StoryPlace by Emma Joy Lovell by Emma Lovell

Building strong communities through shared stories of place

STORYPLACE Emma Joy Lovell Master of Design NSCAD University 2014

Building strong communities through shared stories of place

STORYPLACE A thesis project presented to the School of Graduate Studies Nova Scotia College of Art & Design in partial fullfillment of the Master of Design degree

by Emma Joy Lovell

NSCAD University Halifax, Nova Scotia Canada April 2014

Unless otherwise attributed, all material copyright ÂŠ 2014 Emma Joy Lovell. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. Book design and illustrations by Emma Joy Lovell.

ACKNOWLEDGEMENTS

I feel very fortunate for the experience I’ve had this past year and am grateful to the many people who have helped me through it. I owe much thanks to my instructors for their lessons, guidance and support. To Marlene Ivey, for encouraging me to challenge myself and the boundaries. To Rudi Meyer, who taught me so much, not just about design, but about how to see more and think harder. To Christopher Kaltenbach, for being the most passionate and spirited teacher I think I’ve ever had and for opening the office door every time I knocked. To Michael Leblanc, for seeing me through the last leg of the journey. To Candace Ellicott, for the always entertaining demonstrations in everything from how to kern type to how to box and to Patrick Foster, for the wise, consistent and unfailingly concise words of advice and encouragement. And finally to my classmates, whom I am honoured to have journeyed alongside. I owe everything to my parents who have always encouraged me to chase that which I am passionate about and have unfailingly supported me in that pursuit. Thanks to my sister for keeping me grounded, for providing comic relief and for visiting me in my new home. Even though we weren’t in the same place, I couldn’t have made it through this year without the three of you. Thanks to SO for being such an incredible new friend, for keeping me company in our makeshift office and for humoring me with every idea I bounced off of you. And to JM for playing games whenever I asked. To Luke, I owe the biggest thanks: for encouraging me to follow my passion and for accompanying me across the country as I did it. I will always be grateful. And finally to Muskoka, for inspiring me to care about place and community from the very beginning.

III

I IDENTIFY Abstract Rationale

II GATHER Background Context

III REVIEW & SYNTHESIZE Outline of inquiry Design process Research methods

IV INVENT Design concepts Concepts 1 to 5: rural sense of place Concepts 6 to 8: creative economy Concepts 9 to 11: stories of place

1 3 4

7 9 17

21 23 30 40

57 59 61 83 101

VII VIII

IV V REVIEW Research focus evolution Concept selection Final design objectives

VI EXECUTE Design iterations 1 to 5 Prototype

VII TEST Prototype testing Reflection

VIII ANALYZE Final research poster Conclusion References

* For an detailed explanation of this research methodology map, see page 35.

117 119 121 123

125 127 159

169 171 173

175 177 197 181

I: IDENTIFY Identify the problem, need, ambiguity or dilemma that initiated the process. Determine the domain and the goal of the research. Consider the projectâ&#x20AC;&#x2122;s scope, parametres and limitations.

ABSTRACT

How might design help to facilitate and foster meaningful connections to place in a way that supports strong communities?

Place has always been a fundamental source of identity for individuals and communities. But in todayâ&#x20AC;&#x2122;s connected and highly mobile environment, the way that we interact, identify and engage with place is changing. In light of this, new ways of connecting with place are needed that inspire collaborative dialogue, reflect dynamism and diversity and support inclusive, progressive and strong communities. Guided by a research methodology based in the design process and drawing on action research, this project resulted in the creation of StoryPlace, a game that enables and inspires collaborative community storytelling. By engaging a diverse group of individuals in generating and sharing stories of place, community is reimagined by its own inhabitants in terms of opportunities, assets and abilities. The game provides a framework and context for engagement upon which stronger, more authentic place-based identities can be built. By connecting individuals from a range of backgrounds and encouraging them to share, create, imagine and play together on the same level, the development of strong, inclusive, dynamic and progressive communities is made possible. Ultimately, StoryPlace is a tool for building strong place-based communities through storytelling at a time when our ability to connect with place in an authentic and meaningful way is being challenged.

RATIONALE

Place is a fundamental source of identity for individuals, communities and nations. In today’s hyper-connected and highly mobile society, place-based identities are changing. In light of this, new ways of connecting with place that inspire collaborative dialogue, reflect dynamism and diversity and support inclusive, progressive and strong communities are needed.

This rests on the foundational understanding that individual and collective relationships to place are essential and fundamental influences on lived experience—as fundamental as relationships with other people. These relationships are so natural and innate that they often go unquestioned. They have been part of the human experience since the beginning of time. However, with the rise of globalization, the human capacity to connect with place began to be questioned. In 1976, in his book Place and Placelessness, geographer Edward Relph expressed anxiety over the loss of authentic places and a pervasive erosion of sense of place by the repercussions of globalization. He felt that because of the mobility and connectivity that was enabled by globalization, it was becoming increasingly difficult for individuals to connect with place in a meaningful and authentic way (Relph, 1976). Today, the global fluidity of people, information, products and capital continues to be framed by some as an anxiety-provoking threat to place-based identities; one to be resisted (Cresswell, 2004, p. 71). The argument goes that as we become ever more connected, through mass media, mass culture and big business, and our places continue to expand and develop at an alarming rate, authentic sense of place is being undermined by what Relph describes as placelessness: “a weakening of the identity of places to the point where they not only look alike but feel alike and offer the same bland possibilities for experience” (Relph, 1976, p. 90). This concept of increased mobility and connectivity as a result of globalization is explained by geographer Doreen Massey in her paper “A Global Sense of Place.” She describes this contemporary phenomenon as “the time-space compression,” referring to “the movement and communication across space, to the geographical stretching-out of social relations, and to our experience of all this” (Cresswell, 2004, p. 64). In short, today’s global networks allow people, goods and capital

Health INDIVIDUALS Empowerment Local economic sustainability Job retention and creation

Identity Sense of belonging Experience

Tourism

Increased property values

CONNECTION TO PLACE

ECONOMY

COMMUNITY Protection

Preservation

Heritage

Development

ENVIRONMENT Sustainable development

to flow with ease from one side of the world to the other in a short amount of time. This has had a dramatic impact on the way we experience and connect with place, an impact that didn’t necessarily exist a century ago, when people tended to live a slower-paced, more localized life. Geographers like Relph assert that the case must be made to resist placelessness and ensure that “the means of experiencing, creating and maintaining significant places are not lost” (Relph, 1976, p. 6). This view pits the permanence of place against the mobility of capital—two forces that are constantly in tension with one another. In his paper “From Space to Place and Back Again,” David Harvey argues that this dichotomy pressures places to relentlessly follow the capital. For example, historic mining towns become ghost towns when the resource dries up or the old industrial centre finds itself deindustrialized when the factories move elsewhere (Cresswell, 2004, p. 58). In this model, places are forced to compete with one another for a share of the mobile capital. Harvey describes it as inter-place competition: Connections of place (above) Visualization that maps the benefits of fostering connections to place for individuals, communities and the economy

Residents worry about what package they can offer which will bring development while satisfying their own wants and needs. People in places therefore try to differentiate their place from other places and become more competitive (and perhaps antagonistic and exclusionary with respect to each other) in order to capture or retain capital investment. Within this process, the selling of place, using all artifices of advertising and image construction that can be mustered has become of considerable importance. (cited in Cresswell, 2004, p. 59) Inter-place competition can have devastating effects on place-based identities, breeding cultures of defensiveness, insecurity and exclusivity. But this hierarchical approach, one that defines insiders against outsiders and winners against losers, is not the only one. Massey proposes a more optimistic and progressive sense of place as an alternative. Her model calls for a reconsideration of the meaning of place, positioning it as a process rather than a product, one comprised of a unique coming together of several conditions in a particular location (Cresswell, 2004).

Instead then, of thinking of places as areas with boundaries around, they can be imagined as articulated moments in networks of social relations and understandings, but where a large proportion of those relations, experiences and understandings are constructed on a far larger scale than what we happen to define for that moment as the place itself, whether that be a street, or a region or even a continent. And this in turn allows a sense of place which is extroverted, which includes a consciousness of its links with the wider world, which integrates in a positive way the global and the local. (Massey, 1994, p. 154) In seeking to achieve this global sense of place, Massey proposes several understandings that must be embraced in order to develop a progressive, dynamic and inclusive concept of place. First, it must be understood that places are not static. They must be conceptualized as a complex web of social interactions, interactions that are also constantly in motion. Second, the concept of boundary must be discarded and a more holistic conceptualization adopted. Definition does not come by comparing the inside to the outside, but comes instead from the linkage and interaction with the outside, which in turn becomes part of the place. For example, you can hardly consider the problems of the inner-city, without taking into account the nature of the broader city as well. Third, identities (those of individuals and of places) are not single, simple or seamless. They shift and change and are made up of complex conflicts and relationships. Finally, the importance of place and its uniqueness is not to be denied. That uniqueness comes not from an internalized or recounted history, but it is continually reproduced in the interactions, relationships and experiences of individuals (Massey, 1994, p. 155). In order to embrace the dynamic and inclusive concept of place that Massey advocates, individuals need scaffolds upon which to connect, collaborate and share their stories of place. This project examines ways that design can engage with what Massey calls a progressive sense of place, with the aim of helping individuals to build and strengthen dynamic and inclusive place-based identities, thus supporting strong communities.

II: GATHER Commence preliminary information gathering, with the goal of gauging perceptions and assumptions surrounding the research. Reflect on the context, history and perceptions to gain a better understanding of the problem in a wider context.

BACKGROUND

THE MEANING OF PLACE

“If places are indeed a

The concept of place is at once a familiar and concrete part of life and also an abstract and philosophical construct. Place is an idea so deeply ingrained in our experience of the world that the word itself features prominently in our everyday lexicon, with a multitude of strikingly different meanings. In the dictionary, its definition ranges from a specific location to a state of mind (Merriam-Webster, 2014). It is a concept that is explored across disciplines in the academic arena, from anthropology, sociology and psychology to history, architecture and urban planning. For geographers, place is arguably the single most fundamental concept to their study (Cresswell, 2004). The word is not one of specific terminology; rather it is one of familiarity and common sense. In light of this, a deep exploration of place and its implications on lived experience must first begin with an understanding of how individuals interact with, construct and react to place.

fundamental aspect of man’s existence in the

PLACE AS BOUNDEDNESS

world, if they are sources of security and identity for individuals and for groups of people, then it is important that the means of experiencing, creating and maintaining significant places are not lost.” Edward Relph, 1976, p. 6

Beyond the simple understanding of place as a synonym for location lies the conceptualization of place as a location imbued with meaning by experience. Beyond that is the existential view of place as a way of understanding the world (Cresswell, 2004). The latter definition was adopted by geographers such as Edward Relph and Yi-Fu Tuan in the 1970s who sought a definition of place that emphasized the subjective and emotional, rather than the quantitative logic of science. They argued that approaches to design and development that were rooted in a quest for efficiency and technological advancement above all else had given rise to landscapes that were effective for big business and central authorities, but divorced from the intimate realities of everyday life and thus were alienating to individuals (MacCannel, 1983). This line of inquiry, spearheaded by Relph, Tuan and others, would come to form the basis for the domain

of human geography (Seamon and Sowers, 2008). Humanist geographers viewed place as the result of human experience and interaction, drawing on philosophy, primarily existentialism and phenomenology, rather than science (Cresswell, 2004). Canadian geographer Edward Relph published Place and Placelessness in 1976, which quickly became, along with Space and Place by Yi-Fu Tuan, one of the quintessential texts of the emerging domain. The impetus for the book arose from Relph’s doctoral study on the impact of symbolic landscapes of the Canadian Shield on Canadian identity (Seamon & Sowers, 2008). Over the course of his research, Relph encountered many references to the importance of ‘place’ and ‘sense of place,’ but struggled to find tangible definitions of these abstract but critical concepts, so he set out to develop his own. His research focus thus shifted. Concurrently, Relph was looking for an alternative to quantitative and scientific methodologies, which he found in phenomenology, the study of human consciousness, experience and self-awareness (Relph, 1996). Phenomenology aims to examine and clarify everyday human situations, events, meanings and experiences by “seeking out what is obvious but unquestioned and thereby questioning it” (Seamon & Sowers, 2008, p. 43). This philosophical approach provided the perfect model for Relph to investigate the nature and significance of place in daily life.

