Design Research Portfolio (Slides)

Page 1

DESIGN THINKING IN PRACTICE

Tian Cai Design Thinking

User Centered Design

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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

Social Kits Home

About

Mission

Interdisciplinary Expertise Partnering with Social Kits Become a Contributor

Tools

Stage I : Discovery

Terms of Use

(5 tools in total) What? Why? How? Case Study Add to Kit

Stage II : Investigation

(7 tools in total) What? Why? How? Case Study Add to Kit

Stage III : Connection Design Scenario (7 tools in total) What? Why? How? Case Study Add to Kit

Become a Contributor

Privacy Policy

Feedback

Projects

Contributors

Topics

Become a Contributor

View Your Tools

Geographic

Individuals

Save for Future Proposals

Timeline

Organizations

Share

Observation Map

Shadowing

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Sitemap

Areas of Expertise

Kit


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

techniques to engage with external communities and conduct internal reflection. “ See More

Social Kits All Together

Search

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Language

A Platform for Social Practice Artists Sharing Engagement Processes with Communities.

Project Archives

Social Kits Artists Communities

External

Art Projects Collage

Contextual Interview Shadowing

Art Organizations

Future, Backwards Workshop

Share Stories

Behavioral Mapping

AEIOU

Neighborhood Trust Extreme Mainstream Interview Scenario Co-creation Camera Journal

Observation Map

Survey & Questionaires Design Scenario

Influence Timeline Interest List

Contributors

Information Sorting

Internal

Videos Archive

Character Profile

SWOT

Natural Discovery Learning from the Community

Field Investigation

Community Links

Understand the Community

Connect with the Community

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. “

Featured Kits FUTURE, BACKWARDS WORKSHOP RESEARCH 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 techniques to engage with external communities and conduct internal reflection. “ See More

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

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techniques to engage with external communities and conduct internal reflection. “ See More

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All Together Arts Offers a Platform for Social Practice Artists Sharing Engagement Processes with Local Communities. All rights Reserved.

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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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