Ebook: Transforming our World Through Design, Diversity and Education
Good design is enabling, and each and every one of us is a designer. Universal Design is widely recognized an important concept that should be incorporated in all person-centred policies. The United Nations Convention on the Rights of Persons with Disabilities (UNCRPD) clearly stipulates that the most effective way of delivering on the promise of an inclusive society is through a Universal Design approach.
Sitting at the intersection of the fields of Higher Education and Universal Design, this book presents papers delivered at the Universal Design and Higher Education in Transformation Congress (UDHEIT2018), held in Dublin, Ireland, from 30 October to 2 November 2018. This event brings together key experts from industry, education, and government and non-government organization sectors to share experiences and knowledge with all participants. The 86 papers included here are grouped under 17 headings, or themes, ranging from education and digital learning through healthcare to engagement with industry and urban design.
Celebrating and integrating all that is good in design, diversity and education, this book will be a valuable resource for all those interested in the inspiring and empowering developments in both Universal Design and higher education.
“Céad Míle Fáilte”
“A Hundred Thousand Welcomes”
UDHEIT2018, at its heart is a collective celebration of “Good Design”.
All our contributors, the users, designers, practitioners, educationalists, theorists and policy makers continue to demonstrate that good design enables and that each and every one of us is a designer.
The journey towards realising the UDHEIT2018 congress has been both an emotional and empowering journey bringing the two communities of higher education and universal design together. The themes and subject areas covered in these proceedings capture the wonderful diversity of our community of practitioners – building on a strong foundation in research, policy and practice. This publication marks a moment in time, with each contribution reflecting the shared values and beliefs, at the intersection of the fields of Higher Education and Universal Design. Harnessing this collective ambition is a potent resource with transformative potential.
The “whole systems” approach covering the macro (International/National), meso (Regional/Institutional) and micro (Coalface), the barriers and facilitators to full participation for all citizens will be discussed and debated at this international congress. Each of these elements is drawn from individual experiences, revealing a rich seam of transferable knowledge and skills that will empower a new generation of learners and designers.
The recent report by the OECD showing that people have become more pessimistic about their prospects of “social mobility” over the last two decades is a timely reminder of our need to view the required transformation from a “whole systems” perspective. The perceived risk of sliding down the social ladder is growing in nearly all OECD countries. Our focus must be on creating a more equitable and inclusive society where there is the prospect of social mobility, the alternative is bleak with the strong likelihood of further erosion of economic growth as well as a decrease in life satisfaction and wellbeing. According to the OECD this vista will have a further negative impact on social cohesion and democratic participation.
To support us in our journey, the United Nations Sustainable Development Goals advocates for equality, recognising that Universal Design is an important concept that should be incorporated in all person-centred policies. Moreover, the United Nations Convention on the rights of Persons with Disabilities (UNCRPD) clearly stipulates that the most effective way of delivering on the promise of an inclusive society is through a Universal Design approach.
The author of “The Fourth Industrial Revolution” – Klaus Schwab calls for leaders and citizens to “together shape a future that works for all by putting people first” empowering them and constantly reminding ourselves that all of these new technologies are first and foremost tools made by people for people. For this “Global Citizen” to live and thrive in an increasingly sophisticated technological world, education has a key role to play in requiring us all to take up our responsibilities now and into the future as active citizens in all facets of our lives whether we are customers, designers, creators, voters or decision makers. It is for all of us to work in partnership with disadvantaged communities and marginalised sectors of society going on a “learning journey together” producing more active, participating citizens which in turn creates a more equitable and fairer society and in doing so enabling us to halt the persistent cycle of reproducing societal inequalities.
The large number of paper and workshop submissions for our congress from across the globe is a testament to the current state of Universal Design – exemplars which illustrate “what to do” and “how to do it”. The next phase of evolution in this field is to continue to articulate the “Why?” The Why question gets us to examine our beliefs and it is our beliefs that ultimately guide our behaviours and decisions. Therefore, what is now required is a transformational shift, which will move us beyond understanding Universal Design to experiencing and feeling it and make it central to our work. As David Rose (Director of CAST) said at our Universal Design conference in 2015 in Dublin, what is now needed is an “emotional response” as too many within our society have had negative experiences and feel disconnected from the mainstream. Universal Design and UDL (Universal Design for Learning) have expanded to look at exclusion from a social-emotional perspective (i.e., physical access is not enough; there must be belief that all students are able to learn, and all students must have access to learning). Our response now needs to be based on a creative and emotional response in how we design our environments, products and services.
