DESIGN THINKING IN PRACTICE
Tian Cai Design Thinking
User Centered Design
tcai.shanghai@gmail.com
Contents
1
My Role as a Design Researcher
2
Previous Design Thinking Experience 2.1 Collaborative Design Thinking 2.2 Organizational Design
2
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Other Leading Projects
1. My Role as a Design Researcher
1. My Role as a Design Researcher
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2. Previous Design Thinking Experience
2.1 Collaborative Design Thinking Designing Social Practice Engagement
2.2 Organizational Design Affecting Change through Storytelling
2.1 Collaborative Design Thinking Designing Social Practice Engagement
COM M
UN IT Y
Social Practice is the work that socially engaged artists and their community collaborators co-create.
SOCIAL PRACTICE
SOCIAL IMPACT
This co-creation requires that artists work closely with community members to promote social impact through actual practices.
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Secondary Research Hotel Fuentes De Erbo
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When
1997
Where
Zaragoza, Spain
Who
Lara Almarcegui, Begona Movellan, Local Residents in Zaragoza
Theme
Urban Development, Economics and Consumerism, Environment
Secondary Research Magdalena Oil Spill
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When
1999 - 2003
Theme
Where
Magdalena, Argentina
Who
Silvina Babich, Alejandro Meitin, Creative Thinkers from Different Disciplines
Urban Development, Community Building, Environment, Economics and Consumerism
Stakeholder Mapping Social Practice Process
1
=
Artist
=
Community Member
=
Local Resources in a Community
Learn from the Community
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2
Understand the Community
3
Connect with the Community
4
Co-create with the Community
Why Introduce Design Thinking in Social Practice?
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SOCIAL PRACTICE
DESIGN THINKING
Interview
Contextual Interview
Artists’ Meeting
Affinity Diagramming
Practice in Community
Generative Toolkits
Community Feedback
User Feedback
A Practical Case Study in Philadelphia Chinatown
IDENTITY & COMMUNITY Social Practice Art
Design Thesis Project
Tian Cai
2012.11.25
Callowhill St. Carlton St. Wood St. Pearl St. Vine St.
Market St.
Map of the Chinatown neighborhoods
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Visual Demographic Total Population Chinatown
Ethnicity
North
2 9 8 6 Chinatown Proper
2 9 3 7
Family
Sex and Age
10 Adults for 1 kid
Chinatown North has the second highest proportion of males of any census block group in central Philadelphia.
Male
Female
54.7 %
Chinatown Proper has almost twice as many elderly as Chinatown North, despite having similar sized populations.
8 Adults for 1 kid
Over 65 years old
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64.2 %
5.6 % 9.5 %
Under 65 years old
Community Investigation
Research Goals • Identity of the Community • Perception of Art • Perception of Asian Arts Initiative & Social Practice Lab • Community Building / Expectations • Possible Barriers between artists and the community
Research and Synthesis Tools • Observation & Identity Map • Contextual Interview • Future Backwards Workshop • Affinity Diagramming
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Research Tools Observation and Community Identity Map
IDENTITY & COMMUNITY Questions for the residents What area you are current in?
IDENTITY & COMMUNITY Social Practice Art
Design Thesis Project
Tian Cai
2012.11.25
Callowhill St. Carlton St. Wood St. Pearl St.
What do you see as the boundaries / borders of this area? Vine St.
Market St.
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When
2012. Oct. 12, 3 hours
Where
Chinatown and North
Who
Community residents, Commuters in the community, People outside of the community.
Goal
Learning from a community about its identity and overall culture through observation and map survey.
Synthesis Co-existing Identity of Chinatown North Neighborhood
Callowhill St.
Carlton St. Wood St.
Pearl St.
Vine St.
Market St.
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15
Research Tools Contextual Interview
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When
2012. Aug. - 2012. Dec.
Where
Chinatown and North
Who
Residents, Leaders, Commuters
Goal
Understanding a community about its community life through contextual interviews with the residents, leaders, consumers and commuters.
Research Tools Contextual Interview
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When
2012. Aug. - 2012. Dec.
Where
Chinatown and North
Who
Residents, Leaders, Commuters
Goal
Understanding a community about its community life through contextual interviews with the residents, leaders, consumers and commuters.
Synthesis Residents in the community are not familiar with Social Practice.
“Art is not necessary in my life because I am so busy with my grocery store.”
“Art is beautiful. It makes me feel good.”
Not care about Art. “I don’t have lots of involvement because I don’t have much time. I work from 9 to 8 and I have family to be taken care of.”
15% Perception of Art
“Art could help express your emotions and bring people close together in a community.”
“Art made me feel a sense of ownership of my community, I am actually a part of it!”
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“Art is something unique, which could take people’s breath away and even have the potential to be life saving.”
55%
“Art let people do something different than work, have something be proud of in life.
30%
Sense of Community.
Personal Satisfaction.
“The mural art on the wall just makes me happy every time I passed by it!”
Synthesis Residents in the community are not familiar with Social Practice.
“What does community building mean? My family is my home, I don’t care about which community I live in. I move when my family moves.”
“There has to be a willingness of wanting to be together. Everyone getting along like brothers and sisters to each other and enjoys it.”
Disinterest
10% 24%
“Once if everyone works towards a bigger goal outside of the individual’s, it becomes a serious commitment. That is very valuable.”
Commitment
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Perception of Community Building
66%
“It is important to build a sense of inclusion. So people could feel a part of what they are doing, not just go there and look at something.”
Participation
Research Tools Future Backwards Workshop
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When
2012. Oct. 15, 2 hours
Where
Asian Arts Initiative
Who
Action Mill Designers, Local Resources Team, Asian Arts Initiative Staff, Artists-in-Residence
Goal
Better understanding a community through discussion about the current, past and possible future of the community among groups of people from different aspects.
Research Tools Future Backwards Workshop
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When
2012. Oct. 15, 2 hours
Where
Asian Arts Initiative
Who
Action Mill Designers, Local Resources Team, Asian Arts Initiative Staff, Artists-in-Residence
Goal
Better understanding a community through discussion about the current, past and possible future of the community among groups of people from different aspects.
