Propósitos de Lectura:

DISEÑO Anticipar el contenido del texto a través de elementos paratextuales.

INDUSTRIAL Completar cuadros resuntivos.
Reconocer vocabulario específico.
GUÍA 3
Al finalizar la Guía, Ud. habrá puesto en práctica los siguientes
CONTENIDOS contenidos léxico-gramaticales:
Verbos modales

1. Lea la siguiente tabla de contenidos para identificar a qué libro pertenece.

Justifique su respuesta a partir de indicios lingüísticos.

1
2. Ahora, decida si los siguientes enunciados son correctos (C) o incorrectos (I)
según la información que aparece en la tabla de contenidos.

Enunciados C/I
a. Hay una sección sobre los movimientos comunes en el lugar de
trabajo.
b. En la sección sobre mobiliario de oficina hay información sobre
estaciones de trabajo.
c. Se brindan datos antropométricos expresados en percentiles.

d. Se da información sobre posturas de trabajo comunes.

e. Hay una sección sobre factores ambientales, más específicamente

sobre sistemas de iluminación.
f. Se dedica una sección a condiciones termohigrométricas.

Anticipar elementos clave del contenido de un texto a través de la observación

de elementos paratextuales puede resultar una estrategia útil para la
comprensión ya que permite hacer deducciones sobre aspectos temáticos y formales
del texto.
La información que brinda el paratexto previamente a la lectura propiamente dicha
activa en la memoria del lector la red de conocimientos conceptuales, lingüísticos e
intertextuales que le facilitarán la construcción del modelo mental del texto.
Algunos elementos paratextuales son: las tapas, solapas, contratapas, índices, tablas
de contenido, prólogos, títulos, subtítulos, notas al pie, epígrafes, bibliografía,
ilustraciones (imágenes), uso de negrita, bastardilla y subrayado, cuadros (gráficos),
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glosarios, apéndices.
Los elementos paratextuales constituyen un conjunto de informaciones necesarias que
hay que tener en cuenta para que la lectura de un texto sea más eficaz.

Alvarado, M. (2006). Paratexto. Buenos Aires: Eudeba.

Marin, M y Hall, B. (2008). Prácticas de lectura con textos de estudio. Buenos Aires: Eudeba.

3. Lea el siguiente texto en forma global para responder oralmente: ¿qué

elementos paratextuales aparecen? ¿Qué información le proporcionan?

1 Universal Design Considerations

Most people experience some degree of physical limitation at some point in life, such as
broken bones, sprained wrists, pregnancy, or aging. Others may live with a limitation or
impairment every day.
5 When considering product design, designers should recognize the special needs of
different users, including individuals with disabilities.
Issues concerning accommodations for individuals with disabilities are becoming more
prevalent, and employers may be required to make accommodations for these
individuals at worksites and in other public spaces.
10 Designing with all people in mind is a principle that is referred to as Universal Design,
and is important to consider in product design. This section will provide some Universal
Design guidelines.

Wheelchairs
Designing for wheelchair use requires extra floor space.
15 Following are some guidelines to consider when designing for
wheelchair users (Dreyfuss, 2000; 28 CFR Part 36):
• Clear floor space
– 30" x 48"
• Doorway clearance
20 – 36" (preferred)
• T-shaped space for 180° turns
– 36" width in each corridor
– 60" (minimum) depth
• Turning space for wheelchair (Figure 6)
25 – 60" diameter
• Hallway width (Figure 6):
– 36" (minimum) – one wheelchair
– 60" (minimum) – two wheelchairs

For a common-sized wheelchair, the seat height is 18-22", and the overall width is 22.5-
30 27.0". These values can help in designing furniture, adjusting work surface heights, and
accommodating access for wheelchair users. Sitting in a wheelchair and working at a
desk or table may require extra reaching. Figure 11 and Table 5 illustrate some
guidelines when considering minimum reach envelopes for wheelchair users (Dreyfuss,

3
 2000).

Figure 11. Guidelines for wheel- chair users sitting at a work

surface. Use Table 5 for values.

Measurement Letter Value

Desk Depth A 20” – 25”

Lower Reach Height
(minimum) B 9”

Desk Height C 27” – 34”

Shelf Height
(maximum) D 48”

Table 5. Measurements for wheelchair use.

Use Figure 11 for visualization. Data from Dreyfuss, 2000. All measurements are in inches.

35 Forward approach (toes touching wall)

– High reach: 48" (maximum)
– Low reach: 15" (minimum)
• Side reach, with 10" maximum distance between
chair and wall
40 – High reach: 54" (maximum)
– Low reach: 9" (minimum); 15" (preferred)
Openshaw, S. and Taylor, E. (2006). Ergonomics and design. A reference guide. Allstell Inc.

4. Lea nuevamente el texto en forma detallada, para completar el cuadro a

continuación:

Pautas a tener en cuenta cuando se  Hacer lugar/Despejar el suelo

diseña para un usuario en silla de
ruedas
 ………………………………………………………………………………………
 ………………………………………………………………………………………
 ………………………………………………………………………………………
 ………………………………………………………………………………………
 ………………………………………………………………………………………

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 ACTIVIDADES SOBRE ELEMENTOS DEL LENGUAJE

5. Observe los siguientes ejemplos extraídos del texto, prestando especial

atención a las frases subrayadas. Luego, con una cruz , identifique su
significado. [Hay un ejemplo.]