Therefore, we humbly request and give you permission to leave your “Mask” behind and lead with your hearts and souls.
In all the social and public spaces, we inhabit including our Higher Education campuses, we meet individuals whose needs are as varied and complex as their personalities. In other words it is “Normal to be Different”. It has become clear that communities of siloed practices are limited and do not deliver for today's complex and diverse world. A vision shaped by the needs of the communities we serve can transform exclusive environments to inclusive, connected and engaged experiences for all. Universal Design provides us with a framework and an opportunity to re-imagine our policies, facilities, services and curriculum, guided by a collective wisdom that declares “Diversity – Is the new normal”.
But, finally this work is an unfinished symphony – it needs your creative and emotional energy to bring this message to new audiences.
To all our reviewers, organisers and editors, the driving force behind UD-HEIT2018, we hold the vision that together we can achieve more. Each paper, presentation and conversation builds towards that goal of good design in all aspects of what we do. Let these papers (and our companion papers on Arrow@DIT) guide and inspire you, as you continue your journey, taking up the mantle by demonstrating that the emotional, philosophical and theoretical underpinnings of universal design can be realized in practice.
“As water takes whatever shape it is in, so free may you be about who you become”
(A Blessing for Equilibrium by John O Donoghue)
Gerald Craddock, Conference Chair
Centre for Excellence in Universal Design
Larry McNutt, Conference Chair
Institute of Technology Blanchardstown
The European Higher Education Area was a landmark in undergraduate and postgraduate training throughout the European Union. Despite the changes it led regarding the contents of all study programmes, there were two issues that remained unsolved. Firstly, gender mainstreaming, and secondly, training in universal accessibility and design for all. Our aim is to analyse the second issue that remains unresolved and share the solution that Spanish university education has drawn up supported by the tertiary sector. Therefore, any physical, social or virtual product must be based on universal design from a training approach. As teachers, our mission is to change the way in which each product is perceived, so that any design is based on universal design standards. In this article, we will explain the pioneering role of the University of Jaen regarding universal design training in Spain. It is essential to be supported by local and global organisations from the beginning, to create specific environments for discussion and design a study plan for all individuals. The main mission is to train but also to raise awareness regarding diversity, as well as training plurality ambassadors from a multidisciplinary approach. The Master's Degree previously mentioned is a pioneering education programme in Spain and it offers training opportunities to all Latin America. It has been on-going for six years and it is updated on an annual basis in order to reflect a changing social reality and provide any professional with online access to the set of subjects composing the programme. Until now, it has been carried out in two different plans: Master's Degree in Universal Design and Design for All, and Master's Degree in Accessibility for Smart City; the Global City. It has already trained more than 250 professionals and one of its main features is the diverse background of students and teachers, in which plurality and diversity converge in their interest for universal design.
Architects seldom design for themselves, yet in the course of studying architecture one is rarely presented with the opportunity to design for a real client. The abstract nature of this education model leads to a focus that typically prioritizes formal or technical design exploration and de-emphasizes the role of the user. While Universal Design centers human bodies within design practice, the broad and often vague ambition of universality is difficult for students to engage within an academic context. We argue that approaching Universal Design through the lens of human age emphasizes the physical, sensorial, and cognitive modes of spatial understanding of the young and old and offers a focused perspective through which to address difference and diversity in architectural education. In this paper we outline a pedagogical approach that prioritizes human embodiments, over physical bodies, and integrates empathic understanding as critical to an inclusive, human-centered design methodology. We will discuss how the approach emerged from design seminars and studios taught in the Department of Architecture at the University at Buffalo and was tested through exercises that challenged students to research, empathize with, and ultimately design for the specific needs, abilities, and desires of individuals at the limits of human age.
The numbers of college and university students with autism spectrum disorders (ASD) are steadily rising, but research on their academic performance reports mixed results. The diversity of the population makes it necessary to target each student individually. This paper describes an ongoing study and experience with pedagogical intervention for ten undergraduate IT students at Oslo Metropolitan University (OsloMet) over several years. The intervention design is based on knowledge of research in the field and evidence-based practices, as well as professional skills. Data about student challenges and needs are collected from informal, open-ended interviews with students, in addition to conversations and observation. The goal is to ensure that the students achieve academical success. Plans are currently being made to develop a formal program that will target all students with autism spectrum disorders at OsloMet.