Progressive questioning (above) Sketch of the thought processes that guided the search for background and context.

According to Relph, place is a multi-faceted phenomenon of human experience, created by individuals’ attitudes, experiences, intentions and circumstances (1976). He breaks place down into three fundamental components: the physical component (natural and built), activities (communal or individual), and human intentions and experiences. These components are linked with and amplified by the character or personality of a place. Some refer to this quality as ‘sense of place.’ For Relph, sense of place is not an extra, a privilege or a luxury. It is a fact of life—a quality which makes us human (Relph, 1976).

The concept of place is naturally linked with the creation of identities. Places have identities of their own and they also inform the identities of individuals. Relph describes this difference as “identity of” place and “identity with” place (1976, p. 45). Identity of place is described by Relph as “the persistent sameness and unity which allows that thing to be differentiated from others” (1976, p. 47) and is comprised of three parts: physical setting, activities situations and events, and the individual and group meanings created through people’s experiences and intentions (Seamon & Sowers, 2008). Identities established with place are those relationships that grow out of prolonged experience in a particular place by an individual or group. The way in which we identify with a particular place is, according to Relph, an articulation of the degree to which we experience that place as an outsider or as an insider. This is not a simple matter of recognizing the physical boundaries of an inside that is distinct from an outside (for example, the walls of a building or the sign that marks the city limits), but instead it is about the degree to which we feel a sense of belonging and are able to identify ourselves with a particular place. The more inside a place we feel, the stronger our identity with that place (Relph, 1976). When a person feels separate or alienated from place, they are experiencing what Relph describes as outsideness. For example, we experience outsideness when we feel homesick upon arriving in a new place. It is important to note that feelings of insideness and outsideness are not mutually exclusive; both can occur simultaneously and at varying degrees (Seamon & Sowers, 2008). In Place and Placelessness, Relph outlines seven degrees of insideness and outsideness, reflecting varying levels of engagement, experience and meaning. Relph calls the strongest level of insideness “existential insideness,” referring to an experience of place that is wholly unselfconscious and without reflection but still imbued with deep and significant meaning. This is the type of insideness one might feel in a hometown, where one knows the place, its people and customs inherently (Relph, 1976).

If one experiences insideness, they begin to develop an authentic sense of place, which Relph describes as: [A] direct and genuine experience of the entire complex of the identity of places—not mediated and distorted through a series of quite arbitrary social and intellectual fashions about how that experience should be, nor following stereotyped conventions (1976, p. 64). On the other end of Relph’s spectrum, existential outsideness occurs when an individual feels deeply out of place and experiences a profound sense of not belonging: an alienation from people and places and a sense of the unreality of the world. When an individual experiences existential outsideness, places all assume the same homogenous identity and are no longer centres of existence, but at best superficial backgrounds to activities and at worst meaningless voids (Relph, 1976). This phenomenon of disconnection from place is examined in the contemporary study of ecopsychology, which asserts that “a cultural sense of separateness from place has led to destructive actions and practices in both the human and more-than-human world” (le Roux Ohm, 2013, p. 3). According to Relph, existential outsideness arises out of inauthentic and superficial connections to place and leads to placelessness. Design that either is a result of or results in placelessness tends to be “single-purpose, functionally efficient, often in a style independent of the physical setting, reflecting mass values and contrived fashions” (Relph, 1976, p. 78). Relph views placelessness as the end result of a rootless consumer society of mass values, mass media and mass culture and attributes its rise to an increase in mobility, kitsch and tourism (Cresswell, 2004). Relph asserts that more authentic, sustainable design, one that connects deeply with its unique local surroundings thus preventing placelessness, accounts for authentic and holistic connections between people, nature and the built environment (le Roux Ohm, 2013).

PLACE AS PROCESS

“This is an era...when things are speeding up and spreading out. Capital is going through a new phase of internationalization, especially in its financial parts. More people travel more frequently and for longer distances. Your clothes have probably been made in a range of countries from Latin America to South East Asia. Dinner consists of food shipped in from all over the world.” Doreen Massey, 1994, p. 146

Relph’s interpretation of place, and that of other humanist geographers like him, revolves around concepts of boundaries, rootedness and authenticity. However, not all geographers conceive of place in such a polarizing way and not everyone accepts globalization as a threatening harbinger of placelessness. Doreen Massey presents place as a much more fluid and shifting concept. Her definition of place is less about stasis, permanence and boundaries, where you are either an outsider or an insider, and more about the flow of people, objects and meanings through place (Cresswell, 2004, p. 40). Where Relph believed that places were being threatened by an ominous wave of global homogenization, Massey begins her definition of place with the understanding that globalization is now an accepted characteristic of our world. The contemporary reality of virtual connectivity, rapid technological advancement, diversity and geographic and social mobility makes it more challenging for places to be independent of one another (Seamon & Sowers, 2008) but for Massey, that does not necessarily mean that places are being threatened, eroded or overwhelmed by placelessness. In Massey’s view of place, it becomes apparent that Relph’s hierarchy of insideness and outsideness does not account for the impacts that mobility and connectivity have on the creation of place. In a world where lines between cultures, countries and origin are blurred by the fluidity of people, products, capital and culture, the meaning and definition of place must be one that can accommodate for this, rather than defend against it. In “Global Sense of Place,” Massey presents an alternative, more optimistic and less divisive model of place which begins with these questions: “How, in the face of all this movement and intermixing, can we retain any sense of a local place and its peculiarity? ... Is it not possible for a sense of place to be progressive; not self-enclosing and defensive but outward looking?” (Massey, 1994, p. 146).

In many ways, these questions mirror the starting point that Nicolas Bourriaud adopted for Altermodern, the exhibition he curated for the fourth Tate Triennial in 2009. Like Massey, Bourriaud insists that we are entering a new period of modernity, characterized by globalization, mass culture and mobility. In the manifesto that was published alongside the exhibition, Bourriaud writes “Increased communication, travel and migration are affecting the way we live...Multiculturalism and identity is being overtaken by creolisation: artists are now starting from a globalized state of culture” (Bourriaud, 2009). Altermodern also shared sentiments with Relph’s model of place—namely an anxiety over a pervasive placelessness. Bourriaud argues that the emerging globalized perception calls for new types of representation and new tools to resist “the twofold threat of uniformity and mass culture” (Bourriaud, 2009). In this new modernity, one of globalization and mobility, the concept of place has not evaporated, since, as asserted by Relph and others, place is a necessary component of the human condition, but the way in which place identities are formed has changed drastically. Author Lucy Lippard has reflected on how place and mobility can and do coexist in today’s reality: Most of us move around a lot, but when we move we often come into contact with those who haven’t moved around, or have come from different places. This should give us a better understanding of difference (though it will always be impossible to understand everything about difference). Each time we enter a new place, we become one of the ingredients of an existing hybridity, which is really what all ‘local places’ consist of (cited in Cresswell, 2004, p. 49). Massey argues that the assumption that this increased mobility and connectivity is an anxiety-producing evil to be resisted at all costs is a product of seeing global processes purely in terms of capital. In “Global Sense of Place,” she questions the factors that

determine our degrees of mobility and influence the sense we have of place and time. In addition to capital, she argues that there are factors like race and gender at play (Massey, 1994). Pitting the permanence of place against the fluidity of the global economy makes the argument too black and white and threatens to diminish the subtleties of peopleâ&#x20AC;&#x2122;s mobile experience. Mobility is not only a privilegeâ&#x20AC;&#x201D;some people move at will, others move out of necessity or fear, while others are forced to stay still. For example, consider the businessman from Tokyo, travelling for work, who finds himself in an upscale hotel in New York. The woman cleaning his room is from the Philippines. Both are mobile, but in very different ways and for very different reasons (Cresswell, 2004, p. 71). For both of them, however, mobility is a critical influence on the way that they experience place. Today, mobility and identities of and with place have come together in a way that Relph deemed unlikely. However, due to its hybrid nature as the product of experience, is it not surprising that place can incorporate, embody or reflect the changing identities of a society that is more mobile and connected than ever before? We are all still deeply reliant on connections to place; it might even be argued that increased mobility has meant that our identity of and with place is more strongly crystallized by a variety of experiences. The polarizing tendency of Relph, pitting place against placelessness, authenticity against inauthenticity, insideness versus outsideness, rootedness versus mobility, and the local versus the global, makes it difficult to interpret the subtleties of place-based connections today, which continue to shift and change as our world continues to change. Relphâ&#x20AC;&#x2122;s model leaves little room for the benefits of increased communication and mobility (such as facilitated and shared understanding, tolerance, acceptance of difference and global aid) and the perils of extreme place-based identities (xenophobia, for example) (Relph, 1996). Relph addressed these criticisms in a 1996 paper that he wrote celebrating the twentieth anniversary of the publication of Place and Placelessness. In it, he acknowledges 15

that when he first wrote the book, the greatest threat to place identity was imposed uniformity but today geographic homogenization is widely accepted and nearly inescapable. In addition, the same corporations that once promoted placelessness are now beginning to recognize that distinct place identities can be good for business: by connecting with sense of place, realtors can sell houses, marketers can sell products, travel agents can sell holidays (Relph, 1996). This presents a new problem where sense of place is being distorted, exploited, flattened and commodified, harkening back to the perils of inter-place competition. In addition, challenges that thirty years ago may have been considered localized problems are now increasingly understood as global ones, such as climate change, poverty, ethnic conflicts, terrorism and unemployment associated with the world economy. Relph warns that advocating too strongly for identities that are adamantly place-based and a sweeping defence against globalization could make the universal cooperation that will be necessary to address these pervasive problems more difficult. He writes “efforts to confront these problems by acting locally are necessarily fragmented and weak; they also have the appearance of furthering narrow self-interests. On the other hand, policies and practices that are not based in specific actions in particular places are likely to be ideologically oppressive, undemocratic, imposed and placeless” (Relph, 1996, p. 3). In critiquing his own work, Relph presents the paradox that place identities now face: the advantages of a mobile and connected society need to be leveraged alongside the benefits of deep and meaningful connections to place. Proposals are needed for sustainable ways of living that recognize the power of place to unite and connect rather than alienate and divide. Relph suggests that the first step may be “the act of imagination that enables us to relate the immediacies of our lives in particular places to larger environmental and social issues” (Relph, 1996, p. 4). It is this challenge that this thesis project takes up.

CONTEXT

PLACE AND COMMUNITY As discussed, an authentic and meaningful sense of place arises from the experience and appreciation of a placeâ&#x20AC;&#x2122;s complex and competing narratives, qualities and realities, while an inauthentic sense of place is the result of superficial or forced experiences in places that lack diversity, depth and a connection to local conditions (Relph). As landscapes become standardized and systems for mass communication continue to reduce the need for face-to-face contact, thus freeing individuals from geographical constraints, one consequence is that the significance of place-based communities are challenged. In the study of place and the identities that are formed out of it, the term community is often used in reference to place-based identity groups. In many ways, this terminology can be problematic because, on one hand, it does not account for communities that exist regardless of place (for instance, religious or political communities). On the other hand, equating the word community with place-based identity groups overlooks the fact that places are rarely ever home to a single community (Cresswell, 2004, p. 68) and the fact that individuals inhabiting the same area does not mean they will have the same sense of place, nor does it guarantee the formation of a community. In defining a place-based community, there is a danger of prescribing a potentially inauthentic sense of place to the individuals inhabiting it. This makes it critical to understand and recognize the relationship between place and community. As discussed in the previous section, place is a multi-faceted phenomenon and can articulate itself in very different ways to the many individuals that inhabit any given place. For example, the sense of place for an immigrant is going to be different than the sense of place for a woman, which will be different than the sense of place for a senior citizen. Because of this, places are often home to many small communitiesâ&#x20AC;&#x201D;networks of individuals who not only share the same physical location, but also have similar interests,

challenges and experiences. In this way, it is apparent that unequivocally equating place with community threatens to undermine the inherently personal and unique way that individuals connect with place and engage with community. However, place and community do share many things in common. When Relph describes identities with places, explaining that they are relationships that grow out of a prolonged experience in and with a particular place by and individual or group (Relph, p. 45), in many ways he is describing one type of community: those that are formed by a group of individuals that inhabit the same place. It is this definition of community that will be adopted for the purpose of this research.

