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"social design" Tag


About social design and how i have engaged with it


Monday, October 23, 2017

What i know about social design and how i have engaged with social design

What is social design to me?

Social design is about creating with or for a community. It’s about creating design through dialogue where ideas, beliefs and rituals should be discussed in order to design a solution or an object that benefits or helps a group of people. The designer should be able to connect with a community in a way, where the designer fully understand the community’s request(s) and need for change or a smarter solution. Social design is about humans, not the society.

From my personal experience, i have learned about the importance of social design, from working at an institution for disabled children, throughout and after my years in highschool. The residents at the institution called Tjørringhus are all multi-handicapped children between 4 and 18 years old. They need constant support, including personal hygiene, feeding, getting in clothes, brushing teeth etc. In order to help the child through its daily chores, as easily as possible, my coworkers and i, where deeply dependent on the resources and tool remedy’s we had. The same were the residents! Those resources were specially designed, to make daily life as convenient for both staff and residents, such as the childrens adjustable wheelchairs and lifts to move the child around and special designed cars, where wheelchairs would fit in perfectly, and could be secured safely. All of these indispensable resources have been made in close cooperation with designers, who have visited the institution, met the residents, experienced their daily needs, talked with the childrens parents, had talks and discussions with the staff at Tjørringhus. From those talks and experiences, the designers have been able to make the best possible solutions for both the residents and the staff working for and with the children.

The institution were at one point, over a period of one year where i was working full-time, involved with a danish design school, who made a project about social design and designing social relations. The aim of the project was to give the residents at Tjørringhus more and better relationships with the surrounding community. Neighbors, family, friends, and volunteers should be involved in the project and inspired and well dressed to take co-responsibility for their fellow citizens, at Tjørringhus. So in that way it was not only the public represented by the employees on the institution, who should be responsible for the citizens’ social relations.

The result of the project, was a great success. In fact the residents at Tjørringhus, now got more relationships, in the form of volunteers, taking the residents to activities and arranging activities in the home. In this way the institution has become a part of society and society a part of the institution. The more volunteers have also given the employees of Tjørringhus more time, which they can use on residents who need extra support. I felt it myself, while working on Tjørringhus. It was a huge opportunity for us, as employees to have more time with an individual child and get to give the child caring attention while doing activities.

 

The methodes that were used by the designers, that i understood, and the other staff got to know, while the project was ongoing was;

-       Empathize, where the designers create understanding for the user.

-       Define where the designer formulate insights and find an understanding of recognized and unrecognized needs and longings.

-       Idea where the designer draw up as many ideas and suggestions as possible in several different directions.

-       Prototype, where the designer build a model or kind of tale of the change they want to introduce.

-       Test where the model is put into a context and evaluated by the users.

 

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As part of the process, the designers completed field studies at Tjørringhus. Through a month, citizens and employees attended the home to gain knowledge and gain an understanding of their respective situations, challenges, wishes and needs. Based on field studies, the designers developed a number of so-called “social prototypes”; ideas for social relations with the residents and ways to create them. The prototypes were tested on stakeholders and further developed into the unifying concept: “Guest Bud” – How do you receive guests and how will you be a good guest at Tjørringhus?

With the “Guest Bud” as a starting point, the designers developed three solutions:

-       A communication tool for Ipad for the children on Tjørringhus. The tool allows the residents to present and tell about themselves. The residens at Tjørringhus have no language and therefore can not present themselves in a “normal” way. The ipad can always be used by the resident and they can then start an interaction – and a relationship. A tool we ended up having great use of at Tjørringhus. It gave the children the opportunity to explain themselves in a way, that haven’t been possible for the children before.

 

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-       An activity tool for employees and guests at Tjørringhus, which shows what activities and forms of interaction that are meaningful for relatives and outsiders to involve the resident. The child’s handicaps require that you as a guest find ways to be with the them in addition to the usual ‘everyday talk’. Lots of volunteers who, as mentioned, involved the residents in activities in society and involve society in activities with the children at Tjørringhus. The designers found several ways to do this, but what we ended up using the most was a simple solution with ideas for activities in a big box, that were special made, in colaboration with the designers, and some pedagogues working at Tjørringhus.