Universal design was introduced as an ideological and technical concept in Norway in 1996 and was introduced in the first law in 2003. Since then universal design has replaced accessibility for people with disabilities in national policies, laws, regulations, standards, projects and everyday language. Accessibility is now used to characterize solutions made more exclusively for people with disabilities or when a high, general quality is not required. Few countries have made this extensive use of the concept of universal design and the concept has faced several challenges from lawmakers, architects, economists, user organizations, entrepreneurs and debaters. This paper reflects on some aspects of more than 20 years of extensive use of the concept of universal design and try to answer the question: Is universal design an academic invention with little extra positive impact compared to accessibility for people with disability, or does the concept defend its supposed role as a step towards a society with equal opportunities for all?
The Prime Minister, “Shri Narendra Modi” of India, launched “Sugamya Bharat Abhiyan” (Accessible India Campaign), on 3rd, December 2015. It is a nationwide flagship campaign for achieving universal accessibility for “Persons with Disabilities” and to create an enabling and barrier free environment, with a focus on three verticals; “Built Environment”, “Public Transportation” and “Information and Communication Technologies” . The Accessible India Campaign comprises of the following key components:- (i) Create Mass Awareness; (ii) Capacity Building; (iii) Interventions (Technology solutions, Legal framework, Resource generation); (iv) Leverage corporate sector efforts including CSR resources; (v) Leadership endorsements  . In the key components stated above two major components are; 1. Mass Awareness and 2. Capacity Building. To achieve both these components, the need is to develop a knowledge base through which stakeholders associated with built environment development and creation can be brought at one platform and awareness towards universal accessibility can be created among the people at large. Thus this study is an attempt to identify the possibilities to make the “Accessible India Campaign” a success through “Universal Design Education” and to establish and validate the need of universal design in making the “Accessible India Campaign” a success.
The study attempts to establish the need of “Universal Design Education' in India. The need of a discipline with which the designers at all levels of design ranging from product, interiors, architecture and planning of built environment can create sustainable, accessible, living environment in India.
The absence of accessibility in many ICT systems and products indicates insufficient accessibility competence among designers, developers and project managers. Higher education institutions play an important role in raising awareness and competence and in preparing universal design and digital accessibility specialists. Although many universities are teaching accessibility as part of the biomedical, special education and disability studies programmes, few provide accessibility education in technical specialisations such as computer science. By combining literature review and manual search and inspection we aim at investigating the state of the art in integrating universal design and digital accessibility into the curricula of computer sciences-related programmes.
One of the key requirements for an inclusive and sustainable society is that everyone should be able to participate in and enjoy the social, economic and cultural assets of that society. For some people, barriers exist which make visiting and using heritage buildings and places difficult or sometimes impossible. Making the built heritage more accessible in an appropriate and sensitive manner can increase awareness and appreciation of its cultural, social and economic value. The roots of universal access are grounded in equal opportunity, nondiscrimination and designing for diversity. Architects play an important role in creating accessibility awareness in the society. Thus it is important to impart ‘universal design’ teaching in architecture schools that will bring awareness amongst budding architects and planners who will respond to the need of diverse population and will create awareness in the society. This paper is and outcome of the academic exercise conducted for the Masters in Architectural Conservation Design Studio at the site of Jantar Mantar with diverse users and proposing solutions for physical and intellectual access to the site. The paper aims to develop awareness, sense of responsibility among students through universal design education for a heritage site and further discuss the possible universal design interventions at World Heritage Site of Jantar Mantar, Jaipur.
The recently completed Massive Open Online Course for Accessibility Partnership project (MOOCAP), had the twin aims of establishing a strategic partnership around the promotion of Universal Design and Accessibility for ICT professionals and of developing a suite of Open Educational resources (OERs) in this domain. MOOCAP's eight university partners from Germany, Norway, Greece, Ireland, the UK and Austria have a significant history in developing and providing courses in the domains of Universal Design and Accessibility, as well as leading research and advocacy roles within Europe. The MOOCAP project consisted of two phases: the development of an introductory MOOC on Digital Accessibility and the delivery of set of online courses with more in-depth and focused learning topics. During the lifetime of the project over 10,000 students signed up for these courses. This paper reflects on the challenges of creating and delivering MOOCs, especially in topics around Digital Accessibility and Universal Design. It considers the outcomes, impacts and legacies of the project. Based on our experiences of integrating these materials into our courses and on feedback and project evaluations, this paper will assess the potential of MOOCs to promote Universal Design for ICT and other professionals, while pointing up the possible trials and opportunities of such activities.