A RURAL SENSE OF PLACE Because the conditions and contexts that contribute to sense of place are highly placespecific, it became apparent early in the design process that a context was needed in order to imagine what a design intervention in the creation of place-based identities might look like. Similarly, because designing for a specific place requires a comprehensive and multi-layered understanding, ranging from extensive personal experience to a theoretical and statistical perspective, it was important that the chosen context be one that was both familiar and prominent enough that sufficient documentation and statistical information was accessible for study. As a result, early in the research process, the focus was narrowed to rural communities in Canada. This context was further honed to focus mainly on those rural communities in Canada that were geographically widespread, sparsely populated, impacted by a fluctuating population (largely due to a seasonal economy) and facing a changing economy.

Consequently, due to personal experience, a perspective that was broadened by international experience and the existence of a wide range of statistical information, Muskoka, a medium-sized rural district in Central Ontario, was selected as the context for exploring how design might help to facilitate and foster meaningful connections to place.

CASE STUDY: MUSKOKA

Map of Muskoka (above) The district includes the towns of Gravenhurst, Bracebridge and Huntsville. Map data: Google, 2014

Muskoka is a district municipality in Central Ontario that encompasses the towns of Huntsville, Bracebridge and Gravenhurst as well as the townships of Georgian Bay, Muskoka Lakes and Lake of Bays. It is a geographically large district at approximately 3,816 km² , bordered by Parry Sound, Haliburton, Simcoe County, Kawartha Lakes and Algonquin Park (Shyllit & Spencer, 2011) . The area is often described as “cottage country”—being a short two and a half hours north of Toronto, it is the summer home of some of the country’s wealthiest, evidenced by the palatial cottages and world class resorts that dot the shores of Muskoka’s hundreds of freshwater lakes and rivers. The cost of properties alone in prime waterfront locations can be in the millions (Lee, 2005). The story that is told about Muskoka is often one of world class resorts, outdoor adventure and relaxing evenings on the dock. It is heavily marketed as a prime tourist destination and consequently has a population that more than doubles in the summer tourist season. But there is another story of place being told beneath the surface by many of the region’s permanent residents. Muskoka’s median family income of its permanent population is $61,159 which is twelve per cent below the provincial average. Forty per cent of the permanent households in Muskoka earn less than $30,000 annually (PROMPT Facts Sheet, n.d.).

Historically, the towns and villages were founded to support a logging industry, but today forestry represents a mere two per cent of jobs in Muskoka. The service industry is now the main economic driver of the district, with fifty-seven per cent of Muskokaâ&#x20AC;&#x2122;s residents employed in 2008 in service related jobs meeting the needs of tourists and seasonal residents (Shyllit & Spencer, 2011, p. 25). Because of the seasonal nature of the tourism industry, unemployment is a major issue for the people of Muskoka. In Gravenhurst, more than half of all people who reported income in 2005 did not have full-time, year round employment (Statistics Canada, 2007). The discrepancies in these very different stories of place present a challenge to the many people who live, work and play in Muskoka. It is clear that the area is home to a variety of narratives, many that stand at odds with one another. Opportunities are needed, therefore, to generate a more inclusive, more accessible and more authentic story of placeâ&#x20AC;&#x201D;one that can accommodate a multitude of narratives. This was the context out of which this design proposal arose.

III: REVIEW & SYNTHESIZE Reflect on the information gathered, review existing and related literature and look for ways to connect it with practice. Allow time to digest and thoroughly consider the problem from all angles. Collate and sort the data, with the aim of further honing, defining or limiting the problem. Identify, weigh and discard irrelevant data. Determine and articulate main research question(s), subordinate questions, variables, a possible hypothesis and research methods.

OUTLINE OF INQUIRY

METHODOLOGY Over the course of its development, design research has struggled to identify a methodology that fits perfectly with the nature of the discipline. While both science and the humanities had their approaches, rooted in a long academic history, design was a newer discipline that emerged not out of academia but as a trade (Swann, 2002). For a long time, the scientific and objective approach to research was taken to be the golden standard for design to follow. Once it was understood that the rigid scientific model did not quite fit designâ&#x20AC;&#x2122;s affinity for experience and emotion, design researchers looked to the social sciences for an alternative way to conduct research that was based in human behaviour and interactions (Swann, 2002). Most recently, design researchers have arrived at the understanding that design doesnâ&#x20AC;&#x2122;t fit perfectly in either discipline. Although it may draw on either or both at different times during the design process, the practice also has its own distinct characteristics, patterns and approaches that could benefit both the sciences and humanities. In addition, if design research is to enjoy the same prestige in the academic arena as the sciences and humanities, it must be able to articulate itself and its methods in the same depth and breadth as the other disciplines (Cross, 2006). In an effort to address this challenge, this research project utilizes a research methodology rooted in the design process that draws on the social sciencesâ&#x20AC;&#x2122; tradition of action research.

SCIENCE a study of the natural world methods controlled experiment, classification, analysis values objectivity, rationality, neutrality, concern for ‘truth’

HUMANITIES a study of human experience methods analogy, metaphor, evaluation values subjectivity, imagination, commitment, concern for ‘justice’

DESIGN a study of the artificial world methods modelling, pattern-formation, synthesis values practicality, ingenuity, empathy, concern for ‘appropriateness’

In his book Designerly Ways of Knowing, Nigel Cross attempts to clarify exactly what design research is by comparing and contrasting the discipline with science and the humanities. But design does not fit neatly into antithetical comparisons. Polarizing approaches have a tendency to flatten rather than augment the possibilities within each discipline. In addition, this compare-and-contrast model does not account for design’s interdisciplinary potential. Due to its dynamic and hybrid nature, design is currently experiencing a proliferation across disciplines, defying any rigid definitions. It is being recognized by those within and outside of the discipline that design skills can be useful in almost any creative production (Bremner & Rodgers, 2013). Because of the potential design research has to offer those outside and within the discipline, a clearly articulated methodology is therefore necessary in order to unite those who adopt this dynamic and interdisciplinary approach. The foundation for this methodology lies in the design process itself. Design research lives in an iterative world of thinking, saying, doing and making (Sanders & Stappers, 2008): exploring solutions by trying them out and testing them. The process involves a certain amount of intuition, imagination, inspiration and holistic thinking, which is difficult to articulate in quantitative terms and has been a criticism of design research, contributing to the mystique of “creative genius” (Swann, 2002) and positioning design as counter to quantitative scientific inquiry. However, this capacity for creativity, ingenuity and intuition is one of design’s greatest attributes. It just makes it all the more important to develop a methodology that embodies the iterative and interpretive nature of design (Swann, 2002).

Isolated disciplines (above) A visualization of Cross's delineations between disciplines (2006, p. 2)

THE WORLD (natural world + human experience + artificial world)

SCIENCE

RESEARCH METHODS analogy, metaphor, evaluation, controlled experiment, classification, analysis, modelling, pattern-formation, synthesis

DESIGN

VALUES HUMANITIES

subjectivity, imagination, commitment, concern for justice, objectivity, rationality, neutrality, concern for truth, practicality, ingenuity, empathy, concern for appropriateness

Although there was a time when designers sought to couch their work in the objectivity, universalism, logic and controlled experimentation of the sciences, namely in the 1920s and later in the 1960s (Bremner & Rodgers, 2013), it is now accepted that the scientific model is too problem-focused for design, which tends to focus more on solutions. While science looks for puzzles that can be solved through rigorous and exhaustive analysis, design tends towards the ill-defined or indeterminate challenge—those issues that do not necessarily have a correct answer, but instead a number of possible solutions (Cross, 2006). The social sciences have presented alternative ways of conducting research that embrace this uncertainty and multiplicity of solutions and seem to capture the interpretive nature of research that is based on observing human behaviour rather than quantifiable facts and certainties (Swann, 2002). This design research project uses a methodology that draws on action research, a tradition of the social sciences. As Cal Swann outlines in his paper “Action Research and the Practice of Design,” the traditional model of research that is based on a hypothesis still applies, where the hypothesis is tested through a design proposition and the knowledge outcome is contained within the visual form (and accompanied by written explanation) (2002). In order for the action research methodology to apply, there are typically three conditions that must be met: the subject matter centres around a social practice; it is a participatory activity where the researchers work in equitable collaboration; and finally, the project is iterative. In this methodology, progress is made through four phases: planning, action, observation and reflection (Swann, 2002).

Interdisciplinarity (far left) A visualization of an alternative argument to Cross's, from a design research perspective

While action research presents a viable model for design, there are several points where design is challenged to fit within these constraints. Although many have argued that design research is moving towards collaborative work which brings users, consumers and the public into the design process at the ground level and there are many successful examples of this type of research, achieving “equitable collaboration”

remains challenging, which Swann acknowledges. He writes, “[a]uthentic collaboration in research is more than just a multi-disciplinary design team approach. The users of design should be genuine ‘collaborators,’ and not merely co-opted for token comments in an illusion of collaboration” (2002, p. 57). However, some examples of action research methodology applied to design research outline a process of collecting information about users’ behaviours, beliefs, affinities and aversions, drawing conclusions from that data, and then designing, testing and perfecting a solution. Although this process may be grounded in a deep dialogue with the user, design research has a way to go before it reaches the level of equitable collaboration possible in action research (Swann, 2002). In Designerly Ways of Knowing, Cross presents several characteristics of good design research. These characteristics are more open and flexible and are well suited to this project. Consequently, they were adopted as the necessary conditions for this research methodology, in place of the conditions of action research that Swann outlines. Characteristics of design research (right) A visualization of Cross's characteristics of good design research (2006, p. 102)

In conclusion, if design research hopes to continue to grow as a viable and impactful mode of inquiry, a well-articulated and sound methodology that can be employed, tested and articulated must be adopted. This is not in an effort to satisfy those who criticize design research for lacking clarity and depth, or to further isolate the discipline in contrast to others. Having a coherent and explicitly communicated methodology will only enhance the power of the discipline to conduct research alongside the sciences and humanities in a way that contributes to the overall understanding of the possibilities of academic research. Action research has a lot to offer design researchers on their quest for an appropriate methodology. In that effort, this project utilizes a methodology that adapts and adopts from action research and Cross’s characteristics of good design research, while remaining rooted in the design process.

purposive based on identification of an issue or problem that is worthy and capable of investigation

inquisitive seeking to acquire new knowledge

informed DESIGN RESEARCH SHOULD BE

conducted from an awareness of previous related research

methodical planned and carried out in a disciplined manner

communicable generating and reporting results which are testable and accessible

VISUALIZING THE DESIGN PROCESS

DESIGN PROCESS DIAGRAM, ITERATION 1 Many perceive the design process as an ambiguous mix of intuition, inspiration and insight: a process that is impossible to pin down and describe by quantitative means. This isn’t entirely off the mark, as being a successful practitioner of the design process does hinge on a certain amount of “intuition, inspired guesswork and holistic thinking” (Swann, p. 51). But the design process is also an interpretive and repeatable process that allows researchers to address complex problems through a process of critical thinking, reflection and analysis. In order for the practice of design to be seen as a legitimate way of not only producing objects, but of formulating, synthesizing and transferring knowledge, the underlying research methodology must be articulated clearly. In an effort to articulate the research methodology that will underlie this project, one based in the design process and adopting and adapting from action research methodology, a diagram was required that visualizes the various stages of this methodology. Two versions of the diagram have been included, reflecting the iterative nature of the design process. The first iteration conceptualized the design process as a machine or implement through which ideas are passed. As the ideas progress through the machine toward the point of final delivery, they shift, grow, transform or are cast out.

“The important point is that visual form is a form of knowledge. It is a means of encapsulating ideas and, indeed, some ideas are expressed more powerfully through the visual medium than via any other form of communication.” Swann, 2002, p. 52

Design Research Methodology

Identify Need

Interpret

Determine problems, context, situation, ambiguities

Weigh options, define the problem, articulate approach

PLAN

Analyse

Invent

Understand, reflect on background, identify intentions, audience, possibilities

Search, collect, explore, experiment, model, mock-up, prototype, test

ACT

Digest

Refine

Reflect

Synthesize, compare and contrast, collate, reflect, discard

Re-test, analyse, reflect, reiterate

Analyse, synthesize

Render

Finalize

Conceptualize, sketch, arrange, style

Deliver, implement

OBSERVE

REFLECT

DESIGN PROCESS DIAGRAM, ITERATION 2 The first design process diagram illustrated how the different stages compare to one another in size (duration) and shape (nature). This iteration was meant to visualize the effect each separate stage has on concept development. However, the diagram presented the design process as a linear process and didn’t account for the capacity of the process to flow back and forth between stages, to skip stages or to jump back to the starting point. It was also important that the diagram reflect the whimsical and imaginative nature of the design process and the designer’s important role in it, rather than portray it as an automated, mechanical sequence of events. Because of their ability to represent place-based connections, maps were seen as an appropriate way to visualize the research methodology. With this in mind, a second iteration of the design process diagram was completed, one that used mapping conventions as a metaphor to illustrate the different stages of the process and their relation to one another. The second iteration represents the process as a path through a garden or park. The opportunity to move freely between the stages is apparent in the map, with bridges and footpaths connecting various stages.