Research Tools Future Backwards Workshop
=
Current State
=
Past State (on the left), Path to the Heaven and Hell (in the middle)
=
Heaven State - Impossibly Good Future
=
Hell State - Impossibly Bad Future
=
Act of God - Unexpected Events
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When
2012. Oct. 15, 2 hours
Where
Asian Arts Initiative
Who
Action Mill Designers, Local Resources Team, Asian Arts Initiative Staff, Artists-in-Residence
Goal
Better understanding a community through discussion about the current, past and possible future of the community among groups of people from different aspects.
Synthesis Tools Affinity Diagramming
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When
2012. Oct. 19, 2 hours
Where
Action Mill, MiD Studio
Who
Meredith Warner, Daeun Song
Goal
Better understanding a community through sensemaking the results from the Future Backward workshop.
Synthesis Tools Affinity Diagramming
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When
2012. Oct. 19, 2 hours
Where
Action Mill, MiD Studio
Who
Meredith Warner, Daeun Song
Goal
Better understanding a community through sensemaking the results from the Future Backward workshop.
Synthesis
uti a Be
Gre en ing
+
How did the Community Members Envision the Best Scenario of Chinatown Future?
ion cat 2
2
2
Viaduct
Affordable Housing
5
Things that grow.
Public Social Center
Age Diversity
Ethnic
Div er sit
y
Cultural Diversity
Income Diversity
Memorial
Play!
2 4
Education
Transportation 5
5
Public Safety
4
Culture + Arts
General Diversity
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2
1
5
Vine Street
1
4
3
1
1
Busniess + Job Diversity
Synthesis Recap
• Co-existing Identity of Chinatown North Neighborhood • Residents don’t understand Social Practice. • Transience of the Chinatown Neighborhoods
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Artist Investigation
Research Goals • Artists’ Intent / Expectations • Artists’ Definition of Social Practice • Artists’ Current Community Perception • Artists’ Typical Research Day In the Community • Artists’ Research Tools
Research and Synthesis Tools • Contextual Interview • Influence Timeline • Affinity Diagramming • Character Profile
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Research Tools Contextual Interview and Influence Timeline
When
2012 Oct. - 2013 Mar. 2 hr / each
Where
Chinatown and North, MiD Studio
Who
Ben Volta, Dave Kyu, Yowei Shaw
Artists-in-residence’s Research Process Map The Social Practice Lab @ the Asian Arts Initiative
Interaction
Who did you interact with?
Artist-in-residence:
Yowei Shaw
What kind of research tools did you use?
Mapping Date:
How did you reach out to the community members?
LOCAL
ARTIST
2012.11.30 What did you learn from this interaction?
What moments actually have altered your current thoughts of the future artwork? LOCAL MEMBERS
INFLUENCE
AAI
TIME
Research Tool
CAMERA
SKETCHBOOK
Research Tool
Research Tool
JOURNEL
NOTEBOOK
Research Tool
Research Tool
RECORDER
MAP
Research Tool
Research Tool
INTERVIEW
SHADOWING
Research Tool
Research Tool
POST-ITS
OBSERVATION
Research Tool
Research Tool
CASE STUDIES
LITERATURE REVIEW
THOUGHTS
Resources / Support
Obstacles
Research Tool
What kind of resources did you use / do you need?
What were the obstacles that you faced?
What kind of support did you have / need more?
ACTIVITY
Resources
Support
Obstacles
How would you rank those obstacles?
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Goal
Learning from the current artists-in-residence about their community engagement experience, outreach strategies and definition of Social Practice.
Research Tools Contextual Interview and Influence Timeline
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When
2012 Oct. - 2013 Mar. 2 hr / each
Where
Chinatown and North, MiD Studio
Who
Ben Volta, Dave Kyu, Yowei Shaw
Goal
Learning from the current artists-in-residence about their community engagement experience, outreach strategies and definition of Social Practice.
Synthesis Tools Character Profile
Social Practice Lab
When
2012 Oct. - 2013 Mar. 2 hr / each
Where
MiD Studio
Goal
Internal reflection on what I learned from the artists.
Future / Expectation
Definition: “I don’t see much difference between Social Practice projects and the other artists-in-
“I hope to continue doing something big and beautiful so that the
residence projects I participated in before.”
participants can be proud of the process by experiencing the work.
Although Ben Volta didn’t give a concrete definition of Social Practice, during the interview,
I expect to create meaningful structures for the kids to have a
I learned he has worked with school communities and kids for years. But he has never
positive learning experience in this community. It would be focused
worked on a project that requires 6 months research process in a community.
explorations that create something new.”
Current Project:
Ben Volta
Ben Volta is planning to work with kids from the community to create art fabrication on
School, Kids, Fabric
the fence of PECO station in Chinatown North as his contribution to Social Practice Lab. This project will be implemented in August of 2013.
Education: BFA Painting and Art History Current Job: He works with public school teachers and community members to develop creative methods that link art to specific areas of leaning.
Research Tools External
Guided Tour Observations
Audience:
Past: Kids ( 13 -18 ) Future (For Social Practice): Students from schools in Chinatown and Chinatown North neighborhoods.
Soft
“Walking around and thinking about what do people want to do and what we could do to help the community.”
•
No experience before
program can help me continue my project. Talking
“ I have never done this kind of project that required us to reach
among artists sometimes not that effective.”
Camera
out to the community members. Having all different organizations
•
Sustainability
Notebook
and a brand range of people is very different from my previous
•
Uncertainty of the possible partnership and no
Hard
back-up plans.
experience.” •
Internal
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Obstacles / Opportunities
Meeting with PECO
More structure of the project
•
Balance of small group and larger context.
“I think there could be more opportunities for us to have advice
“I try to have a balance between the groups that I work
from the advisory committee members. More structure of the
with and the larger dialog.”
Synthesis Tools Affinity Diagramming
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When
2012 Oct. - 2013 Mar. 2 hr / each
Where
MiD Studio
Goal
Using Affinity Diagramming to understand artists’ engagement process with community from interviews. Internal reflecting on what I learned from the artists.
Synthesis Tools Affinity Diagramming
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When
2012 Oct. - 2013 Mar. 2 hr / each
Where
MiD Studio
Goal
Using Affinity Diagramming to understand artists’ engagement process with community from interviews. Internal reflecting on what I learned from the artists.