 

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Another new social design project, that my previous head of department at Tjørringhus made me aware of is `Medicine dosed with design` – a collaboration between TEKO Design School and the municipality of Ikast-Brande that will reduce medication errors.

A very large proportion of the unintended incidents, which are reported to the municipality of Ikast-Brande, are about emergency medicine. It is especially in the municipality’s nursing home, in home care and on housing that the problem arises. In the nursing home, ‘medication not given’ represents 63% of all reported events. In home care, it is 52%, and at residential facilities it is 46%.

This is why the special unit for Quality and Innovation under the Elderly and Disability Administration in Ikast-Brande Municipality has entered into a partnership agreement with TEKO Design School. The primary aim of the agreement is to get the designers’ help to find a new solution that can reduce the number of errors in the delivery of medicines in the elderly sector.

The partnership means that a group of employees at selected care centers conducts a design process under the leadership of TEKO’s professional designers and developers.

The key to the designer is to identify and solve challenges and problems in a way that makes sense for the employees, residents and any relatives who are included in the handling of medicine. This means that users can connect with the solutions – emotionally, functionally, socially and culturally.

Designers solutions seem intuitively attractive because they are created in a tension between the creativity and vision of the designer, on the one hand, and the users’ own experiences and ideas. It creates a balance between innovation – the surprising – and the users’ need for recognition. This avoids “waste” in the form of products that never reach the market or public service, which neither users nor staff find attractive and therefore easily turn their backs.

There’s still yet no concrete solutions, for what this social design project will lead to, but it does show the constant need for specialized designers, who can design responsible solutions for societies.

The experience of being a part of the project at Tjørringhus, or at least be able to stand on the sideline, observing how the project evolved and included both residents, staff at Tjørringhus and volunteers showed me the importance of social design and designing for and with people to improve their life quality.

 

Can high-end designs have any social significance?


Sunday, November 27, 2016

On first sight I loved Formafantasma’s designs, they held a certain elegance and beauty in their simplicity, the back to basics materials, gathered from the natural world juxtapose themselves, feeling both strong and delicate at the same time. It brought out my childhood fascination, I recalled scavenging for treasures on the British beaches of my childhood and taking them home to make new creations or to merely bring a glimpse of the natural world into my home in the dense, man-made city. These designers took this fascination, a primal human action of scavenging/collecting to an industrial level, contemplating the natural world by sampling, casting, weaving, reshaping their materials, making connections between unlikely materials to form a delicate balance between the rough and smooth, fragile and strong.

Formafantasma -Craftica
Bone Jug, 2012 (Cowbone, leather, mouth blown glass) from Craftica series

Their work is fascinating also because of the delicacy with which they deal with their subject matter, not only with the physical properties of the materials but the symbolic and historical meaning. Their project Craftica for instance is an investigation into leather, highlighting our ancient roots of hunting for food, tools and body protection. They channel prehistoric tools, durable tools for survival made of bone and stone, combining the simplicity of these ancient tools into a modern aesthetic.

Tools of bone were originally a practical use of materials but are now becoming a design statement, a hark back to our ancestral heritage, a sign of simpler times within a society too lazy to source sustainable, durable materials, instead opting for the cheap, easy version –mass produced materials with processes which are quickly damaging our environment.

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Wolffish stool, 2012 (Wood, vegetal tanned wolffish leather)
Bladders water containers, 2012 (Pig and cow bladders, brass, mouth blown glass, cork)
from Craftica series

It is designers such as Formafantasma who are questioning this use of cheap, destructive materials, replacing them with more sustainable/unique alternatives. With each piece you can see where the materials came from and you question the story behind each material; the fish skin leather –a by-product of the fish food industry, in Alaska alone there are 2 billion pounds of fish by-products every year including fish skins which are often dumped into landfill or back into the ocean, left to pollute the water and kill off species’ (x article on an Alaskan start-up using salmon skin leather), or the cork leather –by harvesting the species of oak tree, Quercus Suber of their bark to form cork every 9 years rather than harming the trees it helps them live longer. Therefore, these designs are refreshing in a society where we don’t know where so many of our products come from.