“[The design process] is an intuitive process involving search, discovery, recognition, and evaluation ... There are no specific rules or recipes. One might slip through a sequence of actions in seconds, sweat through step by step, start backwards, move

The activity that is implied at each point in the map (sitting at a picnic table, resting on a bench, tending a garden, wandering through a forest, for example) is indicative of the designer’s behaviour during that stage of the design process (collaborating with others, wide-angle reflection, meticulous execution, explorative inquiry and idea generation). The river crossings represent moments of synthesis, which are key to the design process: ideas and progress are gathered, analyzed and evaluated before moving to the next phase. The river roughly separates the four stages of action research methodology, which are reflected in the design process as well: plan (identify, gather, review, synthesize), act (invent, execute), observe (test, analyze) and reflect (evaluate, adjust, implement).

randomly from one point to another or do what surfers call ‘hang ten’–get your toes in the board and ride the crest of the wave.” Alan Fletcher, cited in Swann, 2002, p. 54

DESIGN RESEARCH METHODOLOGY

PLAN

IDENTIFY

Identify the problem, need, ambiguity or dilemma that initiated the process. Determine the general domain of research and the research goal (what the design hopes to improve). Consider the projectâ&#x20AC;&#x2122;s scope, parametres and limitations to make sure itâ&#x20AC;&#x2122;s manageable.

GATHER

Commence preliminary information gathering, with the goal of gauging perceptions and assumptions surrounding the research. Reflect on the context, history and personal beliefs to gain a better understanding of the problem in a wider context.

REVIEW

Reflect on the qualitative information gathered and review existing and related literature, looking for ways to connect it with practice. Allow time to digest and thoroughly consider the problem from all angles.

SYNTHESIZE Collate and sort the data, with the aim of further honing,

defining or limiting the scope. Identify, weigh and discard irrelevant data. Determine and articulate main research question(s), subordinate questions, variables, (possibly) a hypothesis and research methods.

ACT

OBSERVE

REFLECT

INVENT

Implement the research plan: collect data, experiment, sketch, model, play, explore and engage deeply with the problem and the data.

EXECUTE

Develop or prototype proposed solution. Arrange, style and render it in a form that can be implemented and tested.

TEST

Reflect on design choices and proposed solution in light of all data and information collected. Measure the effectiveness of proposed solution using previously determined strategies and methods.

ANALYZE

Collate, reflect on, interpret and articulate results.

EVALUATE

Share results, interpretation and analysis. Discuss, critique and gather feedback.

ADJUST

Synthesize, interpret and implement feedback. Refine, tweak or rethink proposed solution accordingly.

IMPLEMENT

Once the solution has been achieved, it is finalized and implemented. Reflection is integral at this stage and may reveal new problems, alternative solutions or gaps in the proposed solution, which may re-initiate the process.

PLAN, ACT, OBSERVE, REFLECT: ACTION RESEARCH MEETS DESIGN In his paper “Action Research and the Practice of Design,” Swann outlines how the conditions and process of action research reflects and might inform the design research process. One condition of action research that is particularly relevant to design research is that the process cycles through spirals of planning, acting, observing and reflecting (2002, p. 55). Swann summarizes this cyclical approach by quoting Ortrun Zuber-Skerritt, an author on action research. She presents this explanation: The plan includes problem analysis and a strategic plan; action refers to the implementation of the strategic plan; observation includes an evaluation of the action by appropriate methods and techniques; and reflection means reflecting on the result of the evaluation and on the whole action and research process, which may lead to the identification of a new problem or problems and hence a new cycle of planning acting, observing and reflecting (cited in Swann, 2002, p. 55). Although the diagram of the design process on the preceding pages implies that this cycle begins with planning in the early phases of the project and progresses sequentially through acting and observing and concludes with reflecting, this is somewhat misleading. While this progression is often observed in the design process, there are smaller plan-act-observe-reflect cycles that take place in each phase of the design process. In addition, this cycle does not necessarily begin with planning each time—it can be initiated at the acting, observing or reflecting stage just as easily. At various stages throughout the remainder of this project the plan-act-observe-reflect cycle is highlighted where relevant to underscore the cyclical nature of the design process.

ACT

PLAN

OBSERVE

REFLECT

RESEARCH METHODS

The methods employed over the duration of this research project can be divided into three categories: visualization, probing and study.

VISUALIZATION Visualization methods included those undertaken by the researcher during independent study and those completed by participants in research activities. Early in the design process, visual brainstorming and diagramming were integral and helped drive the progression of the research and narrow the research question. Visualization methods also included the making of artifacts, models and prototypes. Artifact-making served an important role in the early stages of this project, specifically in the identification of design opportunities within the broader, theoretical framework of place creation. Although it is often assumed that the creation of artifacts is a final outcome, artifacts also serve as “a method of collecting and preserving information and understanding” (Mäkelä, 2007, p. 1), as was the case in this project. Modelling and prototyping techniques were used as the design proposal was developed. These methods aided in making the proposal tangible and were integral in the testing phase, helping to identify problems and weaknesses of the prototype.

PROBING Probing methods were used to gather and analyze the perceptions and behaviours of individuals around place and community. This was critical in the early stages of the project when the research question was being honed and refined and then later during the testing and refining of the prototype. In the early stages of this project, interviewing and observation methods were employed to gather general data about how individuals identify, interact, respond and defend important place concepts such as community, neighbourhood and municipality.

STUDY An in-depth study of the state of place-based connections (historically, presently and any speculation as to what they might look like in the future) was integral to the early stages of the project. A study of the existing sources, authors and practitioners working in the areas of theory around place and community development was completed on an ongoing basis during all stages of the project. This was very helpful in identifying problems and design opportunities and informed the progression and trajectory of the research. The results of the literary, media and contextual reviews are embedded in the final bibliography. The results of several significant explorations in each method category are detailed on the following pages.

idea mapping

diagramming & sketching artifacts

visual brainstorming

visual analysis

models

graphic modelling

charting prototyping

VISUALIZE deep observation

deep readings literary review

STUDY

PROBE

media review

storytelling list making

clipping collections

reflective journaling

photography

contextual review

interviews

questionnaires & surveys

guided narration scenario testing

prototype testing

VISUALIZATION: ARTIFACTS Early in this project, artifacts were created as a way of exploring, generating, capturing and communicating knowledge about the phenomenon of place creation. These artifacts examined how sense of place is realized by individuals. They rested on an understanding that individualsâ&#x20AC;&#x2122; ability to connect and identify deeply with the place they are in is a product of lived experience. That connection can vary from very weak to very strong, depending on the qualities of the particular place and the experiences of the individual. These ideas formed the basis of understanding for the first three artifacts.

ARTIFACT I: MINDMAP This artifact examined the question: what does place mean? It broke that question down into subcategories of identity, location, story, experience and history. In this context, place was examined as something that is created by individuals through their lived experience. Out of the creation of this artifact came the realization that there are three main components to how place is created: the scaffold, the context and the interaction of individuals. These three components are structured differently in environments where the concept of place is structured or prescribed than in environments where the sense of place rises organically out of context and experience. In reflecting on this, it became clear that all three components are inter-related and codependent and any design intervention in the creation of place must interact with at least one of these components. That intervention will in turn affect the other two components. This artifact and the concepts it revealed about the creation of place were investigated further in the second and third artifacts.

ARTIFACT II: STRUCTURED PLACE This artifact explored the creation of place in environments where the scaffold is preexisting, structured or prescribed, such as in a public square, streets, parks, buildings like libraries and schools. Any place that has a constructed framework which determines the context and interactions that take place there can be considered a structured place. In this model, the scaffold or existing infrastructure is represented by the wooden dowels. The infrastructure is rigid and relatively inflexible. It was the first element to be constructed. The white thread wrapped around the joints of the scaffold indicates its quality of construction: because the sense of place is prescribed in this type of environment, the connections between segments is precarious and needs extra support. In this instance, the connections are lashed together, giving the impression that without extra support, they would not be stable. The coloured threads represent the web of interactions of individuals with one another and with the scaffold. This web is comprised of individualsâ&#x20AC;&#x2122; intentions (yellow thread), actions (orange thread) and experience (red thread). During the construction of the model, the tension from the threads warped the shape of the scaffold. This illustrates the power of human interactions to determine the shape and structure of places, even in environments when that structure is predetermined and apparently rigid. 45

Together, the scaffold and the interactions support the marble, which represents (in both this model and the following one) a strong and authentic sense of place. If you put pressure on the scaffold or tamper with the interactions, the authenticity of sense of place is lost. Once the marble falls out, it is very difficult to replace: the balance of tension and slack between the threads and the scaffold is precarious, as is authentic sense of place. In structured environments, one tiny change can mean that authentic sense of place is lost. In this model, context is less importantâ&#x20AC;&#x201D;it is the scaffold that determines the nature of the interactions. This model illuminated several things about environments where the creation of place is structured and rigid. It demanded an exploration of the opposite in the next model: environments where the creation of place is organic, rising up from naturally occurring interactions and a serendipitous context.

ARTIFACT III: ORGANIC PLACE This artifact explored the creation of place in environments where the scaffold is not predetermined or prescribed; instead it forms organically around natural interactions and a serendipitous context. In this model, the first element that was created was the web of interactions. This was formed around a mould, which was later removed. In this model, the mould could represent the context which determined the shape of the interactions. In real life, this context would be anything that inspired interaction between individuals and their environment at a certain point in time, such as a festival or an unplanned occurrence. The interactions alone (and not the scaffold) support the marble (a strong and authentic sense of place) and the scaffold is built after, around and based on the natural shape of the interactions. 46

This model is more dynamic than the model of structured place. When you move it around, the interactions do engage with the scaffold: the ball bounces off of the scaffold and falls within it at times. This reaction illustrates the nature of organic place: it does not depend on infrastructure for its form, but does respond to the infrastructure in a way that is more enjoyable and whimsical than in the first model. The marble is not fixed; it is dynamic. If you put pressure on the structure, the interactions and sense of place are less affected. However, even in organic places, sense of place is always fragile and it can be lost. There are holes in the web of interactions that are big enough to let the marble fall through. However, in this model and in organic places, it is much easier to reestablish sense of place, because the web of interactions is woven more tightly and is therefore less precarious, providing more room for a dynamic and fluid sense of place.

ARTIFACTS IV - VI The first three artifacts investigated how place is created by individuals and what qualities of place allow for the realization of strong and authentic place-based identities. The subsequent three artifacts built on this understanding by looking for opportunities where design can intervene in the construction of place to allow for these deep connections with place to occur more often. In order to identify those opportunities, it was important to explore place as a multifaceted phenomenon of experience, a concept raised in Edward Relphâ&#x20AC;&#x2122;s book Place and Placelessness.

ARTIFACT IV: MINDMAP This artifact expanded on and explored the process through which place is created. It examined place as a phenomenon of experience and asked the questions: how do we determine which places are authentic and which are inauthentic? How do we identify with place? What affects the levels of insideness and outsideness that we experience in different places? The mindmap was based on readings from Edward Relphâ&#x20AC;&#x2122;s book Place and Placelessness (1976). The most important realization that arose out of the creation of this artifact was the understanding that all places are individually interpreted and experienced. We form our identities (both collectively and individually) based our experience, intentions and actions. Place is merely an articulation of these individual and group identities. This concept was explored in subsequent artifacts.