Synthesis Existing Anxiety from the Current Artists-in-Residence
Art Initiati ve Asian 7
Co m
2
e nc
5
Time Management Issue
Confusion of Concept
7
ity un m
Artis ts-i n-r es id e
Little Structure of Social Practice Lab
1
Anxiety of Outreach
AAI - N. Chinatown LRT - S. Chinatown
3
Little Stragtegies of Outresach
6
2
Language Barriers
No Experience 2
1
Limitation of Medium
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Balance btw Personal Aesthetic and Publc Interests
4
Sustainability
Key Findings: Lack of Program Structure Creates Outreach Anxiety
“Being artists-in-residence in this project, we don’t have enough
“It’s the first time for me to participate in a one-year art project, and the research phase is almost 6 months. I felt lack of support
community resources, social practice becomes really hard because
or advice how to move forward with my project.”
it is about relationship, while relationship takes time to build. Also, it is not easy to manage time and plan out strategies of reaching out to the community.”
Time “Other than Retreat event, I didn’t reach out to the residence or community members. I think I need more preparation with
Management
“Artists are just not responsible for process, so it might be difficult for artists to think about the process in a documentable, communicable way. Typically, the final
my purpose. But I don’t know what my plan is.”
product is the most important thing in traditional work. ” “I think I should have spent more time in the research phase to understand the community, but I am still trying to find ways of doing research how to reach out to community people.”
Anxiety of Engagement with Local Community
“I don’t feel comfortable reaching out to the community before the Asian Arts Initiative is on board with my project idea.”
“Since it’s the first year of AAI to
“I wish there could be more
have Social Practice Lab, there is
check-in points. Because it’s
not so much structure that I can hold onto. I wish there could have some guideline that I can refer to.”
really helpful for me to get
Lack of Program Structure
any chance to reflect on and
(Orientation or Evaluation System)
chances to bring me back to
organize my thoughts. More the neat line, that helps me to figure out what the next step is in my research.”
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Key Findings: Lack of Program Structure Creates Outreach Anxiety Balance between Freedom and Structure
ure
t Struc
Freedom
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•
Artists’ Anxiety of Outreach
•
Lack of Community Engagement
Key Findings: Lack of Program Structure Creates Outreach Anxiety Balance between Freedom and Structure
Fr ee
do
m
• Stru c
ture
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Creative Process be Manipulated
Key Findings: Lack of Program Structure Creates Outreach Anxiety Balance between Freedom and Structure
Flexible
Freed
om
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Toolkit
•
Creative Engagement !
Prototype: Community Engagement Toolkit Rapid Prototype
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Prototype: Community Engagement Toolkit Precedents of the Content
2
2Up2Down Homebaked Anfield Socially Commissioned Project
3
Mural Arts Program Philadelphia Engagement
Meaningf ul S gs & n i d ta n te Fi m y e e K
4
Temple Fox Design Challenge Design Research Tools - MiD
5
HCD Framework IDEO HCD Toolkit
6
Convivial Toolbox Cross-cultural Communication
e ic
9
Design Scenario Engagement Tool
10
Influence Timeline Engagement Tool
11
Contextualizing information to different groups
Hu m an
t Ar 2
3
10 11
4
1
5 6
9
sign d De ere nt Ce
S oc ial Pr ac t
Public Art Toolkit Art and Civic Engagement
s nt
1
8 7
7
Project Row House Social Practice Project
8
Future Backwards Engagement Tool
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community activists and leaders. It attempts to bridge two complex ideas—the town square and civic engagement—and to better define what potential these concepts hold for Walker
At the heart of a communit
communal and meaningful audience interaction where a
community.
Public Art
with the social issues raised by Walker p
diversity of ideas are embraced and promoted. This is called
Four ways that Walker audiences can exercise agency are
Entertainment
Square can happen whether or not civic
This metaphor was tested in the public sphere when
the 4C Model of Experience.
through the activities of Commentary, Dialogue, Action,
Beauty
programmatic goal, but civic engagem
interviewees were asked to describe their ideas of a town
and Leadership. This is known as the Spectrum of Civic
Nature
within a Town Square atmosphere.
square; they responded by talking about fictional spaces full
Engagement Activities, since the levels of intensity and
Civic engagement for the individual be
involvement for both participants and Walker programmers
personal values and connecting them t
increase as one moves from left to right.
collective sphere.
Prototype: Community Engagement Toolkit programmers and audiences.
The map proposes four major roles that art, artists, and cultural programs can play in the creating a
Walker town square experience and a spectrum of
Public Art Toolkit & Civic Engagement activities that allow for genuine civic involvement
Civic engagement is the active involvem
Performance
stemming from the art presented there.
of art, politics, spontaneity, inspiration, celebration, music,
Self-expression
ritual, conflict, and resolution. They imagined a commonly
Refuge
owned, universally used public space where all worlds of
Celebration Challenge
by participants. The intent is to invite curators and
Convener
Art, artists, and cultural programs may
Art, artists, and cultural programs may act
act as containers by providing physical,
as conveners by providing the purpose and
emotional, or psychological space for
the call for a formal gathering. Acting as a
civic engagement. Creating a container
convener can help people recognize their
may also require the institution to let go
own cultural compatriots and may even set
of goals for a specific outcome in order
the stage for a collective action regarding a
to allow participants to find their own way
particular issue of concern.
through the work or program.
Ritual
people collide.
Container
Connector
Catalyst
Art, artists, and cultural programs may act
Art, artists, and cultural programs may
as connectors by linking people and ideas.
act as catalysts by provoking awareness,
The role of connector operates both by
response, or movement on an issue that is
providing a platform for people to bridge
inactive or polarized. The catalyst role adds
their differences and to bond through their
new energy to an issue or debate and may
similarities.
involve controversial themes or approaches.
Field
happens.
programmers to consider open-ended questions
Commentary
Dialogue
Action
Leadership
A public expression of personal opinion or belief in the form of written or spoken statements, explanations, or criticisms.
The process of individuals or groups sharing and learning about others’ beliefs, feelings, interests, or needs with the goal of improving understanding and trust.
A mode of addressing an issue, policy, or event in a direct manner that attempts to make an immediate or measurable change.