With the increasing popularity of digital technologies, more and more digital learning materials are available in education. However, making digital learning materials accessible to diverse students can be a challenging task. In higher education institutions, faculty members play a vital role in ensuring the accessibility of digital learning materials. This paper aims to provide a better understanding of the attitudes among faculty members towards this task by conducting a thematic analysis of 35 semi-structured interviews with computer science and engineering faculty members at four universities in Norway and Poland.
The diversity among Swedish university students is steadily increasing. The students have different backgrounds, experiences, interests, learning styles and abilities. Also, there are more students with disabilities at Swedish universities, especially invisible disabilities. Teachers need to adapt their teaching and curricula, and can no longer wait to do this until they spot a student with diverse learning preferences. Universal Design for Learning (UDL) is an approach to make a university more inclusive, by increasing the flexibility of how students can take in information, express their knowledge and be motivated in learning. Seven key persons at a Swedish university took part in focus group interviews about their views and experiences of diversity and inclusion. They represented key administrative and pedagogical functions, as well as a student organisation and learning support for students with disabilities. Qualitative content analysis of the interviews resulted in 10 themes: a) Attitudes and treatment b) Accessibility and participation c) Knowledge and competence d) Support and resources e) System and processes f) Organisation g) Teachers and education h) Students and student organisations i) Actions and solutions j) Future work.
Conclusions: While the university has good support for students, more support for teachers is needed. Thus, the next step will be the development of a course module for teachers to be included in a regular pedagogical development course for teachers at the university. Furthermore, there is a need for more knowledge about inclusive student activities, taking place outside of lecture rooms.
This paper contributes to the growing research on incorporating Universal Design in the Higher Education landscape by presenting a Practitioner's Perspective on Universal Design as delivered in the Institute of Technology, Blanchardstown (ITB) in the first year of a creative digital media degree as part of the first year experience. This first year experience is a transition time for many students and has many complexities; while being an exciting and fulfilling time, the transition can also be challenging and isolating. Through Universal Design, the aim is to enable students to ‘Get connected’ and ‘Stay connected’. Universal Design for Learning is explored through changes in curriculum design as a means of enhancing student engagement . The Universal Design framework is structured into three strands; providing multiple means of representation; providing multiple means of action and expression and providing multiple means of engagements. The broader perspectives of Universal Design are considered at Institutional level. Resources, practices and attitudes, Michael Fullan suggests, are the three critical elements required for change to occur . ‘The Power of Moments’  and why certain experiences have extraordinary impact, coupled with underpinning Universal Design for Learning guidelines is considered in curriculum design and how they may enable meaningful engagements.The role of creativity and innovation suggests a way of interlacing universal design with the power of moments, acknowledging the critical elements for change to move from UDL exploration to integration. This paper highlights case studies where all these interrelated forces intertwine with emotional learning and how embedding Universal Design enables transformation. These are design models and are still to be evaluated.
Developed at the North Carolina State University College of Design in the 1980s, a group of architects, product designers, engineers, authors and environmental design researchers, collaborated to establish the Principles of Universal Design to guide a wide range of design disciplines including environments, products, and communications . Universal Design for Learning (UDL) is a research-based set of principles intended to guide the design of learning environments that are accessible and effective for all. First articulated by CAST (Center for Applied Science and Technology) in the 1990s and now the leading framework in an international reform movement, UDL informs all of our work in educational research and development, capacity building, and professional learning. UDL is based on cognitive neuroscience and is intended to guide the development of flexible learning environments that can accommodate individual learning differences . UDL asks educators to create curricula that provide: multiple means of representation, multiple means of expression and multiple means of engagement, while motivating all students to learn and succeed . Greensboro College is unique in higher education in that it has committed to fully embracing UDL. Greensboro College uses UDL as a framework for successful academic and student development at a small, private, Methodist-affiliated, liberal arts college. Greensboro College has initiated its transformation to an institution that values and facilitates UDL across its curriculum. As The Mission Statement of Greensboro College points out, we as a college believe “Universal Design for Learning, at its core is a comprehensive educational framework that removes barriers to student learning and academic success. The principles of UDL recognize that variance in learning ability and style among individuals is the norm and not the exception. Therefore, curricula should be adaptable to individual learning differences rather than the other way around” . Greensboro College has taken its first steps towards providing a learning environment for all students, which can be used as a model for launching a UDL initiative at a small, liberal arts, private college .