Obligación / Deber
Recomendación /

Probabilidad
Capacidad o

Posibilidad /
Sugerencia

Necesidad
Habilidad
a. When considering product design, designers should
recognize the special needs of different users, 
including individuals with disabilities. (r. 5-6)
b. Issues concerning accommodations for individuals
with disabilities are becoming more prevalent, and
employers may be required to make
accommodations for these individuals at worksites
and in other public spaces. (r. 7-9)
c. For a common-sized wheelchair, the seat height is 18-
22", and the overall width is 22.5-27.0". These values
can help in designing furniture, adjusting work
surface heights, and accommodating access for
wheelchair users.

VERBOS MODALES
Los verbos auxiliares modales van seguidos del verbo lexical o principal en su forma
infinitiva sin “to”, a excepción de los verbos llamados “semimodales”, tal es el caso de “ought
to, has/have to, need, dare, be able to”. La elección de un verbo auxiliar en particular nos
permite expresar distintos significados y funciones, haciendo referencia al tiempo presente, al
pasado o al futuro (según corresponda) tanto en la voz activa como en la pasiva, utilizando
tanto el registro formal como el informal.

Los verbos modales tienen características distintivas respecto de otros verbos en inglés:
 Nunca se les agrega los sufijos: –s, –ing o –ed

Entre los distintos verbos modales en inglés podemos mencionar: must, have to, should,
can, may, could, might, would, etc.

Como se señaló previamente, estos verbos expresan diversas actitudes o intenciones del
que habla o escribe y se agregan al significado del verbo principal:

 MUST y HAVE TO se usan para expresar obligación.

 SHOULD es una forma “más suave” que “must” y se lo suele emplear para brindar un
consejo, una recomendación o una sugerencia.
 CAN puede ser usado para expresar capacidad o habilidad aprendida.
 CAN y MAY expresan posibilidad.
 COULD y MIGHT expresan una posibilidad remota (weak possibility).
5
6. Lea las siguientes recomendaciones para personas que necesitan distintos
dispositivos para poder desplazarse. Identifique frases que indiquen actitudes o
intenciones del autor. ¿Qué significado tienen esas frases?

Crutches, Canes, and Walkers

Some individuals need assistive walking devices such as crutches, canes, or walkers. A
45 minimum width of 36" for passage down a hallway or in a workplace is needed for each
of these.
Studies have shown that 48" is the preferable hallway width for people using crutches,
canes, or walkers (Figure 12). It is also important to keep these areas clear of
obstructions. With all walking aid devices, the risk of a fall and further injury is a
50 concern.
Objects that would hinder the proper use and maneuverability of walkers must be moved
and cleared from passages and hallways.

Figure 12. Walkways should be

clear of objects for individuals
with crutches, canes, or walkers.

Openshaw, S. and Taylor, E. (2006). Ergonomics and design. A reference guide. Allstell Inc.

6
 7. Observe la siguiente imagen prestando atención a las partes señaladas, para
dar su equivalente en español.

http://www.streetsie.com/manual-wheelchair-design-production/

Término en Inglés Equivalente en Término en Inglés Equivalente en

Español Español
 push handle  backrest
 armrest  cushion
 push ring  seat
 brake  frame
 rear wheel  calf strap
 anti-tip bar  footplate
 castor

RECUERDE EXTRAER LAS PALABRAS, FRASES Y TÉRMINOS QUE CONSIDERE IMPORTANTES DE ESTA GUÍA
PARA, LUEGO, INCORPORARLOS EN SU GLOSARIO. POR EJEMPLO: WHEELCHAIR

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A continuación encontrará un texto de lectura complementaria.

1 THE PRINCIPLES OF UNIVERSAL DESIGN AND THEIR APPLICATION

Universal design is simple in theory but more complicated in practice, and

simply defining the term is not sufficient. Proponents of universal design
have traditionally employed two strategies to communicate the approach.
5 The first method has been through citation of good examples of aspects of
the concept, such as lever door handles that require no grasping, remote
controls to adjust devices from afar, and motion detecting room lights. The
second strategy has been to offer time proven tests for universal use, such
as determining whether a device “can be used with a closed fist,” or “can be
10 used in the dark,” or “requires 5 lbs. or less of force.” There were no
definitive criteria covering all aspects of any design.
Staff of The Center for Universal Design, as part of its project “Studies to
Further the Development of Universal Design,” conducted a series of
evaluations of consumer products, architectural spaces, and building
15 elements. The purpose of the evaluations was to determine optimal
performance characteristics and use features that make products and
environments usable by the greatest diversity of people. The Center’s staff
then convened a working group of architects, product designers, engineers,
and environmental design researchers to assemble a set of principles of
20 universal design that would encapsulate the existing knowledge base.
These principles would apply to all design disciplines and all people. The
principles could be applied to evaluate existing designs, guide the design
process, and educate designers and consumers about the characteristics of
more usable products and environments.

