Inclusive Design papers by Gual Ortí
Design Principles & Practice: An International Journal, 2010
We live in a scenario marked by a technological environment, from which emerges a new social conc... more We live in a scenario marked by a technological environment, from which emerges a new social concept of culture based on access to and enjoyment of information. Nevertheless, access to the various cultural and physical expressions of humankind is not just a product of the New Technologies, since there are particular idiosyncrasies associated with each environment and physical spaces considered as heritage that make necessary the use of more traditional technical solutions to assure maximum accessibility. Accessibility solutions applied to heritage sites must be integrated with their environment, without being aggressive to their preservation or integrity. These solutions seek the goal of bringing the cultural resources to the citizens, especially to those groups with different types of disabilities: blindness, reduced mobility, deafness, etc. Designs seek to make them direct participants in cultural events, changing their role from a passive to a fully active one. This approach turns the heritage site into a fully didactic, interactive area open to all participants. With this objective, this paper presents a study of the state-of-the-art adaptations implemented in different areas of heritage. We have observed access from the perspective of product design, analysing which devices have been put in place, such as instruments for signalling, information support, or tactile paving. We focus our research in two areas considered as World Heritage in Spain, taking significant examples of those distinct categories registered by UNESCO: Natural Heritage and Building Cultural Heritage, and analyzing the implemented designs. This analysis will allow us to identify and understand the solutions applied to deal with the idiosyncrasies of each site, and propose specific design guidelines for achieving cultural access in these enclaves.
XII Congreso Internacional de Expresión Gráfica Aplicada a la Edificación, 2014
The Graphical representation finds its natural domain in the visual field, although its boundarie... more The Graphical representation finds its natural domain in the visual field, although its boundaries could be extended beyond this, considering aspects of expression, emotion and plastic expression among others.
In this regard, the tangible graphic expression, through tangible or relief graphics, is exposed to the receptor through the sense of touch, often through a combination of visual and tactile elements which allow everyone access to the graphic information via different perceptual modes, opening its boundaries beyond the visual domain. Thus, people with visual impairment can access to this type of graphical information by haptic and visual exploration, if they also possess the ability to see.
The article presented here aims to show some basics about these sort of graphics that require a double interpretation: the visual and the tactile reading.
Through the characterization of the most important aspects of the tactile perception, of the people with visual impairment and the different methods of producing tactile graphics, researchers will try to show a poor treated area from the orbit of Graphic Expression: the field of inclusive tactile graphics.
La representación gráfica encuentra su dominio natural en el ámbito visual, si bien es cierto que sus límites se extienden más allá de éste, contemplando también aspectos relacionados con la expresión, la emoción y la plástica entre otros.
En este sentido, la expresión gráfica tangible, a través de los gráficos tangibles o en relieve, se expone al público receptor mediante el sentido del tacto, normalmente a través de una combinación de elementos visuales y táctiles que hacen posible acceder a la información gráfica mediante diferentes modos perceptivos, abriendo así sus límites más allá del ámbito visual. De este modo, las personas con discapacidad visual pueden acceder a este tipo de información gráfica mediante la exploración háptica y visual, si, además, poseen la capacidad de ver, aunque sea de manera reducida.
El artículo que aquí se presenta pretende realizar un recorrido por este tipo de gráficos tan particulares que precisan una doble interpretación: la visual y la táctil.
