Statement：
In the exploration of group discussions, I re-examined the meaning of accessible design, especially its impact on people with dyslexia. In the past, I thought that accessible design was about providing additional support for people with disabilities, now I realize that it should not be a supplement or a correction, it should be the basic principle of design. Our discussion emphasized the concept of “Design with”, that is, people with dyslexia should not be just passive recipients, but co-creators of the design process. This changed my understanding of disability justice – true equality is not just about providing convenience but giving them the right to speak in shaping the way they read.
At the same time, I noticed that many reading systems are still based on the standards of traditional visual language, ignoring the possibility of multi-sensory design. Through this research, I realized that design is not only about form and function, but also a cultural practice that determines who can participate in information exchange smoothly. Therefore, in future designs, I will pay more attention to diverse reading experiences and rethink the way information is presented in an open way.
From Reading list：
1.
Through the group’s research, I realized that barrier-free design is not just a technical issue, but a manifestation of cultural power. Traditional design often uses able-bodied people as the default users, which leads to the marginalization of the needs of the disabled group. For example, many sign systems in public spaces are not friendly to people with dyslexia, which reflects the implicit bias against “standard” reading ability in visual culture.
Blauvelt’s “discursive space” perspective made me rethink the role of design – it not only shapes the environment but also determines who can participate in society smoothly. Barrier-free design should not be “extra” or “supplementary” but should be the core principle of design. True disability justice means that design must be decentralized and inclusive of different bodies and cognitive methods, thereby challenging the existing cultural power structure and allowing more people to use and understand information equally.
References:
- Blauvelt, A. (1994). ‘An Opening: Graphic Design’s Discursive Spaces’. Visible Language, 28(3).
2.
In the Designer as translator section of the article, Michael Rock mentioned that “the act of design is, in essence, the clarification of material or the remodeling of content from one form to another. The ultimate goal is the expression of a given content rendered in a form that reaches a new audience.” This inspired us to graphicize the GCD space from physical architecture. By thinking about information layout and graphic drawing, the core of the design is to transform the original and complex information into a more intuitive and readable form, so as to help the dyslexic group obtain the original information.
Not only do we need to consider how to convey the meaning of spatial layout, instructions and navigation information, but we also need to reshape the presentation of this information to make it more in line with the cognitive style of dyslexic patients.
When a person with dyslexia reaches his destination independently for the first time with the help of this map, space is no longer a passive physical container but becomes an equal interlocutor that can be “read” – this is exactly the proof of Benjamin’s words “translation gives new life to the original”: design as translation reconstructs the symbiotic meaning of people and space.
References:
- 2×4. (1996). Designer as Author. Available at: https://2×4.org/ideas/1996/designer-as-author/ [Accessed 24 Feb. 2025].
Outside the reading list：
1.
In Lesley-Ann Noel’s podcast EPISODE:257, Hannah Kozmaier’s point that “Let’s not fix things little by little. Let’s just dramatically break this and change it.” prompted us to think differently. If the problem with campus navigation stems from the way the system is constructed, simply adjusting the font or color will not fundamentally solve the problem. We need to fundamentally reimagine it.
So, we envisioned an experimental project that would invite dyslexic students and faculty to participate in rethinking CSM’s navigation system in different mediums. For example, we reconstructed the sign “1” through collage to explore whether it would be more intuitive to different readers if the way the navigation information was expressed changed. This is not only a visual reorganization, but also a re-examination of the way information is conveyed.
To explore new possibilities for information communication. This is not only a transformation of form, but also a re-examination of how the navigation system is read, hierarchical, and perceptible. Through this process, we hope to find a more inclusive direction and lay the foundation for future co-creation with real users.
References:
- Noel, L.A. (2023). Lesley-Ann Noel on Design Education and Equity [podcast]. Scratching the Surface. Available at: https://scratchingthesurface.fm/257-lesley-ann-noel [Accessed 28 Feb. 2025].
2.
The book mentioned that “Accessibility is not about convenience, it is about the fundamental right to participate in society.” It triggered my thinking about barrier-free design in campus. Although it is advocated as a measure to help disabled students, its real effectiveness is often overlooked. For people with dyslexia, traditional campus maps and information systems often rely on complex text and abstract symbols.
Barrier-free design should not only be superficial convenience, but also fundamentally rethink how to present information in the most intuitive and individualized way. Simply using high-contrast colors and symbols is not enough to solve the problem. Design needs to truly understand the cognitive methods and living habits of different groups. In the campus environment, real barrier-free design should break the traditional framework and meet the needs of each student in a more detailed and personalized way, rather than staying at the level of formalism.
Therefore, if barrier-free design is only for the purpose of “conforming to standards” in terms of symbols, but ignores deep understanding and practice, then it will not be able to achieve true social equity.
References:
- Wong, A. (ed.) (2020). Disability Visibility: First-Person Stories from the Twenty-First Century. New York: Vintage.
design practices/projects：
1.
“There’s Nothing Comic About Dyslexia” cleverly uses the controversial font Comic Sans to reveal the real reading experience of people with dyslexia through research and experiments. Its irregular fonts can help people with dyslexia focus on the text and redefine the value of this font with their feedback.
This case inspired me to have a new perspective on barrier-free design. We want to design with dyslexic people, not design for them. In the process of optimizing the campus guide system, we should not only pay attention to their reading habits, but also let them really participate in the design decision-making. Through co-creation, we can break the stereotyped cognition of “readability” in traditional design and create a way of presenting information that is truly suitable for people with dyslexia. Design should not be a one-way grant, but a process of exploring and adjusting with users to ensure that the final result can effectively improve their reading experience.
References:
- Dyslexia Scotland. (2024). New international dyslexia campaign speaks directly to the design sector.Available at: https://dyslexiascotland.org.uk/news/new-international-dyslexia-campaign-speaks-directly-to-the-design-sector/ [Accessed 24 Feb. 2025].
2.
Lukasz Pachalko’s Dyslexia – a guide for adults reconstructs visual language to prove that inclusive design is not a compromise on aesthetics, but a creative fusion of function and meaning. The project directly responds to the special needs of people with dyslexia for information processing through loose line spacing, soft tones and asymmetrical layout – dense typesetting can easily cause visual confusion, and high-contrast colors may increase reading pressure.
This practice breaks the traditional design thinking of “form follows function” and demonstrates the two-way adaptation between function and form: functional needs can promote the innovation of form, and innovative form can enhance the value of function. For example, the misalignment of the poster text not only helps people with dyslexia to understand the content more easily, but also resonates with the public through this “imperfect” typesetting method, making the design itself a tool for spreading the concept of inclusion. When design not only serves a specific group, but also influences a wider social cognition through visual language, it truly achieves the transformation from tool to culture.
References:
- Pachalko, Ł.A. (n.d.). Dyslexia: A Guide for Adults. Available at: https://www.formagramma.com/graphics/23378/dyslexia-a-guide-for-adults-lukasz-a-pachalko/ [Accessed 27 Feb. 2025].