ARTIFACT V: THE LENS OF PLACE This artifact examined how place is experienced and constructed by an individual. We each see place through our own unique lens. In this model, the larger cube made out of wooden dowels continues to represent the infrastructure, and the smaller square is the lens through which an individual constructs place. The threads continue to represent interactions, but this time itâ&#x20AC;&#x2122;s more personal: it is our own intentions (yellow), experiences (red), attitudes (orange) and circumstances (green) that inform our experience of place, rather than those of others. Through constructing this artifact, several opportunities for design became apparent. Design can engage with the construction of place at the level of the individual. Making individuals aware of the lens through which they come to understand place and perhaps altering or shaping that lens presents several design possibilities. There are also design opportunities in the construction of the infrastructure. This could include altering, modifying, building on or deconstructing existing infrastructure or creating new infrastructure to support the creation of authentic and meaningful connections to place. Understanding that place is the result of an existing infrastructure and individualsâ&#x20AC;&#x2122; interactions with it presents several opportunities for design to engage with or subvert sense of place. Through the creation of this model came the realization that in almost all of the places we find ourselves, especially in an urban environment, the infrastructure is preexisting or prescribed. Very rarely is there an opportunity to create new places from the ground up. That begs the question: what can design do with places that are preexisting? Can preexisting places be authentified? How do we create a sense of place in environments that lack it? This line of questioning led to the creation of the final artifact.

ARTIFACT VI: AUTHENTIFICATION This final artifact explored how individuals can take places that have a homogenous preexisting structure, which is often the case in urban environments, and create authentic and meaningful places by living in them. A clear example of this can be found in large apartment buildings: how do the residents of each unit make their apartment, which is structured in the same way as dozens of others around it, their place? In Place and Placelessness (1976), Relph explores how the personalization of property can create an authentic sense of place. In this model, the wooden dowels continued to represent existing infrastructure. The paper on one side illustrated how that infrastructure can appear from one perspective to be homogenous, placeless and inauthentic, but from another angle we can see that the homogenous space is made up of smaller, more authentic places. Each place is slightly different from the next because place is constructed by individuals through their unique lens of experience, attitude, intention and circumstance (from artifact five). This represents a model for how design can address the prevailing challenge of inauthentic place (Edward Relph describes this as placelessness), which is particularly prevalent in todayâ&#x20AC;&#x2122;s hyper-connected environment. The artifact raises the question: how can design help to create meaningful and authentic connections to place, thus eradicating placelessness? Overall, the making of these artifacts helped to illuminate how place is created and to identify the different ways in which design can intervene and engage with those ideas.

Duncan Street Yard Sale (right) Photos and notes taken during the Neighbourhood Yard Sale, an annual event presented by Placemaking Halifax that took place on June 15, 2013 on Duncan, Lawrence and Allan Streets in Halifax, Nova Scotia.

PROBING METHODS Probing methods used in the early stages of the project included informal interviews and deep observation exercises. On one occasion, for example, a community event was attended during which notes were taken, casual conversations and interviews conducted and photos captured in an effort to understand what impact the event had on the community as a whole. Photos and a portion of the notes taken during the event have been included to illustrate the broad-level ideas that were generated as a result. As the project progressed, it became apparent that several of the probing methods that were identified as potentially useful early on were not suitable to this project. Before the concept for the design was identified, it was difficult to anticipate the type of quantitative data that might be needed. Later, it became evident that more targeted and specific probing techniques such as surveys and questionnaires would not be applicable to this project.

Probing methods presented a way to better understand, on a very basic level, how individuals interact and perceive place.

However, once the project enters the prototyping and testing phase of the design process, other probing methods, including user testing, deep observation and interviews, may be used to refine the final design.

LITERARY, MEDIA AND CONTEXTUAL REVIEW The literary, media and contextual review for this project consisted of a survey of important texts related to place and place identities. It also included a survey of relevant links, videos and images that detailed the work of current practitioners investigating this issue across disciplines. Finally, it included attending events, conferences, and exhibitions relevant to this study. One source that impacted the early stages of the research project profoundly was Place and Placelessness by Edward Relph. The theories presented in this book informed early lines of questioning, illuminated other useful sources and provided a foundation for understanding how place is created by individuals and groups. Other significant texts included Space and Place by Yi-Fu Tuan, “A Global Sense of Place” by Doreen Massey and Place: A Short Introduction by Tim Cresswell. The literary, media and contextual review also included relevant local events and exhibitions. One event that was highly influential was “Place and Placelessness in Canada,” a public lecture given by Graeme Wynn, professor at UBC on September 18, 2013 as part of Meeting Places, an international Canadian studies conference at Saint Mary’s University.

Meeting Places (top left) UBC professor Graeme Wynn delivers a keynote address during the Meeting Places Canadian Studies Conference at St. Mary’s University. His talk explored how the theories that underpinned Edward Relph’s Place and Placelessness (1976) translate today. A stack of reading (top right) A number of texts, papers and notes that were collected during the literary, media and contextual review. Reading Relph (bottom left) Notes taken during a close reading of Edward Relph’s Place and Placelessness.

IV: INVENT Implement the research plan: collect data, experiment, sketch, model, play, explore and engage deeply with the problem and the data.

DESIGN CONCEPTS

How might design help to facilitate and foster authentic connections to place in a way that supports strong communities?

Concept presentation 1 (right) Select slides from a presentation made January 7, 2014 that introduced the first round of design concepts (concepts one to five that follow)

Building on the theoretical understanding and contextual perspectives gained in the early stages of the project, the ensuing step in the design process required a drawing down of concepts from the body of research with an increasingly narrow focus. Sketching and diagramming were methods employed in an effort to manifest theory into tangible design concepts that addressed some aspect of the research issue. This process marked the transition between the planning and acting phase of the design process, whereby previous research, explorations and experimentation were reviewed, sorted and synthesized and the research question, subordinate questions, variables and potential hypotheses were further honed and identified. As a result, a series of eleven sequential design concepts were generated that explored a number of aspects of the research question. The quality, depth and level of articulation of the concepts mirrored the nature of the design process, with initial concepts focusing on broader more systemic approaches and later concepts being much more specific and tangible. Periodic peer review and reflection took place between concepts five and six, eight and nine and after concept eleven. As the concepts evolved, the research question also evolved, which is reflected in the questions included at the top of each concept section introduction. What follows is an explanation of each concept and a record of the reflection that took place throughout the process.

Sense of place is a culmination of the way we inhabit, interact, socialize and remember.

An authentic sense of place comes from the experience and appreciation of a place’s complex and competing narratives, qualities and realities.

An inauthentic sense of place arises out of superficial or forced experiences in places that lack diversity, depth and a connection to local conditions.

This phenomenon has been referred to as placelessness. It is becoming increasingly prevalent and its effects can be devastating to a community.

What is needed is a vessel that facilitates and fosters authentic connections to place while realizing the advantages of a connected and mobile society, thus preventing placelessness.

In order to imagine what this vessel might look like in context, I will describe the reality in the rural area that I grew up in Muskoka, Ontario.

The prevailing story of place in Muskoka is one of million-dollar cottages, worldclass resorts and the playground of the rich and famous.

But there are two sides to every story. The average income in Muskoka is among the lowest in Ontario and unemployment, especially in the off-season, is extremely high when compared to other areas.

Our ability to connect with place is a fundamental and inescapable part of our lived experience.

The reality of Muskoka’s year-round population: high rate of unemployment lack of affordable housing lack of/limited public transport lack of cultural diversity youth out-migration

Muskoka’s prevailing story of place does not coincide with the reality faced by many living in the area. What kind of vessel can be designed to help recitfy this discrepency?

It’s important that the vessel: - facilitate connections to place - advocate for the importance of place-based connections - portray an authentic story - generate dialogue - strengthen community - recognize the benefits of being mobile and connected

CONCEPTS 1 TO 5

RURAL SENSE OF PLACE How can design facilitate and foster authentic connections to place in a way

The first five design concepts arose from the research finding that oneâ&#x20AC;&#x2122;s ability to connect with place is a fundamental and inescapable part of their lived experience. The way we inhabit, interact, socialize and identify with place on a day-to-day basis impacts our personal and collective identities. This understanding was explored broadly with the first five design concepts, using Muskoka, Ontario to provide context.

that recognizes local conditions, assets and challenges and capitalizes on the advantages of a mobile and connected society?

DESIGN OBJECTIVES Reflecting on the conditions in Muskoka, the challenges faced by those living in the community and the theoretical underpinnings of the formation of place-based identities, a series of goals were developed for the first set of design concepts. These goals helped in the initial generation of ideas for the concept proposals, in ensuring the proposals remained aligned with the research question through their development and finally the goals aided in the evaluation of the conceptsâ&#x20AC;&#x2122; strengths and shortcomings. The following six goals were used in the development of the first five concepts. Each concept should: - facilitate and foster positive connections to place - raise awareness about the importance and state of place-based connections - portray an authentic and collective story of place, providing an alternative to the prevailing story of place - strengthen community by connecting like-minded individuals - recognize the benefits of a mobile and connected society

Edward Relph, 1976, p. 64

These goals were either met or not met in each of the design proposals. It was determined that those proposals that accomplished the most goals were therefore most successful.

AREAS OF INTERVENTION In addition to the design objectives, four areas for intervention in the creation of placebased identities were identified in earlier stages of the project. These areas informed the first five design concepts, with each concept taking one intervention area as a starting point. For each concept that follows, the area that served as a starting point has been identified as the intervention priority.

Environment interventions focused on the physical surroundings, both built and natural

Interactions interventions focused on the engagement of individuals with one another and with their environment

Perception interventions that prioritize the attitude of individuals about a placeâ&#x20AC;&#x201D; can refer to insiders or outsiders

Context interventions that involve altering the environment at a specific location for a finite duration of time

CONCEPT 1: PLACE-BASED PUBLICATION Premise Strengthening community by uniting permanent residents through a place-based communication platform

A community publication would help to unite and engage a widespread and diverse population in Muskoka by providing a platform for the exchange of ideas, networking and opportunities for collaboration. The publication would provide a collective voice for the creative economy, offering an alternative to the pervading story of place that panders to visitors, tourists and cottagers.

Rationale Muskoka is a vast geographical area with a widespread population. In addition, the area is home to a diverse range of individuals. A challenge faced by those in the area is in meeting and staying connected with one another. There are few outlets for a story of place that is counter to the dominant narrative put forward by tourism operators and organizations. A publication aimed at telling a more collective and authentic story of place would help to rectify this. Common to many urban centres, these types of community publications act as communities in their own right, providing outlets for opinions, creative expression, challenges, questions and networking for their readers. This type of publication could address issues such as transportation in Muskoka by providing a listing for ride shares. It could also include a detailed event listing, making it easier for people to connect and share with one another.

digital

buy and sell

print event listings

profiles and features

ride share

opinion pieces

two- way communication tool

Create a network of like-minded and engaged community members by providing a platform for communication.

Project the collective voice of this pseudo-community in hopes of attracting more like-minded individuals and building a larger and stronger community.

A stronger, more inclusive and accepting community is formed around collective and united place-based identities.

REFLECTION By creating a platform for communication, this proposal introduces the possibility for communication, albeit largely one-way, but it does not necessarily encourage or enable networking or collaboration. Readers would be connected to one another through the publication, rather than connected directly with one another. In addition, generating a collective story of place through a publication is challenging. Due to the reality that these mediums must be produced by an individual or small group, this model will always face challenges in remaining reflective of its entire audience, rather than representing the view of a small group. It would require a large amount of financial support and manpower to get it off the ground. The impact of this proposal would also be limited to those who read the publication and the communication network that it created would be further limited to those who read the publication and engaged with one another through the digital interface. It would be difficult to continue to reach out to new audiences, rather than just relying on a dependable readership, which would contradict the goal of generating an inclusive and collective story of place. The shortcomings of this concept were addressed in concept 2, pursuing the question: what kind of platform could build community more directly, enabling and encouraging interaction, networking and collaboration between individuals, rather than with the platform itself?

DESIGN OBJECTIVES ADDRESSED WITH THIS CONCEPT facilitate and foster positive connections to place promote the importance and state of place-based connections portray an authentic and collective story of place strengthen community by connecting like-minded individuals recognize the benefits of a mobile and connected society

INTERVENTION PRIORITY Environment Interactions Perception Context

CONCEPT 2: CREATIVE HUB Premise Creating a place for like-minded individuals to gather, network, collaborate, create and innovate

Creative professionals working in Muskoka are often challenged by the vast geography to find opportunities to meet one another, network and collaborate. However, the most important factors that contribute to authentic sense of place include the way we inhabit, interact and socialize with one another. A creative hub that included co-working facilities and community common space would build and strengthen community and encourage collaboration rather than isolation and competition.