A través de la caracterización de los aspectos más importantes del sistema de percepción táctil, de las personas con discapacidad visual y de los diferentes métodos de realización de gráficos tangibles, se intentará mostrar un área poco tratada desde la órbita de la Expresión Gráfica: la de los gráficos tangibles inclusivos
Conference Presentations by Gual Ortí
22nd International Congress on Project Management and Engineering , 2018
The proposed work presents a new system for the production of tactile and inclusive graphics, ada... more The proposed work presents a new system for the production of tactile and inclusive graphics, adapted to people with visual impairment, based on the use of materials, techniques and knowledge typical from the ceramic industry. In addition, this innovative type of tactile graphics is analyzed to discuss its advantages and disadvantages compared to those currently applied for outdoor environment uses. The work shows the particular problem of the use of tactile devices for visually impaired persons under outdoor environmental conditions and collective use, and the most significant requirements in these circumstances. This analytical study emphasizes the contrast between the traditional systems currently used to solve this problem, such as the use of casting or machining of metallic materials, and a new and recent alternative made of glazed ceramic material. Although the ceramic materials do not solve the problem completely, its incorporation into this segment of products and users can be an interesting alternative that deserves consideration by public space managers and social agents linked to groups to improve inclusion of people with disabilities
Education research papers by Gual Ortí
EDULEARN10 Proceedings. ISBN 978-84-613-9386-2, 2010
"The new model of teaching and learning promoted by the European Higher Education Area (EHEA) is ... more "The new model of teaching and learning promoted by the European Higher Education Area (EHEA) is aimed at the acquisition of skills and abilities. Many of the theoretical materials have been taught in universities with methodologies based almost exclusively on teacher's oral presentation of the contents (face-to-face interaction). Of course, some issues related to teaching the basics of design, although theoretical, require a practical approach in order to deepen certain aspects and thus achieve a better consolidation of knowledge.
An education based on the acquisition of competences means that students must have a range of tools to work and interact with information in different ways towards acquisition of practical skills. Thus, virtual learning environments (VLEs) provide students with additional resources that perfectly complement the theoretical contents explained by the teacher in classroom, while facilitating the coordination between people when doing group work.
This paper explores the advantages of the VLE "Virtual Classroom" for teaching, developed at Universitat Jaume I of Castellón (Spain). Through analysis of different case studies conducted in the current academic year 2009-10 is possible to evaluate the success of using this platform by students and teachers in the field of design, and thus to define specific guidelines to improve the introduction of new technologies for building a more appropriate blended learning."
INTED2010 Proceedings. ISBN: 978-84-613-9386-2, 2010
The implementation of the Degree in Industrial Design and Product Development Engineering has sta... more The implementation of the Degree in Industrial Design and Product Development Engineering has started in Spain. This new degree is focused on education based on competences acquisition, a factor that will help students to improve their professional skills development. In this sense, 2009 has been an important year in starting the process leading towards the European Higher Education Area (EHEA). The first objective of this paper is to analyse the “state of the art” of the various existing Design Degrees in the European Union. From this point, the second objective is to perform an analysis of the different approaches made to address the same subject: university education in the area of product design knowledge. Finally, this paper aims to compare the grades already implemented at the European Union and the grades existing in Spain, in terms of structure, skills and teaching methodology, among others, in order to determine what degree of harmonization occur between them.
INTED2010 Proceedings. ISBN 978-84-613-5538-9, 2010
Traditional short-cycle degrees, such as the Diploma in Industrial Design Engineering (DIDE), cur... more Traditional short-cycle degrees, such as the Diploma in Industrial Design Engineering (DIDE), currently face a fresh challenge in the new European Higher Education Area (EHEA) which could possibly improve students’ education in the future. The new Degree in Industrial Design and Product Development Engineering will be more complete from the student’s learning perspective as it will last four academic years instead of the three of the present format. Furthermore, the contents of this new degree will be similar to those of the diploma, but more focused on competences.
However, the various pilot projects carried out in recent years within the DIDE suggest that students’ dedication is below teachers’ foreseen ideal planning. This disparity may come about by teachers’ planning and by the way students organise the time they set aside for studying. All in all, this is the first problem to overcome when it comes to designing and planning this new degree. The present article intends to study and analyse this situation with the data obtained from the several European harmonisation pilot projects.
Design research papers by Gual Ortí
Design Principles and Practices: An International Journal, Volume 4, Issue 1, pp.409-434. ISSN: 1833-1874, 2010
We live in a scenario marked by a technological environment, from which emerges a new social conc... more We live in a scenario marked by a technological environment, from which emerges a new social concept of culture based on access to and enjoyment of information. Nevertheless, access to the various cultural and physical expressions of humankind is not just a product of the New Technologies, since there are particular idiosyncrasies associated with each environment and physical spaces considered as heritage that make necessary the use of more traditional technical solutions to assure maximum accessibility.