Leadership involves the ethical use of power and empowerment, leading by example, exerting influence, and motivating and inspiring others to realize their potential.
For Commentary, consider: How can you provide easy access to information that visitors need to construct informed and considered opinions?
For Dialogue, consider: How can you encourage participants to engage directly to learn about others’ views and share comments, thoughts, or feelings about issues in the work?
How can you create opportunities for individuals to capture and share their responses, opinions, or beliefs virtually or in person? How can you create an environment that encourages people to develop opinions about an issue and is supportive to all views?
Source
that will lead the Walker into a more socially conscious approach to planning events, exhibitions,
Some things to consider:
The social potential of the art is the capacity the work
What is potentially meaningful and moving about the work?
or program has to address and possibly affect specific social issues in a community or between groups of people. This is a crucial starting place for developing relevant programs.
How can you make a space for those voices and opinions that are not present in the dialogue or have been excluded?
For Action, consider: How can you create opportunities for participants to address the issues in a direct and active manner that could lead to change? How can you provide information and resources for further action on the part of individuals or groups?
How can you encourage or support the formation of an organized group of concerned citizens inspired by a Walker program or experience?
For Leadership, consider: How can you lend institutional support or commitment for a particular community action or project?
How can you organize citizens around a particular project or issue through its Artist-In-Residence program or other events? How can you show the way to a desired goal by organizing others, supporting existing projects, or by modeling an outcome?
forecastpublicart.org/toolkit media.walkerart.org/pdf/ceworkbook.pdf
and hands-on learning experiences.
Social Potential: Start with the Art
Social Practice and Art
How can you make space for one-on-one conversations, small group discussion, or larger group dialogue?
What issues does the work bring up? Are these issues present in local communities? How are they manifest? Who could help answer these questions? (Community advisors, Walker staff, and so on.) Given the issues present in this work and who might be interested in them, who is my primary audience?
ART AND CIVIC ENGAGEMENT: MAPPING THE CONNECTIONS
“The metaphor for the museum is no longer a church or temple, but a lively forum or town square.”
A project of the Walker Art Center’s Education and Community Programs Department
—Kathy Halbreich, Director, Walker Art Center, 2004 In 2003, with the support of the Bush Foundation, the Walker began exploring ways that links between contemporary art and issues of concern to the community can be made more apparent. We know that artists deal with contemporary issues in their work, but how can these connections become
The 4C Model: Roles Art and Artists Play in the Town Square
part of public life? How can a contemporary art center become a forum for civic engagement? This knowledge map incorporates national field research about art and civic engagement,
This role may be appropriate when . . . conversations with artists and colleagues, and from interviews with 30 Twin Cities The artist’s work provides a physical space for peopleinsights to bedrawn or create. community activists and leaders. It attempts
Roles are about the kind of energy you want your program to have, or the spirit that already lies within the art. Will your experiential focus be on exploration, challenge, connection, celebration, reunion, action,
to bridge two complex ideas—the town square
The work or program being considered can provideand ancivic atmosphere engagement—and to better define
what potential these concepts hold for Walker where people feel empowered to express their opinions. programmers and audiences.
Container, convener, connector, and catalysts are offered as roles for art, artists, and cultural programs
Container
and cultural programs can play in the creating a
esteem by celebrating an achievement or success. Walker town square experience and a spectrum of activities that allow for genuine civic involvement by participants. The intent is to invite curators and
The work or program’s primary impetus is to provide a safe and open-ended questions programmers to consider that will lead the Walker into a more socially encouraging atmosphere for the discussion of difficult community issues.
What Is the Walker Town Square?
A Town Square Is a Place That Feels:
What Is Civic Engagement?
How Do the Town Square and Civic Engagement Meet?
Convener
In the early stages of planning for its building expansion,
Spontaneous
where . . .
Rather than being any specific physical place, the Walker
The term “civic engagement” is frequently used in the fields
Unstructured and flexible
Exploration
The Town Square and Civic Engagement are related but not
the Walker began using the concept of a town square as a
Town Square will be a philosophy of programming that
of museum education and cultural development, and many
Commonly owned
synonymous.
metaphor for the kind of social experience the new spaces Art, artists, and cultural programs may Safe for all opinions were meant to offer. The new Walker is envisioned as a place
Connection
Family-friendly sparkling with conversation, debate, and differing opinions act as containers by providing physical, At the heart of a communit stemming from the art presented there.
protest
emotional, or psychological space for This metaphor was tested in the public sphere when
Public Art
interviewees were asked to describe their ideas of a town civic engagement. Creating a container
Beauty
of art, politics, spontaneity, inspiration, celebration, music, may also require the institution to let go
Self-expression
universally public space all worlds ofin order ofowned, goals for used a specifi c where outcome
Celebration
incorporates the spirit of an imagined town square and puts of it exist. Perhaps the broadest definition of be appropriate The Town Square iswhen a communal This role may . . .atmosphere where Art, artists, and cultural programs may actdescriptions Political speech and it into play in innovative ways. In the Walker Town Square, civic engagement is the exercising of personal or collective
participants feel connected to their values and interests. The work or program offered is in response to an event that has
the three different roles of art, artists, and programs create agency in the public domain for the betterment of one’s as conveners by providing the purpose and communal and meaningful audience interaction where a community.
diversity of ideas are embraced and promoted. This is called exercise agency are Square can happen whether or not civic engagement is a the call for a formal gathering. Acting as Four a ways that Walker audiences canThe work or program being considered can help mark a community’s life the 4C Model of Experience. through the activities of Commentary, Dialogue, Action, programmatic goal, but civic engagement always occurs
Spectrum Civic orofimportant historical within a Town events. Square atmosphere. convener can help people recognize theirand Leadership. This is known as the cycle
Nature
Convener
Container
own cultural compatriots and may even Art, artists, and cultural programs may
Art, artists, and cultural programs may act
act as containers by providing physical,
as conveners by providing the purpose and
emotional, or psychological space for
the call for a formal gathering. Acting as a
civic engagement. Creating a container
may also require the institution to let go
Refuge
ritual, conflict, and resolution. They imagined a commonly
to allow participants to find their own way
convener can help people recognize their
own cultural compatriots and may even set
of goals for a specific outcome in order
the stage for a collective action regarding a
to allow participants to find their own way
particular issue of concern.
through the work or program.