Rationale One of the biggest impediments to developing an authentic sense of place in rural areas such as Muskoka is the challenge of geographical isolation. In urban environments, people gather to work in the downtown core. This provides the opportunity for new and varied experiences, the chance to meet new people and the feeling of being part of the city. In more remote, rural environments, many people are self-employed and work from home. This can be an isolating experience and can cause people to feel divorced from place. In addition, rural communities often lack neutral venues that provide the opportunity to meet new people who share common interests. Local organizations are challenged to find common space to hold events. A creative hub could provide facilities that would attract like-minded individuals. It could include spaces for events and workshops hosted by local organizations. It could provide the initial contact that sparks cooperation and collaboration, thus strengthening community and generating a more inclusive story of place.

A community hub breeds creativity and innovation by...

initiating and modelling collaboration and cooperation overcoming geographical isolation

providing opportunity to connect with a community of like-minded individuals

addressing lack of shared community space

REFLECTION Being a physical hub that would connect individuals face-to-face, this concept better resolves the challenge of geographical isolation than the first concept. However, this presents challenges in a rural community where convenient and affordable transportation can be scarce. By developing a singular physical hub, the reach of this proposal would be limited to the immediate community in which the hub was located. Any potential solution must serve not only one town, but the wider community to be truly effective. In addition, and like the first concept, this proposal would require a significant amount of financial support, physical infrastructure and personnel. The demands of such a proposal seem to outweigh the potential benefits.

So how could the benefits of this proposal, including increased opportunities for networking and collaboration and the creation of new cultural infrastructure be realized without the construction of a physical building? This question was explored in concept three.

INTERVENTION PRIORITY Environment Interactions Perception Context

CONCEPT 3: YOUTH COLLECTIVE Premise Strengthening sense of place by bringing together a community that is currently disconnected in an effort to prevent youth out-migration, build community and foster connections to place

A youth collective would be formed to help connect young people living in the area. Together the group would plan and host events that were designed by young people for young people. These events would be focused on networking, collaboration, dialogue and innovation, thus building new cultural infrastructure. The group could advocate on behalf of young people in the area on issues such as employment, housing and transportation.

Rationale Muskoka faces a serious problem of youth out-migration, where its young people opt to move to urban areas to pursue their education and career and to seek out cultural experiences. Because the population of this demographic is lower, there are fewer opportunities and events that are geared specifically towards them. This has a detrimental effect on sense of place, as young people feel they cannot identify with the prevailing story of place, which in many ways is geared towards older adults and families. Youth out-migration is the result of limited opportunity for young people to find meaningful employment, a lack of cultural events geared towards that demographic and limited opportunities to meet like-minded individuals. A youth collective could serve not only to create events that would connect youth and attract more youth to the area, but would also provide a collective voice to advocate on behalf of local youth.

dialogue

advocacy

networking collaboration

innovation

cultural infrastructure

REFLECTION This concept targets a very specific group. While this might be effective and necessary to fully support that demographic, it is an approach that would not necessarily work to build community and connections across demographics. Youth out-migration can be seen as a symptom of a weakened sense of place, where support that is necessary not only to retain young people but to ensure that they can lead full and enriching lives in rural areas is lacking. In this way, a more inclusive concept that can support a stronger sense of place across all demographics would also help to prevent youth outmigration. This concept realized some of the benefits of concept two, namely creating opportunity for networking, collaboration and cooperation, without the demands of financial support and physical infrastructure, but it only served a specific demographic. Could the principles of this concept be opened up to include a wider audience, in an effort to build bridges across demographics rather than isolate them? This is the concept that was explored in concept four.

INTERVENTION PRIORITY Environment Interactions Perception Context

CONCEPT 4: PLACE-BASED WORKSHOP Premise Capitalizing on local knowledge and talent, this workshop would connect participants with professionals to develop place-based understanding and identities, new skills and a more collective story of place

This workshop would facilitate connections to place by helping residents better understand the complexities of places and the competing narratives to be found within them. The course would leverage the skills of local professionals and their industry tools, connecting them with participants who could be youth or a mixed demographic. This way, the curriculum would inherently be geared towards the local economic conditions and the course would not only teach participants about their community, but it would also build and enhance community simultaneously.

Rationale This concept would create a hands-on, organized opportunity for individuals to participate in community development and civic engagement. Such opportunities arenâ&#x20AC;&#x2122;t always readily available in rural communities. Although conceptualized to focus on youth, this workshop could also be done with adults or a mixed demographic. It could be done with insiders of a given place (for example, those who have lived there a long time) to help them better understand their own community or newcomers to introduce them to the realities of their new environment or a combination of both. The course could be issue-specific if a community was facing a particular problem that needed addressing or it could be left up to the participants to uncover the issue they wished to address. This workshop would inspire young people to protect places that matter to them and to be critical or wary of place-based identities that are inauthentic or prescribed by outsiders. They would become contributors to an authentic and collective story of place. The workshop would also equip participants with new skills that they could employ in working to make their communities better places.

Participants and mentors together create multimedia tools that can be used in the community to raise awareness of the challenges facing their place-based identities, avoid or resist placelessness and tell a collective story of place

Community and business leaders who can act as mentors in the workshop are identified

Engaged participants work with the mentors and under their guidance conduct research and create proposals for civic participation and community development projects

Their skills and tools inform and influence the curriculum and topics of the workshop

REFLECTION Of the initial five proposals, this one manages to benefit the widest segment of the community. It connects individuals from different industries, ages, geographies and socio-economic classes. It also overcomes some of the challenges of the previous three proposals, such transportation (the workshops could be roving, moving from community to community), potential alienation (this proposal does not focus on particular groups; it takes a more holistic approach than the youth collective) and problems with infrastructure (it capitalizes on existing local knowledge, skills and tools). However, its main focus is on raising awareness, rather than tangible action or development. In order for the workshop to be truly successful, it would need to have equal emphasis on raising awareness of the erosion place-based identities, advocating for their protection and creating tangible, useful community tools that could help avoid placelessness and build and strengthen community.

INTERVENTION PRIORITY Environment Interactions Perception Context

CONCEPT 5: KITCHEN TABLE EVENT SERIES Premise Focusing on sharing skills and strengthening sense of place by bringing community members together at informal workshops around a kitchen table

For permanent residents of seasonal rural communities, the off-season is a particularly difficult time as a large proportion of the population leaves. Since a vibrant social scene is a significant contributor to an authentic sense of place, this makes the winter a particularly difficult time in Muskoka. A series of regularly occurring kitchen-table style events that were focused on networking and sharing skills in an informal setting would help to build community, raise morale and strengthen the story of place in a way that would reflect the experience of permanent residents.

Rationale When people are excited and enthusiastic about whatâ&#x20AC;&#x2122;s going on around them, they feel inherently more connected with place. In the winter months in Canadaâ&#x20AC;&#x2122;s rural communities, this feeling of connectivity with oneâ&#x20AC;&#x2122;s surroundings and community members can elusive. An ongoing event series focused on creating opportunity for collaboration, networking and skill-sharing would help build community in the off-season. In addition, if the events were premised on sharing and gaining new skills, participants would stand to gain a new set of tools that they could employ when their days gets busier in the tourist season. This proposal would capitalize on the diverse skills that exist in a rural population , resulting in events that were reflective of local conditions. Kitchen table-style events started in the tech community as a way to share skills and create together in a welcoming, informal setting. This model promotes collaboration and co-creation, providing an alternative to the rural model that can result in businesses and communities competing with one another (harkening back to theories of inter-place competition). In addition, participants would become more aware of the skills, assets and leaders to be found within their community.

Individuals with diverse backgrounds and interests

Skills and tools that are inherently linked to local economic, environmental and social conditions

Rural, tourism-based economy that is slower in the off-season

Kitchen-table event that provides an informal and welcoming atmosphere in an effort to: • connect like-minded individuals • capitalize on local knowledge and skills • promote collaboration • provide enriching experiences in the off-season • build and strengthen community

REFLECTION The strengths of this concept lie in its potential to bring together people with diverse skills and backgrounds to learn through making and share their knowledge and skills with one another. The proposal depends on an engaged and excited audience. One challenge inherent in this proposal would be that in a small community, leaders with skills on-offer might be prevalent in the beginning, but the pool of participants may not be large enough to continually have new skills to teach in ongoing events. If new knowledge could be generated in the workshops, this potential pitfall might be mitigated. It would be integral to the vitality of the group to work on recruiting new members often.

INTERVENTION PRIORITY Environment Interactions Perception Context

CONCEPTS 6 TO 8

THE CREATIVE ECONOMY What is needed to help foster rural economic, cultural and community development in an effort to build a stronger collective story of place?

For the second round of design concepts, a more intensive survey of local challenges, assets and opportunities was undertaken. This survey was informed by the findings of a network of community leaders and organizations called Creative Muskoka, which aimed to develop strategies and actions to foster growth of the creative economy in Muskoka. In 2011, the group worked with Robyn Shyllit, a Masterâ&#x20AC;&#x2122;s in Planning student from the University of Toronto, and her supervisor Dr. Greg Spencer in the completion of a study of Muskokaâ&#x20AC;&#x2122;s creative economy entitled Water, Rocks and Trees, Building Upon our Rich Resources. The study identified a number of opportunities and challenges faced by the creative economy in Muskoka and presented seven recommendations. This research and the resulting recommendations informed the development of five design objectives for concepts six to eight. A summary of the studyâ&#x20AC;&#x2122;s findings and recommendations are presented below, taken from the Executive Summary.

Opportunities - environmentally focused knowledge-based assets (ie. green technologies, skilled wood manufacturing, advanced construction expertise) - tourism marketing used to recruit creative businesses and residents - the potential for arts-based economic development - technology and lifestyle amenities leading to increased opportunities for seasonal and year round home-based businesses - untapped farming potential for niche agriculture and culinary tourism - presence of post-secondary institutions and the opportunity for local research and development as well as economic stimulus

Challenges - a two-tier government structure that poses barriers to coordinate and fund creative economy initiatives - lack of support for youth, entrepreneurs and diverse populations combined with a vast geographic expanse limits the availability of resources, the generation of new ideas, local skills and cultural vibrancy - lack of a public transportation strategy for residents to travel internally and a lack of attainable housing options - lack of communication across the district to generate activity and attendance at events in the off-season - the economic division between seasonal and year round populations Water, Rocks & Trees by Shyllit & Spencer, 2011

Recommendations Communication: develop a common understanding regarding the role of Muskokaâ&#x20AC;&#x2122;s creative economy and promote and steward this among all stakeholders and in the region as a whole Organizational infrastructure: create a unified entity to connect municipalities, innovators, business people, organizations, and firms that comprise the creative economy in Muskoka Entrepreneurship: support and connect local producers, small businesses and entrepreneurs Arts, culture and heritage: further support, promote and recognize arts, culture and heritage across Muskoka Education and training: foster talent and skill building by increasing and improving local training and education opportunities Youth outreach: encourage youth participation throughout Muskoka in the creative economy Further study: establish specific goals, further study and collect additional creative economy data and information

DESIGN OBJECTIVES These recommendations informed both the generation of ideas for concepts six to eight and the development of design objectives that were used to evaluate the effectiveness of each concept.

Networking and Collaboration In rural areas such as Muskoka, development initiatives must work to connect a diverse population that is spread out over a vast geography. Because of the local conditions and context, it can be challenging for governments, organizations and individuals to communicate and cooperate effectively. This presents a design opportunity to increase and improve networking and knowledge-sharing in the region.

Economic Development High-priority issues such as unemployment, affordable housing, lack of public transportation and poverty tend to headline discussions around community development. Addressing these community challenges through regional economic development is critical to building a stronger and more authentic sense of place.

Cultural Infrastructure Because Muskoka is home to a diverse population with a wide range of skills, an extreme amount of creative potential exists in the region. However, the infrastructure for connecting and supporting individuals with specialized talents, background and interests is limited. Increasing the opportunities for building cultural infrastructure, including improved and new facilities, communication networks, employment opportunities in creative professions and special interest groups, would contribute greatly to a more authentic sense of place.