Accessibility solutions applied to heritage sites must be integrated with their environment, without being aggressive to their preservation or integrity. These solutions seek the goal of bringing the cultural resources to the citizens, especially to those groups with different types of disabilities: blindness, reduced mobility, deafness, etc. Designs seek to make them direct participants in cultural events, changing their role from a passive to a fully active one. This approach turns the heritage site into a fully didactic, interactive area open to all participants.
With this objective, this paper presents a study of the state-of-the-art adaptations implemented in different areas of heritage. We have observed access from the perspective of product design, analysing which devices have been put in place, such as instruments for signalling, information support, or tactile paving. We focus our research in two areas considered as World Heritage in Spain, taking significant examples of those distinct categories registered by UNESCO: Natural Heritage and Building Cultural Heritage, and analyzing the implemented designs. This analysis will allow us to identify and understand the solutions applied to deal with the idiosyncrasies of each site, and propose specific design guidelines for achieving cultural access in these enclaves.
Papers by Gual Ortí
The Graphical representation finds its natural domain in the visual field, although its boundarie... more The Graphical representation finds its natural domain in the visual field, although its boundaries could be extended beyond this, considering aspects of expression, emotion and plastic expression among others. In this regard, the tangible graphic expression, through tangible or relief graphics, is exposed to the receptor through the sense of touch, often through a combination of visual and tactile elements which allow everyone access to the graphic information via different perceptual modes, opening its boundaries beyond the visual domain. Thus, people with visual impairment can access to this type of graphical information by haptic and visual exploration, if they also possess the ability to see. The article presented here aims to show some basics about these sort of graphics that require a double interpretation: the visual and the tactile reading. Through the characterization of the most important aspects of the tactile perception, of the people with visual impairment and the diffe...
Lecture notes in civil engineering, 2023
Revista Internacional del Arte en la Sociedad
Atrios en centros comerciales de España como lugares posibles para exposiciones artísticas. Entre... more Atrios en centros comerciales de España como lugares posibles para exposiciones artísticas. Entrevistas con algunos responsables de centros comerciales españoles.
De los proyectos de convergencia a la realidad de los nuevos títulos, 2008, ISBN 978-84-8021-679-1, 2008
Revista Sonda: Investigación y Docencia en Artes y Letras
El objetivo de este artículo es mostrar una serie de buenos ejemplos que sirven de paradigma para... more El objetivo de este artículo es mostrar una serie de buenos ejemplos que sirven de paradigma para mejorar las condiciones de uso y disfrute de las personas con diversidad funcional en el ámbito del arte y del diseño. El alcance de este texto es puramente descriptivo y aborda distintos campos . En primer lugar se trata algunos buenos ejemplos dentro del ámbito de los entornos espaciales, en segundo lugar, se aborda algunos productos de consumo destacables por su innovación en términos de uso y accesibilidad, en tercer lugar, se describen algunas estrategia y buenas prácticas dentro del área del mundo de la navegación web, y por último se nombran dos bloques relativos al arte inclusivo, el de algunos grandes talentos de nuestro patrimonio creativo y artístico y el de los particulares gráficos tangibles que sirven para acercar éste a personas con discapacidad visual.
Comunicació presentada al 22rd International Congress on Project Management and Engineering CIDIP... more Comunicació presentada al 22rd International Congress on Project Management and Engineering CIDIP 2018 (Madrid, 11-13 July 2018)The proposed work presents a new system for the production of tactile and inclusive graphics, adapted to people with visual impairment, based on the use of materials, techniques and knowledge typical from the ceramic industry. In addition, this innovative type of tactile graphics is analyzed to discuss its advantages and disadvantages compared to those currently applied for outdoor environment uses. The work shows the particular problem of the use of tactile devices for visually impaired persons under outdoor environmental conditions and collective use, and the most significant requirements in these circumstances. This analytical study emphasizes the contrast between the traditional systems currently used to solve this problem, such as the use of casting or machining of metallic materials, and a new and recent alternative made of glazed ceramic material. Al...