However all of this comes at a price, an unlabelled price, a sale inquiry at a high-end gallery. Does this step into the elite then diminish the beauty or sustainability of these objects? These products, inspired by those that were once precious items necessary for survival then become an expensive showpiece. The matters of sustainability aren’t so important, it then becomes about the recognition and the money. Is it enough that they are potentially inspiring a next generation of designers, or inspiring the people that visit the Stedelijk museum to think more about where their everyday products come from? This engagement with the issue of the way we deal with our resources engages the viewer but it doesn’t solve the problem, instead it benefits the designer, giving them the recognition of being a sustainable designer making unique products.

So, are there sustainable, affordable designers out there who are actually impacting the way we live? Of course there are many design companies trying to come up with solutions to these problems, a good example is material science company, Evocative who have developed Mushroom Materials, a sustainable building material made from agricultural byproducts and mushroom Mycelium; these provide a natural alternative to common synthetic packaging and the company have experimented with using this as both packaging and a material for product design, producing stools and tables, as well as offering an affordable DIY pack. This opens up a way of buying products that are good for our environment, in addition to encouraging people to make their own products. A number of different designers have experimented with Mushroom Materials, for example architectural studio The Living built an organic tower Hy-Fi for the annual MoMA temporary structure, a biodegradable material was therefore perfect for the temporary building. By creating this innovative material Evocative have opened a door to a new future material that could replace the depleting materials that are destroying our environment.

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Grow It Yourself, Mushroom Material from Evocative $10
Hy-Fi, 2014 The Living Pavilion made with Mushroom Material

Another example of innovative sustainable design is the Paper Pulp Helmet designed by Tom Gottelier, Bobby Petersen and Ed Thomas, who made use of the many discarded newspapers around London’s transport system and recycled these to form helmets which would potentially cost £1, thus a low-cost environmentally-friendly solution to bike safety in the city. The design was just a prototype but the cheap and recyclable material/process is a perfect example of the future direction of design we need to take in order to preserve the planet.

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Paper Pulp Helmet, 2013 Tom Gottelier, Bobby Petersen and Ed Thomas

In my research I found it very difficult to find these examples, searching for ‘sustainable product design’ offers a lot of high-end designers with very expensive products or similarly to Formafantasma prices aren’t shown and they are presented in galleries more as a work of art than a sustainable design, therefore they aren’t presenting an immediate solution.

Perhaps we need government schemes to encourage designers/bigger companies to use better materials and to sell these products at affordable prices so they can compete with the mass-produced products that are often badly made and harmful to the environment. In recent years we have seen many countries across the world introduce a charge for plastic bags in supermarkets. This due to the fact that around 8m tonnes of plastic makes its way into the world’s oceans each year, posing a serious threat to the marine environment. The charge was introduced by the government to try to influence consumer behavior and the result is massively affecting the amount of plastic waste, in England the number of single-use plastic bags was reduced by 85% over the first six months. If governments enforced similar rules on other products; introducing taxes to products with harmful materials then perhaps it could influence consumers to opt for better sourced products.

We, as consumers have brought about this problem, being so materialistic yet simultaneously too lazy to source sustainable products; we are struck by the aesthetic of a product and buy it without thinking where it came from or the ethical implication, just as I was struck by Formafantasma’s work in the Stedelijk, not considering the possible downsides of the designs. If there was a large scale enforcement of better quality, environmentally-friendly products then maybe consumers would think more before they buy.

Reflecting Design Practise


Sunday, January 29, 2012

One of the first things I noticed when I saw the work of Sophie Krier for the first time is that there was definitely a lot more going on than just a simple design. She directly got my intention by a deep video about her grandfather @ Face value [x]. It was really based on reality, honesty, and with so many deep hidden emotions. I thought it was really interesting to see how she doesn’t directly throws it in your face. She is experiencing her work and daily life not only as a designer but also as a human, and a young women with a vision ‘designing is researching’.

Sophie Krier, video still from “Kabouter Revolutie”, 2009

(more…)


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