Entrepreneurial Support Due to the nature of the economy in rural areas such as Muskoka, many people are selfemployed or possess an entrepreneurial drive. However, in many cases, they lack the supports, network and training to turn that drive into a career. A design intervention that worked to support and connect local producers, small businesses and entrepreneurs with one another, with new resources and with their immediate environment would help to strengthen their collective place-based identity.

Education and Training

State of mind (right) A sketchbook image illustrating the thought process going into design concepts six to eight. The focus was on design interventions that would help support rural business, individuals and community.

In addition to supporting entrepreneurs, increased opportunities for individuals to learn new skills and pursue new careers could help to address local skill deficiencies and to augment industries that stand to benefit Muskokaâ&#x20AC;&#x2122;s economy. There is a design opportunity in connecting post-secondary students in the area to entrepreneurial opportunities.

Diverse audiences -

students creative professionals visitors seasonal residents

CONCEPT 6: MUSKOKA MOBILE Premise Using transportation, culture and business to connect diverse audiences across a vast geographical area in order to build community and augment place-based identities

Each month, the Muskoka Mobile would take participants on a cultural tour, visiting local attractions, events and businesses. Because geographical distances are vast and travel times can be long in rural areas, the bus would ensure the journey is as enjoyable as the destination, with on-board entertainment, local food and beverages and opportunities for networking and meeting new people in the area.

Rationale One of the biggest strengths of this proposal is its potential to connect like-minded individuals with one another and with local businesses and to introduce opportunities for collaboration, both personal and professional. In addition, it inspires local businesses to work together. This model would connect with local businesses to provide the end destinations, attractions and events. This would bring welcome business in the off-season, connect new audiences with the businesses and encourage and support the â&#x20AC;&#x153;buy localâ&#x20AC;? movement in Muskoka. With stops across the vast district, the bus would bring people to widespread events, attractions and businesses, providing a much needed service in an area where affordable and efficient transportation is scarce. By capitalizing on the creative assets that already exist in the area, this model does not require a huge amount of new infrastructure. The organized calendar of events and attractions, would make it easier for audiences to experience local cultural events.

businesses

local events

Transportation over great distances

attractions

networking collaboration

local economic development

cultural infrastructure

DESIGN OBJECTIVES

REFLECTION

Networking & collaboration

Touching on several objectives, including the elusive and challenging one of transportation, this concept begins to realize the opportunities for growing business by creating infrastructure that connects diverse audiences. However, because it is based on social events, the concept would hinge on an engaged audience that could consistently sustain and attend the events. This might be a challenge in a rural setting.

Economic development

Cultural infrastructure

Entrepreneurial support

Education & training

In addition, aside from increasing the profile and sales at existing local businesses, this concept does less to help those who are not involved in food, retail or entertainment. These reflections prompted the question: how could this model be extended to include entrepreneurial leaders and innovators, rather than just including existing businesses? In addition, the Muskoka Mobile concept would require a significant amount of management in arranging and hosting events. Could a platform be developed that allowed for events to take place on their own with minimal facilitation requirements? These were the questions that were explored in concept seven.

HAS

seasonal resident

NEEDS

united by a commitment to the community

HAS

permanent resident

CONCEPT 7: SWAP MUSKOKA Premise Building a platform for collaboration that capitalizes on the services, skills, knowledge and assets that already exist within Muskoka

Muskoka is lucky to have a community that includes both local innovators and seasonal residents with capital, skills and an interest in the community. Swap-Muskoka would work to unite these two populations, which are typically isolated from one another, by providing an online and a physical platform for the exchange of ideas, skills, resources, capital and knowledge.

Rationale By connecting groups that have similar goals and different assets to offer, this platform builds capacity for new types of collaboration. It also works to break down the barriers that exist in many rural communities between seasonal and permanent residents. By enabling knowledge exchange within the community, local existing assets can be enhanced and augmented, rather than bringing in outside experts. This empowers the local community and requires less infrastructure. It also provides a potential source of off-season income for leaders in the community. By fostering the skills and initiative of local innovators and connecting them with interested stakeholders and potential investors, the platform encourages the economic growth of the region. Many people in Muskoka are self-employed with an entrepreneurial drive. There are many community innovators coming up with new ideas all of the time, however the infrastructure is not strong enough to ensure those ideas are realized and implemented. This model increases the ability of the region to support and encourage entrepreneurs and community innovators and implement new initiatives using local assets.

A community innovator has a bright idea for a community development initiative.

The innovator pitches the idea to a group of engaged community stakeholders.

listings event videos ongoing projects success stories online courses The stakeholders follow along on their devices, adding comments, asking questions, offering advice, services and resources. An online platform facilitates the continued development of the project and fosters relationships between investors, innovators and stakeholders. At the end of the presentation, the stakeholders can opt to become investors, offering captial, contacts, time, resources, services or advice/coaching.

DESIGN OBJECTIVES

REFLECTION

Networking & collaboration

By capitalizing on the qualities of place and its residents such as cooperation, ingenuity and entrepreneurial drive, this concept could act as a model for rural economic development. Of all the concepts generated to this point, this one stands to benefit the widest audience and hits all of the design objectives.

Economic development

Cultural infrastructure

Entrepreneurial support

Education & training

This proposal would require a significant amount of logistical planning and management, as well as the development of a framework and platform to sustain it. Another challenging factor would be in generating enough engagement and interest in the events from both seasonal and permanent residents. Different methods of outreach would be needed for each audience.

CONCEPT 8: BUY LOCAL PLATFORM Premise Designing a platform, campaign and strategy to promote locally-produced goods and services and to connect consumers with local producers

The vast geography in a rural economy can isolate businesses and entrepreneurs. This proposal creates the opportunity to connect and support new businesses and ideas in the district, a critical step in enhancing and augmenting the creative economy. This combined platform, campaign and strategy would make it easier for people in Muskoka to source local talent, goods and services.

Rationale This proposal overcomes fragmentation and geographical isolation by connecting groups that have similar goals. It creates opportunity for interaction and knowledge/ resource exchange. It also raises awareness of and capitalizes on the unique skills and talents that exist within the region. The proposal also increases business service resources by creating the opportunity to connect those seeking specific skills, materials, resources or products with those who possess them inside the region, thus building on local assets and knowledge rather than encouraging outsourcing. The proposal builds capacity for entrepreneurs to be able to market and sell their goods and services online, thus boosting business skills and capacity. It would make it easier for seasonal and permanent residents to source local products, materials, services and talent and it would raise awareness about the financial potential of the creative economy. By creating a network of individuals focused on advocating and marketing local talent, goods and services, this proposal builds the infrastructure necessary to foster collaboration and knowledge exchange. If the district had a united strategy to promote local products and producers and if those producers had a platform to sell their goods and services, the creative economy and the region as a whole would be strengthened.

Connect

Online sales

Listings (i.e. events)

Producer profiles

Communication tool

Potential of the creative economy

Telling the community story

News and updates

An online platform that includes

Expose

A multi-faceted campaign aimed at education and infrastructure-building

Advantages of the platform

Collateral promotional material (i.e. maps)

Collaborate A strategy for collaboration between producers, consumers and community innovators

Building a network of collaborators

Developing the infrastructure to connect local producers and consumers

DESIGN OBJECTIVES

REFLECTION

Networking & collaboration

This concept focuses on economic development, potentially at the expense of community development. In order to be a part of this system, one would need to be either a producer or consumer. As it is presented, the system doesnâ&#x20AC;&#x2122;t allow the flexibility to include community development initiatives or work that is not business-oriented. This could limit the possible impact of such a system on collective sense of place.

Economic development

Cultural infrastructure

Entrepreneurial support

Education & training

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CONCEPTS 9 TO 11

STORIES OF PLACE How does generating, sharing and engaging with stories of place impact the development of authentic and meaningful placebased identities? What type of tool is needed to enable or support collaborative storytelling?

Precedent: [murmur] (above) [murmur], first established in Toronto’s Kensington Market in 2003, has taken place in communities across the globe. The project “collect[s] and make[s] accessible people’s personal histories and anecdotes about the places in their neighborhoods that are important to them” ([murmur], n.d.). Each location in the community is marked with a sign that displays a phone number. Participants who call the number hear a pre-recorded recollection of a story that took place at that exact location.

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The final three concepts marked a shift in the research direction, one that focused more acutely on the importance of storytelling in the creation of place-based identities. Stories are the currency of place. By generating, collecting and sharing stories of our interactions in and with places, we turn the conceptual and abstract into something real and tangible. In order to build stronger places, inhabiters of place need to come together to hear, recount, generate and share their stories of place. In doing so, more authentic, collective and broader stories of place are generated and more inclusive and stronger communities are developed. This set of design concepts marked a return to sources that were integral to the early phases of this project. Namely Place and Placelessness by Edward Relph and the catalogue for Altermodern, the fourth Tate Triennial at Tate Britain. Exhibition curator Nicholas Bourriaud describes the term ‘altermodernism’ as “a constellation of ideas linked by the emerging and ultimately irresistible will to create a form of modernism for the 21st century” (Bourriaud, 2009, p. 2). The metaphor of concepts as constellations became a helpful metaphor for this project as well, where ideas such as place, placelessness, insideness, outsideness, rural experience, urban experience, authenticity and inauthenticity all represent individual stars. What is necessary in building or strengthening sense of place is the constellation that ties all of those ideas together into something cohesive, recognizable and memorable. The questions became: what is the line that unites these ideas made of? How will this ‘constellation of place’ be constructed? Initially, the answer was carried over from design concepts one to eight: separate ideas linked by a will to preserve and support rural areas under the threat of placelessness and inauthentic development. However, this answer didn’t address the reason that constellations exist: to assign meaning to abstract and sometimes

unfathomable concepts, like the vastness of the universe. In the same way, we assign meaning to the locations that we inhabit in an effort to make them less abstract and more tangible and memorable. With the creation of place, as with that of constellations, this happens through story. When we tell stories of place, we are defining and creating place, in the same way that the constellations define and add meaning to stars. This realization came as a reminder of how integral stories and storytelling are to this project. Consequently, the important questions became: how does storytelling happen in rural communities? What is the importance, relevance and impact of collective community storytelling? How can stories be used to empower individuals and groups to define and add meaning to place, thus developing, augmenting or enhancing place-based identities? There are many examples of projects that use storytelling as a medium for community building and the development of place-based identities. These examples cover a span from the very traditional (such as monuments, plaques and landmarks) to the innovative (including digital storytelling using GPS technology and smart devices). Many of these projects focus on preserving historical stories of place in an effort to build community (see Murmur Toronto example). But what about the contemporary stories of place? Or the imagined stories of the future of our places? How can design encourage individuals to generate, gather and share stories of the past, present and future of place, thus enhancing collective place-based identities? It was this line of inquiry that was explored with the final three design concepts.

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DESIGN OBJECTIVES For the final three design concepts, the focus shifted from addressing challenges to realizing possibility. In an essay entitled Re-Imagining Community, leadership educator Michael Jones describes the importance of story of place in this way: A story of place is how a community creates a unique brand for itself. ... It creates a shared vision that shifts a communityâ&#x20AC;&#x2122;s thinking and values from focusing on parts and problems to focusing on potential and opportunity, from seeing change as expert and outside driven to co-creating together through a process of self discovery and collaboration and shifting the focus from working with isolated symptoms and quick fixes to seeing the underlying patterns and connections between things as a whole (Jones, 2007). The overall aim of design concepts nine to eleven became to create opportunities for the collective generation of inclusive, authentic and meaningful stories of place. This new aim required a shift from design objectives that were focused on the economy, business or social services to those that were focused on collaboration and communitybuilding through storytelling. It became apparent that if all of the new design objectives could be met or addressed in a design, then the areas of intervention that were targeted in previous concepts would be rendered irrelevant. Consequently, they were not used in the creation of or reflection on concepts nine, ten and eleven. Instead, the new objectives of connect, engage, generate and share were used in the development and evaluation of the final concepts. Designs that meet these revised objectives effectively give the power of defining place to the community by empowering individuals with skills, tools and platforms to share stories of place and will result in stories that are inclusive, reflective and authentic.

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Connect In order for stories to be shared, a community must first be established. Therefore, designs must work to connect a diverse audience with one another and with the local environment.

Engage Once a group is assembled, individuals must be enticed to engage with one another and create a culture of community. Designs must encourage interaction between members by providing a platform or catalyst for positive collaboration and cooperation.

