for the high-selling Cuisinart food processor (Hagley Museum and Library, 2011). His design style and ethic led him to partner with the International Lead Zinc Research Organization to create the ILZRO House. The ILZRO (Industrialized Housing System) was built in Foster, Rhode Island starting in 1971. The project, which ran for five years, involved trying new materials and energy conservation strategies as well as implementing products that addressed the physical needs of individuals. The results included the installation of sinks at lower heights, light switches that could be turned on-and-off by a push of a hand, and appropriate kitchen work surfaces for the wheelchair-bound (Hagley Museum and Library, 2011). The ILZRO is known as a pioneering Universal Design project. Harrison passed away in 1998 while working on the concept of the “universal kitchen.”

More recently, one can look to Steve Jobs (1955–2011), co-founder of Apple, Inc., developer of the iPod, iPhone and iPad, and a leader, mover and shaker in the world of Universal Design. Jobs’ creativity and ingenuity have resulted in the development of intuitive products that are easy for almost anyone to use. In terms of product design, Apple’s goal is always to invent technologies that can be seamlessly integrated into people’s lives. Instead of forcing the user to use one type of technology to access information, another version to edit the information and still another iteration to share information, Jobs’ products make it possible to complete tasks without jumping through various intentionally- designed product “hoops.” A significant bonus with his inventions is not only that they work exceptionally well, but that they also look good. His Universal Design aesthetic was so strong that it has carried over to and is recognized by the art world (Appleinsider, 2011).

Universal Design defined

Today’s concept of “Universal Design means that rather than designing your facilities and services for the average user, you design them for people with a broad range of abilities [and specific human] characteristics – such as age, reading ability, learning style, language, culture, and others” (University of Washington, 2008). Thus, the design of a specific space is driven by the overall concept of creating an area that ...