Most products are developed while adapting to requirements from industrial production and logistics. To break that trend and design for people, we suggest focusing on those who put the strongest demands on the final solution. They cannot compensate for bad design solutions and are thereby, like sniffing dogs, guiding designers to meet peoples' needs. We always use a combination of empathic modelling and involvement of people with reduced functions to find new solutions to the problems a product is supposed to solve. We have used this method in the teaching of Universal design at different universities for more than ten years. The students find the exercises to be a very entertaining eye-opener leading to development of empathy for human diversity all while the level of innovation in their design work increase. To constantly make design students understand barriers that can occur due to bad design solutions we utilize a toolbox simulating different kinds of functional ability. It also includes a handbook that describes workshops, evaluation methods and design processes that can be performed using the tools. The goal is to guide efficient, innovative and inclusive design processes. By simulating diversity among people, the designer can interpret the needs of different users and use that as a starting point and for evaluating design solutions during the creative process.
The design of products for people with disabilities requires the understanding of a wide range of factors related to users' health, functional abilities, needs, expectations and preferences. Such multifactorial perspective is often perceived as beyond the reach by the students of both graphic and product design, as it comprises knowledge from different areas such are not usually part of design curriculum as health, rehabilitation, computer science and biomedical engineering. Here, we report on strategies for developing design students' empathy and awareness for the needs and expectations of people with disabilities. By means of a combination of theoretical and practical approaches, a course on Inclusive Design was developed as part of the regular curriculum of the Bachelor Programme in Design at Sao Paulo State University (UNESP, Bauru campus, Brazil), with the collaborative participation of members of SORRI BAURU Rehabilitation Center. The final projects developed by the students were based on the demands presented by SORRI BAURU's rehabilitation team, and results reveal that the theoretical-practical approach based on interdisciplinarity was shown to provide the design students a learning experience that, ultimately, supports the quality decision-making in the design process. This paper describes the pedagogical approach, theoretical contents and practical activities developed during the Inclusive Design course. The challenges, benefits, results, and contributions of this experience from the perspective of the design education are also discussed.
Museums and galleries are now making significant developments in the area of inclusion and awareness of disability rights. There have been noticeable advances in the design of cultural, physical and digital spaces, which provide wider access to a museum's physical and intellectual resources, for individuals of diverse ages and abilities. However, responses have varied in consistency, efficacy, and legacy. This year-long design research project, in partnership with the Wellcome Collection and the Helen Hamlyn Centre for Design, Royal College of Art, develops a working set of tools that can be used by museums to improve accessibility in a more permanent and reiterative manner, with a view towards gathering and sharing relevant data, and design responses, within a broad network of museums and cultural institutions. This paper outlines recent approaches by relevant experts in the field and outlines a new approach to incorporating inclusive design within the process of exhibition creation. It uses co-design methods to provide a set of principled guidelines that respond to all relevant stakeholders. These guidelines are predicated on the understanding that establishing empathetic links between exhibition-makers and exhibition audience members is essential, resulting in a positive collaboration, combining the skills of museum professionals with the lived experience of people with disabilities. A central goal of the research is to explore how design issues surrounding access can be framed as an essential and positive component of the design process, and, more importantly, an opportunity for innovation, not simply an obligatory requirement. This paper comprises the observations of a current research project of a 12 month project, commencing in September 2017 and concluding in September 2018.
Some ICT projects manage to create award winning, inclusive solutions, while others fail. Previous research has gathered data from 34 informants across 23 ICT-projects that have achieved universal design (UD). Their reasons for success are complex, but 15 Critical Success Criteria (CSC) can be identified. This article asks: How can we utilize these insights to promote UD efforts in the ICT-industry? The article proposes a way to model the empirical data for societal utilization; supporting future efforts to promote UD. First, we analyze the relationships between personal, processual, organizational and societal factors, and how the different critical success criteria work together to positively influence the projects in our sample. Next, we apply Hertzberg and Fogg's theories to classify the CSC as triggers, facilitators, motivators or hygiene factors. Based on this deeper understanding, we model the data and propose 3 trigger factors for UD of ICT. Using our model, we propose the following three strategies, which have a high effect potential for “triggering the triggers”: 1) Legal interventions, 2) Awareness interventions, and 3) Training interventions. The contribution of the article is theoretical: a) providing richer insights into empirical data, by modeling their relationships, and b) predicting the impact of future interventions on the ICT-industry based on our modeled findings.