Engagement Activities, since the levels of intensity and
Civicbrings engagement for the individual begins recognizing The work or program people together forbydeliberation or involvement for both participants and Walker programmers personal values and connecting them to social issues in the set collective decision-making. increase as one moves from left to right. collective sphere.
the stage for a collective action regarding a Catalyst
Connector
Ritual
people collide.
Art, artists, and cultural programs may act as connectors by linking people and ideas.
Challenge
Art, artists, and cultural programs may
providing a platform for people to bridge
response, or movement on an issue that is
inactive or polarized. The catalyst role adds
their differences and to bond through their
new energy to an issue or debate and may
similarities.
involve controversial themes or approaches.
happens.
The work or program’s focus or concern is of broad interest to the community and can provide a common ground for consensus-building
Commentary
Dialogue
Action
A public expression of personal opinion or belief in the form of written or spoken statements, explanations, or criticisms.
The process of individuals or groups sharing and learning about others’ beliefs, feelings, interests, or needs with the goal of improving understanding and trust.
A mode of addressing an issue, policy, or event in a direct manner that attempts to make an immediate or measurable change.
Leadership involves the ethical use of power and empowerment, leading by example, exerting influence, and motivating and inspiring others to realize their potential.
For Commentary, consider: How can you provide easy access to information that visitors need to construct informed and considered opinions?
For Dialogue, consider: How can you encourage participants to engage directly to learn about others’ views and share comments, thoughts, or feelings about issues in the work?
For Action, consider: How can you create opportunities for participants to address the issues in a direct and active manner that could lead to change?
For Leadership, consider: How can you lend institutional support or commitment for a particular community action or project?
act as catalysts by provoking awareness,
particular issue of concern. The role of connector operates both by
through the work or program.
Civic engagement is the active involvement visitors have
captured the community’s attention orbyrequires a communal with the social issues raised Walker programs. The Town response.
Performance Entertainment
square; they responded by talking about fictional spaces full
The map proposes four major roles that art, artists, The work or program can help boost a community’s collective self-
debate?
Why a Town Square?
How can you create opportunities for individuals to capture and share their responses, opinions, or beliefs virtually or in person? How can you create an environment that encourages people to develop opinions about an issue and is supportive to all views?
How can you make space for one-on-one conversations, small group discussion, or larger group dialogue? How can you make a space for those voices and opinions that are not present in the dialogue or have been excluded?
Leadership
How can you provide information and resources for further action on the part of individuals or groups?
How can you encourage or support the formation of an organized group of concerned citizens inspired by a Walker program or experience?
How can you organize citizens around a particular project or issue through its Artist-In-Residence program or other events? How can you show the way to a desired goal by organizing others, supporting existing projects, or by modeling an outcome?
among people with similar interests.
conscious approach to planning events, exhibitions, and hands-on learning experiences.
that can help create conditions for meaningful and productive civic engagement. Identifying a primary role for your program may help you to set more specific engagement goals.
Social Potential: Start with the Art
Some things to consider:
The social potential of the art is the capacity the work or program has to address and possibly affect specific social issues in a community or between groups of people. This is a crucial starting place for developing relevant programs.
This role may be appropriate when . . . The ideas being addressed by the work or program are linked together in unusual or novel ways. The work or program creates opportunities for participants to connect to their own heritage and culture. The work or program can bring members of a community from different generations, cultural backgrounds, faiths, and lifestyles The 4C Model: Roles Art and together for shared experience and interaction, such as connecting in the Town Square older mentors withArtists young Play people.
Catalyst
Connector
What is potentially meaningful and moving about the work? What issues does the work bring up? Are these issues present in local communities? How are they manifest? Who could help answer these questions? (Community advisors, Walker staff, and so on.)
Given the issues present in this work and who might be interested in them, who is my primary audience? Art, artists, and cultural programs may act
Art, artists, and cultural programs may
as connectors by linking people and ideas.
act as catalysts by provoking awareness,
The role of connector operates both by
response, or movement on an issue that is
providing a platform for people to bridge
inactive or polarized. The catalyst role adds
their differences and to bond through their
new energy to an issue or debate and may involve controversial themes or approaches.
similarities.
Roles are about the kind of energy you want your program to have, or the spirit that already lies within the art. Will your experiential focus be on exploration, challenge, connection, celebration, reunion, action,
This role may be appropriate when . . . The artist’s work provides a physical space for people to be or create. The work or program being considered can provide an atmosphere where people feel empowered to express their opinions. The work or program can help boost a community’s collective selfesteem by celebrating an achievement or success.
debate? Container, convener, connector, and catalysts are offered as roles for art, artists, and cultural programs
This role may be appropriate when . . . The work or program brings people together to discuss a topic that lacks consensus or is a source of disagreement. The work or program has the potential to mobilize new players or get people to take action on an issue. The work or program can assist in revealing the assumptions in a community regarding divisive civic issues. The work or program serves as the focal point for the exploration of an issue, and allows participants to experience multiple or alternative perspectives of it.
The work or program’s primary impetus is to provide a safe and encouraging atmosphere for the discussion of difficult community issues.
Container
Convener
Art, artists, and cultural programs may
Art, artists, and cultural programs may act
act as containers by providing physical,
as conveners by providing the purpose and
emotional, or psychological space for
the call for a formal gathering. Acting as a
civic engagement. Creating a container
convener can help people recognize their
may also require the institution to let go
own cultural compatriots and may even set
of goals for a specific outcome in order
the stage for a collective action regarding a
to allow participants to find their own way
particular issue of concern.
through the work or program.
This role may be appropriate when . . . The work or program offered is in response to an event that has captured the community’s attention or requires a communal response. The work or program being considered can help mark a community’s life cycle or important historical events. The work or program brings people together for deliberation or collective decision-making. The work or program’s focus or concern is of broad interest to the community and can provide a common ground for consensus-building among people with similar interests.
that can help create conditions for meaningful and productive civic engagement. Identifying a primary role for your program may help you to set more specific engagement goals.
Connector This role may be appropriate when . . . The ideas being addressed by the work or program are linked together in unusual or novel ways.