Los recursos, tecnologías y dispositivos que pueden utilizarse en el contexto de la interpretació... more Los recursos, tecnologías y dispositivos que pueden utilizarse en el contexto de la interpretación de la cultura, configuran un ámbito de investigación que requiere una revisión constante en aras de obtener aplicaciones más amplias y versátiles tanto en la accesibilidad a los lugares en sí,como en la transmisión de su contenido como patrimonio cultural. Esta publicación presenta un panorama de las soluciones más implementadas y conocimiento acerca de su aportación desde la perspectiva del diseño inclusivo.Como resultados concretos,se analiza su repercusión en los colectivos más vulnerables, a partir de dos enfoques: de una parte,el estudio de campo realizado en los lugares del patrimonio visitados,y de otra, la valoración de profesionales y expertos sobre la importancia de la disponibilidad de estos productos. Los resultados obtenidos son principalmente de carácter cualitativo y muestran una realidad dinámica en la que prevalece la necesidad de ir mejorando la calidad de las visitas...
Comunicació presentada al 23rd International Congress on Project Management and Engineering (Mála... more Comunicació presentada al 23rd International Congress on Project Management and Engineering (Málaga, 10-12 July 2019).Numerous studies have shown that the environment affects creativity. This means that the creativity of an individual can be enhanced by placing him or her in an environment with the appropriate stimuli. However, these studies focus on the creativity of results in situ. The present study differs from the previous ones in that the aim is to analyse the effect of this environment on the acquisition of creative skills, since nowadays most university classes are taught in conventional classrooms, without any of the so-called creative stimuli of the environment. For this purpose, the present work shows the results of a practical experience, in which a number of creativity classes in the field of design engineering have been given to two homogeneous groups of students. For the first group the classes were given in a conventional classroom, while for the second group the sam...
Diferents. Revista de museus, 2021
En el diseño de los centros comerciales del siglo XXI, encontramos un elemento que se repite: el ... more En el diseño de los centros comerciales del siglo XXI, encontramos un elemento que se repite: el atrio. Es un espacio interior vacío, al que asoman galerías de paso y tiene varias plantas. También está iluminado cenitalmente. Es un foco de atracción dentro del centro comercial. Los usuarios lo recuerdan positivamente, y lo frecuentan mucho más que otras zonas del centro comercial. Y muy recientemente, se observa una nueva tendencia en todo el mundo, que incrementa el interés de estos espacios: se pueden utilizar para exponer temporalmente obras de arte de gran tamaño suspendidas. Así, el centro comercial se regenera y se redime. No en vano, estos espacios son similares a espacios expositivos como el propio atrio del icónico Museo Guggenheim de Nueva York, o la Sala de Turbinas de la Tate Modern de Londres.
Esta demostrado en numerosos estudios que el entorno afecta a la creatividad. Se puede potenciar ... more Esta demostrado en numerosos estudios que el entorno afecta a la creatividad. Se puede potenciar la creatividad de un individuo colocandolo en un entorno con los estimulos adecuados. Sin embargo, estos estudios se centran en la creatividad de los resultados in situ. El presente estudio difiere de los anteriores en cuanto que lo que se pretende analizar es el efecto de dicho entorno en la adquisicion de las competencias creativas, puesto que hoy en dia la mayoria de las clases universitarias se imparten en aulas convencionales, sin estimulos creativos de entorno. Para ello, el presente trabajo muestra los resultados de una experiencia practica, en la que se ha impartido un numero de clases de creatividad en el ambito de la ingenieria de diseno a dos grupos homogeneos de alumnos. Para un primer grupo las clases fueron impartidas en un aula convencional, mientras que para el segundo grupo se les han en un aula con estimulos creativos. Para comparar el nivel de adquisicion de competenci...
The presentation of industrial products from different fields (packaging, web and photography) is... more The presentation of industrial products from different fields (packaging, web and photography) is crucial because it influences the emotional response of the user and differentiates our product from the competition. In the third year of the Engineering in Industrial Design and Product Development Bachelor’s Degree at the Universitat Jaume I, the compulsory subject 'Product presentation' deals with the study of several media to publicize the products, offering the students appropriate tools to ensure correct presentations according to the nature and usual target of each product. Although good results of attendance and performance are obtained in this subject, in recent years low motivation has been perceived in students when addressing the different practical works, since they do not offer a real intellectual challenge and are barely related to real problems that should face an industrial designer. This article presents the results of an educational improvement project that aims to continue the last three projects implemented in this subject. In order to solve the low motivation of students several measures have been applied with great success, such as changing the focus of practical work and relate it to participation in public contexts on product design, combine classes with lectures by professional designers, and enhance the visibility and dissemination of student’s work through digital platforms and exhibitions on design. The paper concludes by analyzing the positive impact of the application of this new methodology.