It is essential to focus on universal design in agile software development to ensure that the software developed is usable by as many people as possible. This work studies how members of agile teams regard universal design, how the team is organized to focus on universal design, and how the team practices universal design. We have questioned 89 members of agile software projects including developers, tester, designers and project leaders. We present a detailed breakdown of the results based on roles, domains, experience and other factors that explain the differences and similarities among teams. Our findings show that there is a significant difference between what members think, what management think and what members actually do to ensure universal design.
Community settings allow individuals to connect and interact socially with others, and engage in new learning experiences. One type of community setting, public art museums, provide rich, cultural experiences for individuals that are distinctive and often repeated, due to changing exhibits. Unfortunately, for individuals with disabilities, these settings can have a negative impact if the physical environment or the social interactions with docents impede individuals' abilities to function and benefit from this type of community engagement. The principles of universal design (UD) can transform these negative experiences into positive ones that benefit the individuals and the community settings. One public institution of higher education in the United States, Worcester State University in Worcester, Massachusetts has a unique partnership with a nearby art museum. This partnership allowed two separate projects from two health-related professions to be conducted using the principles of UD. One project from the Occupational Therapy Department examined the physical environment in the context of an undergraduate course, and the other project from the Communication and Sciences Department investigated the delivery of docents' presentations for individuals with communication disorders, such as hearing loss. Although each project examined different aspects of the same museum experience, the recommendations benefit all museum visitors and increase community engagement.
This article explores how interest organizations, including non-profit and commercial service providers, act as intermediaries to support the implementation of regulations for web accessibility. Web accessibility policies promote the usability of web content for persons with disabilities. Previous research on relational regulation has focused on the bidirectional relationship between regulators and private enterprises in managing compliance. However, this research has yet to examine the complex relationships that emerge when interest organizations act as intermediaries between private enterprises and regulators. Previous research demonstrates that intermediaries translate and adjust legal obligations in practice. This article demonstrates that interest organizations in the United Kingdom, United States and Norway translated and adjusted legislation and standards to demonstrate the commercial value of compliance. This article extends previous research by suggesting that interest organizations act as intermediaries to support policy implementation and manage compliance.
The infusion of Universal Design principles into existing courses in architecture should become evident in any project work undertaken. ‘Live project’ is a term used to describe projects that engage the academic world with real-world groups/organizations. CCAE sees such projects as valuable exercises in a student's education, particularly, the practical experience of interaction with ‘user-experts.’ In 2016 Cork County Council approached CCAE with a proposal to promote age-friendly housing as part of their age-friendly initiative. CCAE developed this into a ‘live project’ for Year 2 architecture students, continuing the integration of UD into the curriculum. This helps students to identify the negative disabling aspects of ageing and show UD principles can be seen as commonplace. For their part, the County Council were able to expand their own thinking, availing of the less constrained ideas that students brought to their schemes. An approach to achieving the adoption of UD is to consider the Vitruvian definition of architecture as having ‘commodity, firmness and delight’. From this, the aesthetic integration of features to benefit users of limited ability can be achieved without stigmatising anyone as being old or disabled. Now in its second year the project is being run in West Cork. The chosen site in Bantry town centre, has interesting challenges for the students to incorporate UD principles. This paper will present imaginative but viable projects as examples of student' responses to the challenges of designing housing solutions and will report on their ability to integrate age-friendly features at different scales.
This paper reports on a series of workshops that took place at two Swedish museums during 2017. The workshops were inspired by a citizen science approach, where the participants were not only on the receiving end but also active in producing new knowledge. The importance of turning to peoples' lived perspectives are often brought forward as crucial to understanding how inclusion and exclusion are played out in real life. The study aimed to introduce and discuss Universal Design (UD) of museum exhibitions, by engaging visitors and staff in bringing forward content for joint discussions. As there is an ongoing shift from traditional work on accessibility towards UD taking place in Sweden right now, the study was also part of raising the awareness of UD within the disability movement and at the museums. Museum visitors representing different disability organizations worked together with museum staff in photo exercises, supervised by two researchers. In total, 31 participants took part in six three-hour workshops. The workshop format encompassed three steps. First, one of the researchers introduced UD, after which the participants were divided into mixed groups with both visitors and staff. Their task was to take photos of museum features that were in line with, or in conflict with, UD. At the end of the workshop, all groups gathered to discuss what they had found. In this paper, we tell about the examples the participants brought forward and the ensuing joint discussions, and discuss the further implications for UD.