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The Spectrum of Civic Engagement Activities
as connectors by linking people and ideas.
Catalyst Art, artists, and cultural programs may act as catalysts by provoking awareness,
The role of connector operates both by
response, or movement on an issue that is
providing a platform for people to bridge
inactive or polarized. The catalyst role adds
their differences and to bond through their
new energy to an issue or debate and may
similarities.
involve controversial themes or approaches.
Action
This role may be appropriate when . . . The work or program brings people together to discuss a topic that lacks consensus or is a source of disagreement. The work or program has the potential to mobilize new players or get people to take action on an issue. The work or program can assist in revealing the assumptions in a community regarding divisive civic issues. The work or program serves as the focal point for the exploration of an issue, and allows participants to experience multiple or alternative perspectives of it.
Leadership
Commentary
Dialogue
A public expression of personal opinion or belief in the form of written or spoken statements, explanations, or criticisms.
The process of individuals or groups sharing and learning about others’ beliefs, feelings, interests, or needs with the goal of improving understanding and trust.
A mode of addressing an issue, policy, or event in a direct manner that attempts to make an immediate or measurable change.
Leadership involves the ethical use of power and empowerment, leading by example, exerting influence, and motivating and inspiring others to realize their potential.
For Commentary, consider:
For Dialogue, consider:
For Action, consider:
For Leadership, consider:
Four ways that visitors are civically engaged are through Commentary, Dialogue, Action, and Leadership.*
The work or program creates opportunities for participants to connect to their own heritage and culture.
Art, artists, and cultural programs may act
The work or program can bring members of a community from different generations, cultural backgrounds, faiths, and lifestyles together for shared experience and interaction, such as connecting older mentors with young people.
For a
In genera
to create
Commen
spectrum
Prototype: Community Engagement Toolkit Convivial Toolbox - Generative Tools
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Field
Human Centered Design
Source
issuu.com/bis_publishers/ docs/convivial_toolbox
Prototype: Community Engagement Toolkit HCD Framework and IDEO Cards
TOOLKIT 2ND EDITION
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Field
Human Centered Design
Source
www.ideo.com/work/humancentered-design-toolkit/
Prototype: Community Engagement Toolkit
COMMUNITY ENGAGEMENT TOOLKIT DESIGNING SOCIAL PRACTICE ENGAGEMENT An open collection of research and engagement tools that assist artists and art organizations, who/which are interested in Social Practice projects. The toolkit offers the artists various methods and techniques to engage with external communities, and conduct internal reflection.
External
Contextual Interview Shadowing Share Stories
Collage
Future, Backwards Workshop Behavioral Mapping
Neighborhood Trust Extreme Mainstream Interview Scenario Co-creation
AEIOU
Camera Journal
Observation Map
Survey & Questionnaires Character Profile
Influence Timeline
Internal
Interest List
Information Sorting SWOT
Stage I
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Design Scenario
Stage II
Stage III
Natural Discovery
Field Investigation
Community Links
Learning from the Community
Understand the Community
Connect with the Community
Prototype: Community Engagement Toolkit
COMMUNITY ENGAGEMENT TOOLKIT DESIGNING SOCIAL PRACTICE ENGAGEMENT An open collection of research and engagement tools that assist artists and art organizations, who/which are interested in Social Practice projects. The toolkit offers the artists various methods and techniques to engage with external communities, and conduct internal reflection.
External
Contextual Interview Shadowing Share Stories
Collage
Future, Backwards Workshop Behavioral Mapping
Neighborhood Trust Extreme Mainstream Interview Scenario Co-creation
AEIOU
Camera Journal
Observation Map
Survey & Questionnaires Character Profile
Influence Timeline
Internal
Interest List
Information Sorting SWOT
Stage I
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Design Scenario
Stage II
Stage III
Natural Discovery
Field Investigation
Community Links
Learning from the Community
Understand the Community
Connect with the Community
Prototype: Community Engagement Toolkit
Stage I: Natural Discovery
Observation Map Why?
How?
Recording your pathways and routes on the map and documenting your observation
Create your own Observation Map by placing the map of the community on a piece of
and interpretation helps to define zones of different behaviors and cultures. Ask ques-
blank paper. As you find any interesting scenes, or events on your tour in the commu-
tions you think you might already know the answer to. We all interpret the world based
nity, mark them out and ask yourself:
on our experience and what we think we know. This lens of personal experience can influence what you focus on and can make it hard to see important issues.
•
What do you see? (observe)
•
Why do you think it is happening? (interpret)
Sample:
What do you see ?
What do you see ?
What do you think it is happening ?
What do you think it is happening ?
What do you see ? What do you think it is happening ?
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What do you see ? What do you think it is happening ?
Prototype: Community Engagement Toolkit
Stage I: Natural Discovery
Influence Timeline Why?
How?
Mapping out your detailed observations and stories you learned in the community and
Step 1. Take a piece of blank paper and draw vertical and horizontal lines, represent-
visually comparing the influence of each finding will help you to understand a broad
ing the influence and timeline. Step 2. Think backward about what you observed and
picture of the community.
learned, secondary readings, quotes, actions, objects, individuals or interactions involved in your process of research. Step 3. Write down each event on one post-it and place it in the grid according to when it happens and how much influence it has on you. Try to map all the observations or stories out in the grid.
Sample:
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Prototype: Community Engagement Toolkit
COMMUNITY ENGAGEMENT TOOLKIT DESIGNING SOCIAL PRACTICE ENGAGEMENT An open collection of research and engagement tools that assist artists and art organizations, who/which are interested in Social Practice projects. The toolkit offers the artists various methods and techniques to engage with external communities, and conduct internal reflection.
External
Contextual Interview Shadowing Share Stories
Collage
Future, Backwards Workshop Behavioral Mapping
Neighborhood Trust Extreme Mainstream Interview Scenario Co-creation
AEIOU
Camera Journal
Observation Map
Survey & Questionnaires Character Profile
Influence Timeline
Internal
Interest List
Information Sorting SWOT
Stage I
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Design Scenario
Stage II
Stage III
Natural Discovery
Field Investigation
Community Links
Learning from the Community
Understand the Community
Connect with the Community
Prototype: Community Engagement Toolkit
Stage II: Field Investigation
Future Backwards Workshop Why?