25 THE PRINCIPLES OF UNIVERSAL DESIGN

by Bettye Rose Connell, Mike Jones, Ron Mace, Jim Mueller, Abir Mullick,
Elaine Ostroff, Jon Sanford, Ed Steinfeld, Molly Story & Gregg Vanderheiden

PRINCIPLE ONE: Equitable Use

The design is useful and marketable to people with diverse abilities.
30 Guidelines:
1a. Provide the same means of use for all users: identical whenever
possible; equivalent when not.
1b. Avoid segregating or stigmatizing any users.
1c. Make provisions for privacy, security, and safety equally available to all
35 users.
1d. Make the design appealing to all users.

PRINCIPLE TWO: Flexibility in Use

The design accommodates a wide range of individual preferences and
abilities.

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40 Guidelines:
2a. Provide choice in methods of use.
2b. Accommodate right- or left-handed access and use.
2c. Facilitate the user’s accuracy and precision.
2d. Provide adaptability to the user’s pace.

45 PRINCIPLE THREE: Simple and Intuitive Use

Use of the design is easy to understand, regardless of the user’s
experience, knowledge, language skills, or current concentration level.
Guidelines:
3a. Eliminate unnecessary complexity.
50 3b. Be consistent with user expectations and intuition.
3c. Accommodate a wide range of literacy and language skills.
3d. Arrange information consistent with its importance.
3e. Provide effective prompting and feedback during and after task
completion.

55 PRINCIPLE FOUR: Perceptible Information

The design communicates necessary information effectively to the user,
regardless of ambient conditions or the user’s sensory abilities.
Guidelines:
4a. Use different modes (pictorial, verbal, tactile) for redundant
60 presentation of essential information.
4b. Maximize “legibility” of essential information.
4c. Differentiate elements in ways that can be described (i.e., make it easy
to give instructions or directions).
4d. Provide compatibility with a variety of techniques or devices used by
people with sensory limitations.
65
PRINCIPLE FIVE: Tolerance for Error
The design minimizes hazards and the adverse consequences of accidental
or unintended actions.
Guidelines:
70 5a. Arrange elements to minimize hazards and errors: most used elements,
most accessible; hazardous elements eliminated, isolated, or shielded.
5b. Provide warnings of hazards and errors.
5c. Provide fail safe features.
5d. Discourage unconscious action in tasks that require vigilance.

75 PRINCIPLE SIX: Low Physical Effort

The design can be used efficiently and comfortably and with a minimum of
fatigue.
Guidelines:
6a. Allow user to maintain a neutral body position.
6b. Use reasonable operating forces.
80 6c. Minimize repetitive actions.
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 6d. Minimize sustained physical effort.

PRINCIPLE SEVEN: Size and Space for Approach and Use

Appropriate size and space is provided for approach, reach, manipulation,
and use regardless of user’s body size, posture, or mobility.
85 Guidelines:
7a. Provide a clear line of sight to important elements for any seated or
standing user.
7b. Make reach to all components comfortable for any seated or standing
user.
7c. Accommodate variations in hand and grip size.
7d. Provide adequate space for the use of assistive devices or personal
assistance.

Follette Story, M.; Mueller, J. and Mace, R. (1998). The universal design file.
Designing for people of all ages and abilities. NC State University: The Center for
Universal Design.

APÉNDICE GRAMATICAL: Algunos verbos modales en inglés

Verbo Modal Ejemplo Significado

They must evaluate the prototype.

Must 1 Indica obligación.
He must sketch the floor plan
immediately.

The name of the product must not

Must not contain a trade mark.
[mustn’t] Indica prohibición.
This company must not mention
advantages of its product which it does
not have.
Puede indicar
The owner must be dissatisfied. deducciones o
Must 2 inferencias casi certeras
He must have done that before moving en relación al presente o
to a new design studio. al pasado.
Puede indicar
Should 2 They should be at the studio by now. deducciones probables
en relación al presente.

Designers can create products which

are safer, cheaper and easy to
assemble. Indica una capacidad o
Can 1 habilidad aprendida.
He can draw floor plans in less than 1
one hour.

10
 When I was young, I could write very
fast.
Indica una capacidad en
Could 1
el pasado.
In the late 70s, they could only work at
departments within companies.

The prototype can become the standard

design in the future. Indica posibilidad en
Can 2 relación a un evento en el
There can be new requirements for presente o futuro.
design processes.

This may be a bad idea. Indica una acción que

May Despite of the economic crisis, this puede pasar en el
company may continue working. presente o en el futuro.

This project could / might be

Indica una posibilidad
Could 2 / dangerous.
más remota en el
Might presente o el futuro.
Could she be the owner?

Who can answer the next question? En preguntas, se utiliza

Can 3 “can” para solicitar
When can we get back the results? permiso de hacer algo.

En las preguntas de sí o
no, se emplea para
Could 3 Could you open the window? solicitar algo de forma
cortés.

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