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Inclusive Design papers by Gual Ortí
In this regard, the tangible graphic expression, through tangible or relief graphics, is exposed to the receptor through the sense of touch, often through a combination of visual and tactile elements which allow everyone access to the graphic information via different perceptual modes, opening its boundaries beyond the visual domain. Thus, people with visual impairment can access to this type of graphical information by haptic and visual exploration, if they also possess the ability to see.
The article presented here aims to show some basics about these sort of graphics that require a double interpretation: the visual and the tactile reading.
Through the characterization of the most important aspects of the tactile perception, of the people with visual impairment and the different methods of producing tactile graphics, researchers will try to show a poor treated area from the orbit of Graphic Expression: the field of inclusive tactile graphics.
La representación gráfica encuentra su dominio natural en el ámbito visual, si bien es cierto que sus límites se extienden más allá de éste, contemplando también aspectos relacionados con la expresión, la emoción y la plástica entre otros.
En este sentido, la expresión gráfica tangible, a través de los gráficos tangibles o en relieve, se expone al público receptor mediante el sentido del tacto, normalmente a través de una combinación de elementos visuales y táctiles que hacen posible acceder a la información gráfica mediante diferentes modos perceptivos, abriendo así sus límites más allá del ámbito visual. De este modo, las personas con discapacidad visual pueden acceder a este tipo de información gráfica mediante la exploración háptica y visual, si, además, poseen la capacidad de ver, aunque sea de manera reducida.
El artículo que aquí se presenta pretende realizar un recorrido por este tipo de gráficos tan particulares que precisan una doble interpretación: la visual y la táctil.
A través de la caracterización de los aspectos más importantes del sistema de percepción táctil, de las personas con discapacidad visual y de los diferentes métodos de realización de gráficos tangibles, se intentará mostrar un área poco tratada desde la órbita de la Expresión Gráfica: la de los gráficos tangibles inclusivos
Conference Presentations by Gual Ortí
Education research papers by Gual Ortí
An education based on the acquisition of competences means that students must have a range of tools to work and interact with information in different ways towards acquisition of practical skills. Thus, virtual learning environments (VLEs) provide students with additional resources that perfectly complement the theoretical contents explained by the teacher in classroom, while facilitating the coordination between people when doing group work.
This paper explores the advantages of the VLE "Virtual Classroom" for teaching, developed at Universitat Jaume I of Castellón (Spain). Through analysis of different case studies conducted in the current academic year 2009-10 is possible to evaluate the success of using this platform by students and teachers in the field of design, and thus to define specific guidelines to improve the introduction of new technologies for building a more appropriate blended learning."
However, the various pilot projects carried out in recent years within the DIDE suggest that students’ dedication is below teachers’ foreseen ideal planning. This disparity may come about by teachers’ planning and by the way students organise the time they set aside for studying. All in all, this is the first problem to overcome when it comes to designing and planning this new degree. The present article intends to study and analyse this situation with the data obtained from the several European harmonisation pilot projects.
Design research papers by Gual Ortí
Accessibility solutions applied to heritage sites must be integrated with their environment, without being aggressive to their preservation or integrity. These solutions seek the goal of bringing the cultural resources to the citizens, especially to those groups with different types of disabilities: blindness, reduced mobility, deafness, etc. Designs seek to make them direct participants in cultural events, changing their role from a passive to a fully active one. This approach turns the heritage site into a fully didactic, interactive area open to all participants.