How?
Inviting a group of individuals from the community and having conversations about the
Step 1. Prepare 5 different colored posts, representing: current state, past state, heav-
past, present and future of the community helps widening the range of perspectives.
en state, hell state, and accidents. Step 2. Prepare your facilitation notes for the work-
It allows both you and the participants to take on understanding the past and possible
shop. Step 3. Invite the community leaders and members you shadowed or interviewed
future of the community.
to attend the Future Backwards Workshop in a specific space.
Sample: Future Backwards Workshop @ Social Practice Lab
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Prototype: Community Engagement Toolkit
Stage II: Field Investigation
Character Profile Why?
How?
Creating profiles for the particular groups you interviewed based on your their shared
Layout all the collected insights (photos, observation notes, quotes, sketches, etc.)
interests helps you to differentiate the various roles your interviewees in the community
from your Shadowing and Contextual Interviews. Then take a big piece of blank paper,
and identify potential partners / audience you want to collaborate within your future
and collate the pieces into common-interest groupings, which can then be developed
project.
into the character profile.
Sample:
Topic 1
Topic 3
Definition: photo
“I don’t see much difference between Social Practice projects and the other artists-in-
“I hope to continue doing something big and beautiful so that the
residence projects I participated in before.”
participants can be proud of the process by experiencing the work.
Although Ben Volta didn’t give a concrete definition of Social Practice, during the
I expect to create meaningful structures for the kids to have a
interview, I learned he has worked with school communities and kids for years. But he
positive learning experience in this community. It would be focused
has never worked on a project that requires 6 months research process in a community.
explorations that create something new.”
Current Project:
photo 2
Name
Ben Volta is planning to work with kids from the community to create art fabrication on
Key Features
the fence of PECO station in Chinatown North as his contribution to Social Practice Lab. This project will be implemented in August of 2013.
photo 1
Education:
Current Job: He works with public school teachers and community members to develop creative methods that link art to specific areas of leaning.
Topic 2 External
Guided Tour Observations
Audience:
Past: Kids ( 13 -18 ) Future (For Social Practice): Students from schools in Chinatown and Chinatown North neighborhoods.
Soft
“Walking around and thinking about what do people want to do and what we could do to help
•
No experience before
program can help me continue my project. Talking
“ I have never done this kind of project that required us to reach
among artists sometimes not that effective.”
Camera
out to the community members. Having all different organizations
•
Sustainability
Notebook
and a brand range of people is very different from my previous
•
Uncertainty of the possible partnership and no
Hard
back-up plans.
experience.” •
the community.”
Internal
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Topic 4
Meeting with PECO
More structure of the project
•
Balance of small group and larger context.
“I think there could be more opportunities for us to have advice
“I try to have a balance between the groups that I work
from the advisory committee members. More structure of the
with and the larger dialog.”
Prototype: Community Engagement Toolkit
COMMUNITY ENGAGEMENT TOOLKIT DESIGNING SOCIAL PRACTICE ENGAGEMENT An open collection of research and engagement tools that assist artists and art organizations, who/which are interested in Social Practice projects. The toolkit offers the artists various methods and techniques to engage with external communities, and conduct internal reflection.
External
Contextual Interview Shadowing Share Stories
Collage
Future, Backwards Workshop Behavioral Mapping
Neighborhood Trust Extreme Mainstream Interview Scenario Co-creation
AEIOU
Camera Journal
Observation Map
Survey & Questionnaires Character Profile
Influence Timeline
Internal
Interest List
Information Sorting SWOT
Stage I
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Design Scenario
Stage II
Stage III
Natural Discovery
Field Investigation
Community Links
Learning from the Community
Understand the Community
Connect with the Community
Prototype: Community Engagement Toolkit
Stage III: Community Links
Design Scenarios Why?
How?
Visioning possible scenarios of your project through drawing or illustration will help
Step 1. Visualize your imaginary future scenarios for your Social Practice project, in as
community members quickly understand your creative ideas. It is also a good way to
much detail as possible. Step 2. Show your audience or collaborators a series of im-
stimulate and motivate your collaborators to be out-of-box-thinkers.
ages that you created. Step 3. Invite them to share their responses. * Note: It might be more effetive if you design a way to let your audience or collaborators respond to your possible future scenarios through drawing, collage, etc. Those simple tools will motivate the participants to be more creative in the process.
Sample:
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Prototype: Community Engagement Toolkit
Stage III: Community Links
Collage Why?
How?
Collage is a useful way to facilitate cross-cultural or cross-generational communica-
Step 1. Create a theme around your project topic. Step 2. Prepare materials, which
tion. This method helps you to communicate with your participants by verbalizing their
include pictures of daily objects, interactions, or locations. Step 3. Ask the participants
ideas in a visual way, and eliminating possible language or generation barriers.
to build a collage from the provided collection of images. Step 4. Let the participants tell a narrative or explain the significance of the images and arrangements they choose. * Note: You might need one translator to assist you in understanding the significance of images selected.
Sample:
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Prototype: Community Engagement Toolkit Rapid Prototype
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Prototype: Toolkit Digital Platform Sitemap
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(5 tools in total) What? Why? How? Case Study Add to Kit
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Stage III : Connection Design Scenario (7 tools in total) What? Why? How? Case Study Add to Kit
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Test: Toolkit Digital Platform
INFLUENCE TIMELINE REFLECTION KIT “An open collection of research and engagement tools that assist artists and art organizations, who are interested in Social Practice projects. The toolkit offers the artists various methods and
Visual Composition
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Social Kits: Supplies for research and engagement. “An open collection of research and engagement tools that assist artists and art organizations, who are interested in Social Practice projects. The toolkit offers the artists various methods and techniques to engage with external communities and conduct internal reflection. “
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2.2 Organizational Design Affecting Change through Storytelling
Liberty Resources is a non-profit organization that advocates and promotes Independent Living for persons with disabilities.
More than 50% of their employees have disabilities.
