Accessibility

This article was originally published by Common Edge as "Africa’s Undeclared War on the Disabled."

Recently I spent part of a week in the company of a multidisciplinary group of academics and researchers from Europe, the US, and Africa, at a workshop entitled “The Practice and Politics of DIY Urbanism in Africa.” Jonathan Makuwira, a professor from the Malawi University of Technology, delivered a compelling paper on “Disability and Urbanism in Malawi,” highlighting the many challenges of the continent’s disabled population, using that city as a case study.

The lecture reaffirmed my sentiments on the gross inadequacies of urban public spaces for the disabled. It’s an issue that formed the basis for my 2016 entry for the Richard Rogers Fellowship at the Harvard Graduate School of Design (GSD), where I had proposed to use the fellowship to develop a prescriptive accessible design blueprint for public spaces in the city of Abuja.

Only a special few architects can truly say they enjoy reading building codes. There’s no doubt that it’s daunting and it can certainly pose challenges to your design. Over time you’ll likely become familiar with the types of things you need to look out for on a project, but even the most experienced architects may still need to double-check a code question or two during the design process (or have an intern check it for them.) Unfortunately, many code documents are unwieldy to say the least, and there are few cases in which this is more true than the 279-page ADA Standards for Accessible Design. However, once you understand the layout and how to use a code book or the ADA guidelines, they become more manageable.

This guide aims to describe each chapter in the ADA 2010 guidelines to give a foundation for navigating them. Luckily for designers in United States, the documentation for the ADA Standards for Accessible Design is available online. Keep reading for a quick summary (all information and diagrams are directly from the guidelines). Check out the whole document here if you need it—or for convenience, each subheading in this article links directly to the relevant section in the PDF!

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The Americans with Disabilities Act (ADA), passed in 1990, had sweeping consequences for all persons with disabilities as well as all those in the building and construction industries, especially architects. In 2015, its 25th anniversary was commemorated with special events in cities and states across the USA.

Yet despite the ADA’s widespread impact on the built environment, few schools of architecture have full-time design studio faculty with disabilities to teach their students about accessibility first-hand. I am most fortunate to teach at one of those schools and to have had Carl Lewis as a longtime colleague at the University of Illinois at Urbana-Champaign. We have known each other ever since he first enrolled in my graduate seminar, and our friendship spans well over a quarter century, just like the ADA.

The milestone anniversary of the ADA, my ongoing research on diversity, personal experiences with family members with disabilities, and numerous occasions reviewing students’ design studio projects alongside Carl prompted me to interview him and to share his expertise with ArchDaily readers.

The majority of our built environment is designed for people who hear, with little regard for how the hearing-impaired navigate a space. But what would a space look like if it were designed for the deaf? This video from Vox and Curbed focuses on Gallaudet University, the world’s only liberal arts institution for the deaf, and the ways the campus is tailored to the needs of its students. By analyzing what they refer to as “Deaf Space,” the university has been able to pinpoint techniques that not only make communication and wayfinding simpler for the deaf, but to produce spaces that function more effectively and comfortably for everyone. For more on the university and how its members are impacting the architecture world, read the full article over at Curbed here.

Over the past 20 years, Pixar’s films have attracted vast audiences around the globe. In worldwide box office sales its first film, Toy Story (1995) boasted $362 million, followed by A Bug’s Life (1998) $363 million, Toy Story 2 (1999) $485 million, Monsters, Inc. (2001) $525 million, and Finding Nemo (2003) a whopping $865 million.[1] Factoring in additional home theater movie rentals and purchases, along with cable, theme parks, and consumer products, the influence of Pixar on generations of children and their parents around the world has been enormous. In terms of global impact, no educator, no author, and no architect even come close.

While Pixar’s pioneering role in the world of cinema, storytelling, and digital rendering is already well documented, its links with architecture have yet to be fully explored. One of Pixar’s greatest, and perhaps overlooked, talents is its ability to create convincing architectural worlds adjacent to and within the human world we inhabit every day. Pixar worlds could become a new tool to encourage critical thinking about our environment.

Seven years after waking up without sight, San Francisco-based architect Chris Downey is helping to revolutionize the built environment with interactive technologies optimized for the blind. One of the world's leading blind architects, Downey intrinsically understands the issues facing blind and visually impaired people worldwide. As a consultant to a variety of organizations serving to advance universal access, Downey has played an integral role in the development and integration of new, non-invasive technologies designed to assist the blind.

In a recent article in Dwell, Downey illustrates the various technologies currently being tested and implemented in San Francisco - a city notorious for its topographical challenges to differently abled residents. See four takeaways from Dwell's interview with Downey on how technology can help bridge the gap between architecture and universal access after the break.

San Francisco architect Chris Downey is changing how design is employed for people with disabilities and redefining how architects can approach accessible design. In this article by Lamar Anderson on Curbed, we learn about how Downey has developed his own design methods and utilizes his rare skillset to draw attention to what architects often miss when designing for the public.

Architect Chris Downey is standing next to a pile of Sheetrock, balancing a white cane in the air like a tightrope walker's pole. The week before, construction had begun on a new office for the Independent Living Resource Center of San Francisco, or ILRC, a nonprofit community center for people with disabilities. Downey holds the cane up to approximate for the center's executive director, Jessie Lorenz, how the reception desk will jut out at an angle from a concrete column. Lorenz takes a step, and a pile of pipes on the floor clatters. "I don't know what's over there," says Downey. Lorenz giggles. "I hope I didn't break anything," she says. Lorenz regains her footing and touches the cane. "That makes sense," she says. "It's almost like we're funneling people into this part."

Each year, the Department of Architecture at the University of California, Berkeley bestows the Berkeley Prize(s) in order to promote the investigation of architecture as a social art. This year's theme was "The Architect and the Accessible City." The following essay, "A day in the life of a wheelchair user: navigating Lincoln," written by Sophia Bannert of the University of Lincoln, took first prize.

Architectural discourse has gradually become incoherent with the social and ethical needs of the contemporary city. With the relationship between theory and practice strained, lack of social relevance in design is ubiquitous. Practising architects frequently regard theory as esoteric and non-transferable, whilst many theorists do not manifest their ideas into reality and build. With the connection gripping the precipice by its fingers, this paper is conceived; written to persuade, motivate and encourage that there is real value in instigating ideas put forth in this paper. Concepts proposed are not only applicable to the city of Lincoln but are relevant and adaptable to all cities. Inspired by the architecture which has not yet manifested, it hopes to ignite the spirit needed to eradicate social inequities in urban design.

As Albert Einstein said: “If the facts don’t fit the theory, change the facts”. In order to palpably grasp an understanding of what it is truly like to be physically disabled in Lincoln, I rented a wheelchair for one day to see for myself whether the facts fitted the theory.

Read more of Sophia Bannert's prize-winning story, after the break...

Today, President Barack Obama announced his intent to appoint five individuals to key Administration posts, including architecture’s very own Michael Graves, stating: “These fine public servants both bring a depth of experience and tremendous dedication to their new roles. Our nation will be well-served by these individuals, and I look forward to working with them in the months and years to come.”

The five individuals include: 

• Vinton G. Cerf - Member, National Science Board, National Science Foundation
  
• Marta Araoz de la Torre - Member, Cultural Property Advisory Committee
  
• Michael Graves - Member, Architectural and Transportation Barriers Compliance Board
  
• Laurie Leshin - Member, Advisory Board of the National Air and Space Museum
  
• Lynne Sebastian - Member, Advisory Council on Historic Preservation