With this objective, this paper presents a study of the state-of-the-art adaptations implemented in different areas of heritage. We have observed access from the perspective of product design, analysing which devices have been put in place, such as instruments for signalling, information support, or tactile paving. We focus our research in two areas considered as World Heritage in Spain, taking significant examples of those distinct categories registered by UNESCO: Natural Heritage and Building Cultural Heritage, and analyzing the implemented designs. This analysis will allow us to identify and understand the solutions applied to deal with the idiosyncrasies of each site, and propose specific design guidelines for achieving cultural access in these enclaves.
Papers by Gual Ortí
In this regard, the tangible graphic expression, through tangible or relief graphics, is exposed to the receptor through the sense of touch, often through a combination of visual and tactile elements which allow everyone access to the graphic information via different perceptual modes, opening its boundaries beyond the visual domain. Thus, people with visual impairment can access to this type of graphical information by haptic and visual exploration, if they also possess the ability to see.
The article presented here aims to show some basics about these sort of graphics that require a double interpretation: the visual and the tactile reading.
Through the characterization of the most important aspects of the tactile perception, of the people with visual impairment and the different methods of producing tactile graphics, researchers will try to show a poor treated area from the orbit of Graphic Expression: the field of inclusive tactile graphics.
La representación gráfica encuentra su dominio natural en el ámbito visual, si bien es cierto que sus límites se extienden más allá de éste, contemplando también aspectos relacionados con la expresión, la emoción y la plástica entre otros.
En este sentido, la expresión gráfica tangible, a través de los gráficos tangibles o en relieve, se expone al público receptor mediante el sentido del tacto, normalmente a través de una combinación de elementos visuales y táctiles que hacen posible acceder a la información gráfica mediante diferentes modos perceptivos, abriendo así sus límites más allá del ámbito visual. De este modo, las personas con discapacidad visual pueden acceder a este tipo de información gráfica mediante la exploración háptica y visual, si, además, poseen la capacidad de ver, aunque sea de manera reducida.
El artículo que aquí se presenta pretende realizar un recorrido por este tipo de gráficos tan particulares que precisan una doble interpretación: la visual y la táctil.
A través de la caracterización de los aspectos más importantes del sistema de percepción táctil, de las personas con discapacidad visual y de los diferentes métodos de realización de gráficos tangibles, se intentará mostrar un área poco tratada desde la órbita de la Expresión Gráfica: la de los gráficos tangibles inclusivos
An education based on the acquisition of competences means that students must have a range of tools to work and interact with information in different ways towards acquisition of practical skills. Thus, virtual learning environments (VLEs) provide students with additional resources that perfectly complement the theoretical contents explained by the teacher in classroom, while facilitating the coordination between people when doing group work.
This paper explores the advantages of the VLE "Virtual Classroom" for teaching, developed at Universitat Jaume I of Castellón (Spain). Through analysis of different case studies conducted in the current academic year 2009-10 is possible to evaluate the success of using this platform by students and teachers in the field of design, and thus to define specific guidelines to improve the introduction of new technologies for building a more appropriate blended learning."
However, the various pilot projects carried out in recent years within the DIDE suggest that students’ dedication is below teachers’ foreseen ideal planning. This disparity may come about by teachers’ planning and by the way students organise the time they set aside for studying. All in all, this is the first problem to overcome when it comes to designing and planning this new degree. The present article intends to study and analyse this situation with the data obtained from the several European harmonisation pilot projects.
Accessibility solutions applied to heritage sites must be integrated with their environment, without being aggressive to their preservation or integrity. These solutions seek the goal of bringing the cultural resources to the citizens, especially to those groups with different types of disabilities: blindness, reduced mobility, deafness, etc. Designs seek to make them direct participants in cultural events, changing their role from a passive to a fully active one. This approach turns the heritage site into a fully didactic, interactive area open to all participants.
With this objective, this paper presents a study of the state-of-the-art adaptations implemented in different areas of heritage. We have observed access from the perspective of product design, analysing which devices have been put in place, such as instruments for signalling, information support, or tactile paving. We focus our research in two areas considered as World Heritage in Spain, taking significant examples of those distinct categories registered by UNESCO: Natural Heritage and Building Cultural Heritage, and analyzing the implemented designs. This analysis will allow us to identify and understand the solutions applied to deal with the idiosyncrasies of each site, and propose specific design guidelines for achieving cultural access in these enclaves.