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Research
Guided Tour
Contextual Interview
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Research
Follow the Money: Financing Home and Community-Based Services Follow the Money: Financing Home and Community-Based Services Joshua M. Wiener, PhD Wayne L. Anderson, PhD
Pennsylvania Medicaid Policy Center University of Pittsburgh 2009
Joshua M. Wiener, PhD Wayne L. Anderson, PhD Pennsylvania Medicaid Policy Center University of Pittsburgh 2009
Secondary Research
Observation 2
2
Shadowing
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Synthesis
Flow Diagramming
1 - 5000 5001 - 15,000 15,001 - 50,000 50,000 +
Erie
Warren
Crawford
McKean
Susquehana
Bradford
Tioga
Potter
Wayne
Crawford
Forest
Wyoming Cameron
Elk
Venango
Sullivan
Lackawanna Pike
Lycoming
Mercer
Luzerne
Clinton Calrion Jefferson
Monroe
M
on
Lawrence
to
Clearfield
Butler
Union
Centre Armstrong
Snyder
Carbon berland
Mifflin Cambria
Alleghany
Blair
Juniata
Perry
tgom
Cumberland
Somerset
Concept Map
Bucks
Lebanon ery
Lancaster Chester
Bedford
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Berks
Dauphin
Mon
Washington
Fayette
Lehigh
Huntington
Westmoreland
n
pto
ham
rth
No
Shuylkill Indiana
Greene
Columbia
Northum
Beaver
Statistic Visualization
ur
Philadelphia Fulton
Franklin
Adams
York
Delaware
120,591
Key Findings
Storytelling
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Key Findings
We Believe... By leveraging Liberty Resources’ powerful stories as tools and sharing them with the right audiences, we can affect positive change for people with disabilities.
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Synthesis Meaningful Statements
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Separate required forms easily got
No unified way to give out the con-
missed by the Advocates and the staff
tact information of Advocates at Lib-
at Liberty Resources.
erty Resources.
Don’t remember how much identifica-
Big impact on a consumer if the Ad-
tion has been collected and where the
vocate can share his/her experience
Consumer is in the process.
of transition and encourage them.
Using iPhone, computer, and email is
It takes long time to explain to a Con-
easier than using all the paper, because
sumer where all the I.D. agencies are
of the limitation in writing.
located and how to transport there.
Key Findings Different levels of physical or mental limitations
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Key Findings Fragmented Paper-based Advocacy System
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Rapid Prototype
1
3
Advocacy iPad App
Community Storybook
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4
2
Liberty Cards
Come . Listen . Respond
5
Fundraising Card
Rapid Prototype
1
Advocacy iPad App
Exploring digital solutions for the Advocacy Systems.
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2
Liberty Cards
Building a bridge between paper-based system and digital technology.
Prototype: Advocacy iPad Application Tracking Progress and Sharing Stories
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Prototype: Advocacy iPad Application Tracking Progress and Sharing Stories
• Uses accessible technology • Demonstrates independent living process • Records new stories • Shares experiences of persons with disabilities
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Prototype: Advocacy iPad Application Tracking Progress and Sharing Stories
• Uses accessible technology • Demonstrates independent living process • Records new stories • Shares experiences of persons with disabilities
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Testing: Advocacy iPad Application
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Iteration: Advocacy iPad Application
THE ROAD TO INDEPENDENCE
TRANSITION MAP
LOG IN
SEARCH
YOUR CURRENT CONSUMERS
ABOUT
LIBERTY RESOURCES
INSPIRING STORIES
HOW TO
Consumer A
Consumer F
Paratransit
Consumer B
Consumer G
Social Security Card
HELP
FEEDBACK
CONSUMER DATABASE
In the Transition Process
Your Current Consumers Consumer A
Sitemap
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Consumer B
Consumer C
Consumer H
Birth Certificate
Consumer D
Consumer Y
Non-driver License
In the Community
Liberty Resources
No longer in Transition
Consumer E
Iteration: Advocacy iPad Application
Wireframe
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Iteration: Advocacy iPad Application
User Scenario http://vimeo.com/41817019
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Prototype: Liberty Cards Sharing the Step-by-Step Process to Living Independently
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Testing: Liberty Cards
Focused Interview
Observation
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Visual Journal
Synthesis
Brain Map
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Meaningful Statements
Iteration: Liberty Cards
* Consumers should start 2A & 2B simultaneously.
1
I.D. Collection
Intake Form Outreach Form MFP Form Paratransit (Optional) Birth Certificate Non-driver License Social Security Card Medical Record
2A
Housing Program A
1. Housing Application 2. Submit to PHA 3. Choosing a new home 4. Security deposit for new home 5. Signing new home lease (A Copy to Norma) 6. Applying for funds and getting approval 7. Requesting a check from Felicia 8. Getting key from landlord
3
Last Step to Community
1. Discharge Meeting - Gather a 2 weeks’ supply of medication 1) Complete a wheelchair evaluation 2) NHT Services - Liberty Resources 3) Support providers nurses refer consumer to community resources. 4) Support provider sends report to the State for approval. 2. Before you move out 1) Setting up a bank account
2B
Housing Program B
1. Enroll with Maximus 1) Maximus and PCA provide assessment 2) Maximus arranges County Assistant Office to provide financial assessment. 3) Choose support provider through Maximus. 2. Maximus sends assessments to State, if it is approved, it will be sent to chosen support provider. 3. Norma contacts Maximus for SC Agency + staff from Liberty Resources + the consumer in nursing home. 4. Support provider assessment of support services needed
Flow Diagramming + home mod + set discharge date based on mod dates.
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2) Acquiring furniture and other household items 3) Moving to your new home 4) Move out day 5) Shop for groceries 6) Move belongings
Storyboard
Iteration: Liberty Booklet
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Testing: Liberty Booklet
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Testing: Liberty Booklet
• Virginia:
The checklist is an excellent reminder, keeping me from losing the documents.
• Maria:
Thorough design & quite self-explanatory.
• Gary:
Stories and pictures will support the Consumer to have more faith in moving forward.
• Norma:
The checklist helps Liberty Resources track Advocates’ work.
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3 Other Leading Projects
3 Other Leading Projects
Designing Social Practice Engagement
Affecting Change through Storytelling
Conversation Hearts
Researching Future Co-working Space
Exploring New Common Free Library
Redesigning Professor Word Platform
National Urban Trees
Thoreau Chair
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