Generate Once members are comfortable engaging with one another, they will begin to share stories. Designs must include a mechanism that enables the generation of collective stories of place.

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CONCEPT 9: PLAYING WITH PLACE Premise This is a team-based collaborative game that is best played by a group of people with diverse backgrounds and perspectives. In the game, the team works together, using stories of place as currency in an effort to protect, enhance and improve their community. The players have various tools at their disposal, including community assets, leadership roles (with special powers), positive actions, communication and imagination. When the game is finished, the team has generated a number of ideas and potential community development initiatives that could address real challenges faced by their community. In addition, the team has a better understanding of place and a stronger, more authentic and inclusive story of place that they can share with others.

Rationale Place is made tangible through stories. The best stories are rich in detail, allowing the audience to identify and relate. This game would provide a platform for players to share detail-rich, personal stories of place with one another. Ideally, these stories would come from an array of different socio-economic perspectives. By generating, collecting and sharing diverse stories of place, a more authentic and inclusive sense of place is developed and community is strengthened. This can lead to increased collaboration, community development and understanding of the unique challenges a community faces and the possible solutions that exist.

105

106

REFLECTION This proposal creates the context for a collective and collaborative engagement with stories of place. Because it is a board game, it requires engaged and enthusiastic participants and the context and time required to complete the game. The game would not necessarily be one that individuals would play in their spare time, rather it would be something that would be used by community groups to facilitate or enable discussions of place. One shortcoming of this proposal is that it is time-based, so it would not reach an audience beyond the participants engaged in the game play. However, the concept could expand to include an online component that captured and shared the results of the game play with a wider audience, thus opening up the potential audience for the game. Also, because it is a board game, it can be played anywhere. With concept ten, the idea of a game that generates, collects and shares stories of place was further explored, starting with the question: what if the game was played in the physical locations of the stories it generated?

107

DESIGN OBJECTIVES connect engage generate share

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CONCEPT 10: STORY COLLECTION PLATFORM Premise This concept for a multimedia platform would enable participants to identify, generate, gather and share community stories. The activities would begin with participants identifying specific places where community stories come from, such as specific buildings, people, locations or community organizations. Each source would get plotted on a map that would be generated by the stories and would evolve with the activity, rather than being predetermined. Once story sources were identified, the teams would travel from point to point collecting stories. This would involve listening to stories told by others and also having team members tell stories. The stories, along with additional photos, sounds and videos would be collected through an application on a handheld mobile device. Once the stories were populated, the resulting map, complete with the collected sounds, images and video clips, would be shared online with the team and the wider community. There would be a central website that would present, curate and highlight specific stories. In addition, there would be an app that would alert users every time they passed a location that contained a story, which they could then access on their device.

Rationale This platform would act as a bridge between the digital and often placeless online world and the immediate physical and social environment. It would allow individuals to engage and interact with their immediate surroundings in a way that was different than their day-to-day experience. This would encourage a rediscovery, reexamination and potential augmentation of their place-based identity. Ideally, the platform would function on its own without the need of a moderator or facilitator. In that way, it would be accessible and reflective of all of its users, rather than the special interest group that managed it. In addition, that would allow community groups to use the platform to generate their own maps, customized to their programming, while still contributing to the community map. 109

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REFLECTION This concept expands on the ideas introduced with the board game in concept nine, making the play more physical, more pragmatic and more active. Because users would be interacting with one another, with their surroundings and with other people in the community, this platform has the potential to uncover and generate new stories of place. In the same way that the board game provides a framework for conversation, this concept provides a framework for exploration. Participants would be sent out into the community to use all of their senses and skills in gathering stories. This game is time-based and would require an organized and engaged group to take part. In addition, it would require that some of the group members had smart phones. While components of the platform would continue to work after the project was complete, the primary use of the platform would be during the team-based game play. Because it is a complex game, it would depend on a number of outside factors, including accessible transportation, weather and the availability of community members and locations for story gathering. This could make it difficult for groups to organize and facilitate the game more than once. In the final concept, these shortcomings were addressed, resulting in a game that is more solitary in nature.

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DESIGN OBJECTIVES connect engage generate share

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CONCEPT 11: STORY-CACHING Premise This concept is for an app that would allow people to exchange stories of place with one another by recording their stories at precise geographical locations, including relevant photos or videos and uploading their place-based stories to an online community. It is a more personalized and solitary form of the Story-Collection Platform from concept ten, which was more team-based. With this concept, the story locations would be plotted on a map, which other users could follow as a self-guided story tour, collecting stories along the way. The application would also alert users when they passed a location that held a story. If the users did not wish to receive constant alerts, they could opt to receive evening curated collections of the stories they passed over the course of the day. Each time the user accessed the stories, they would be challenged to choose a location and upload a story, ensuring that new content was continually added to the database.

Rationale This concept places the power of defining place to those who live, work and play in the area by empowering them with tools and platforms to share place-based stories. It allows ‘insiders’ of a place to share authentic and true stories of place with ‘outsiders.’ This platform would provide an alternative narrative of place to the dominant one, which is often commodified or oriented towards marketing initiatives. This would be a story based on the actual experience of members of the community. This would also provide a tool that community groups could use in their programming or as part of communitybased research. The platform could be self-sustaining and open source, enabling it to shift and change as the stories of place and the identities of community members grew and changed as well.

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DESIGN OBJECTIVES connect engage generate share

REFLECTION This story empowers individuals to share stories of place on an ongoing basis. It also provides access to stories of place to a wide audience, including both insiders and outsiders of place. Of the three final concepts, this one reaches the widest audience, where one only requires a smart phone and the app to participate. It is not time-based and would result in an ongoing generation and sharing of place-based stories. In addition, the platform could be used by organizations and governing bodies to share their stories with others. The audience would be diverse, including seasonal residents, permanent residents, tourists and visitors, youth. The more diverse the audience using the platform, the richer and more inclusive the resulting story of place would be. The major shortcoming of this concept is that it would result in a solitary experience, where users would engage with their devices rather than the locations of the stories or the users who left them there. In order to make this platform more collaborative, it would need to include a component where users could communicate and interact with one another through the stories. In addition, the requirement that participants must own a smart phone would also limit the accessibility of this design.

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Postscript: Findery On March 6, 2014, nearly a month after this concept was presented, Caterina Fake (co-founder of Flickr) launched her latest venture called Findery, an app for mobile devices that shares much in common with the Story-Caching concept. Findery bills itself as a tool for social local discovery, allowing users to plot messages, stories and photos on a map that can be accessed by other users in the same location and around the world (Findery, 2014).

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V: REVIEW Reflect on the information gathered and knowledge generated thus far. Allow time to digest and thoroughly (re)consider the problem from all angles.

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RESEARCH FOCUS EVOLUTION

How might design help to facilitate and foster authentic connections to place in a way that supports strong communities?

What is needed to help foster rural economic, cultural and community development in an effort to build a stronger collective story of place?

How does generating, sharing and engaging with stories of place impact the development of authentic and meaningful place-based identities? What can design do to enable or support collaborative community storytelling? 119

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CONCEPT SELECTION

COLLABORATIVE COMMUNITY STORYTELLING As a result of the research and discoveries that came out of the generation of eleven design concepts, the research focus was honed, tweaked and refined (as illustrated on the preceding pages). By the end of this phase of the design process, it was clear that the most exciting development of the research, the one that held the most potential for the final design project, was the realization that place is created through stories. Therefore, any design that seeks to improve or augment sense of place must enable collaborative community storytelling. Consequently, it became apparent that the most successful design concepts were concepts nine, ten and elevenâ&#x20AC;&#x201D;those that engaged with this type of storytelling. Each of the final three concepts dealt with collaborative storytelling in a different way. Concept nine (Playing with Place) engaged the entire community in generating and sharing stories together in real time. Concept ten (Story Collection Platform) made the engagement with place immediate, active and physical, bringing the game play into the real world. Concept eleven (Story Caching) made sharing, generation and collecting stories possible at any time and in any context and was geared more towards the individual rather than the group. At this point, the final design objectives were instrumental in ascertaining which concept would be developed further. These objectives were:

Connect In order for stories to be shared, a community must first be established. Therefore, designs must work to connect a diverse audience with one another and with the local environment.

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Generate Once members are comfortable engaging with one another, they will begin to share stories. Designs must include a mechanism that enables the generation of collective stories of place.

Share Once the stories have been generated, they require an audience. Stories have the potential to empower and build community, but only once they are shared. Designs must have the capacity to capture and share the stories of place with a broad community. The tenth concept, Playing with Place, had the potential to address each of the design objectives. Unlike concepts nine and eleven, it engaged all participants in the sharing and generation of stories in real time, allowing for true collaboration. It was a concept that was full of potential for community groups and leaders who engage in community development initiatives with diverse groups of people. The game would act as a platform to engage participants, making these types of community development initiatives easier and more productive to undertake. It would also allow the voices of diverse members of the community to be heard, giving organizers the opportunity to hear stories from people who live marginally, tourists, artists, youth, and business people, for example. The game also has potential to produce results which can be shared with the wider community and which can inform development, provide data to community stakeholders and identify new opportunities, assets and potential partnerships within the community that might not otherwise be realized. For these reasons, Playing with Place was selected as the most successful design concept and was therefore taken into development.

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FINAL DESIGN OBJECTIVES

In an effort to foster and facilitate authentic connections to place,

THE FINAL DESIGN PROPOSAL MUST...

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Encourage sharing & collaboration Invoke imagination Elicit meaningful stories of place Engage with authentic local conditions Be fun, engaging & enlightening Encourage a multitude of perspectives Produce communicable results

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VI: EXECUTE Develop or prototype proposed solution. Arrange, style and render it in a form that can be implemented and tested.

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DESIGN ITERATIONS

Once the successful design concept was identified, it was then brought into the execution phase of the design process. A second round of sequential design iterations were then undertaken, this time all building on the same concept. Being a board game, it was necessary to create a prototype early in the execution process to test and refine ideas. The initial iterations were guided by a multi-step process that was adapted from guidelines presented by Bernie Dodge, a professor in the educational technology department at San Diego University in a course called Exploratory learning through educational simulation and games (Dodge, n.d.). The game concept is taken through the steps and repeated until a successful prototype is created that can be further developed in subsequent phases of the design process. These steps reflect and fit within the iterative cycle of the design process:

PLAN ITERATE

TEST

REFINE

ACT

OBSERVE

R EF LECT

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REFLECT

STEPS FOR GAME DEVELOPMENT 1. Content Analysis A visual mindmap of all elements of the topic at hand is generated.

2. Chunking Elements are sorted into the following categories: places, patterns, paths, probabilities, prizes and principles.

3. Aligning Patterns, elements and structures that align with the ultimate goal of the game are matched with game mechanisms and the structure of play.

4. Drafting A mock-up is made to explore possibilities of the game and tweaked until the game play begins to gel.

5. Reflection After a playable game is created, successes, weaknesses and opportunities are identified that can be further explored in the next iteration.

6.Reiteration The cycle is resumed, proceeding through the steps and revising where necessary.

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ITERATION 1 Content Analysis

129

Chunking

Aligning

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Iteration 1: Drafting

PAWNS

obstacles opportunities

VARIABLE TOKENS 131

BOARD PIECES economic natural social

positivity/ negativity

category

DICE mobility

ROLE CARDS 132

REFLECTION Overall, iteration one was successful in manifesting the idea of the game into a tangible prototype. However, without having a clear final objective, it was difficult to understand the function of each of the gameâ&#x20AC;&#x2122;s components. It became apparent that for the second iteration, it would be necessary to determine the upper-level mechanisms in order for the more minute details to be effective and purposeful.

Roles and Abilities There was a desire in iteration one to assign each player a different role and with it special unique abilities. There were some challenges in the determination and assigning of the roles and abilities. A degree of flexibility was desired so that the conditions of the game could be reflective of the unique local conditions of the places in question. For example, if the area had a specific industry that was more influential in the region, it would be most impactful if player roles reflect that unique condition of place. The challenge in placing the onus on players to come up with well defined roles and abilities is that the chose roles might not function effectively in game play. It would be difficult for those who were not experienced in playing the game to know how to choose a role/ability and their selection might result in a game that is not entirely successful. It was determined that some level of structure and predetermination for roles and abilities was needed. The question became: how can this be done in a way that allows players room to be creative and create roles and abilities that reflect their experience of place while providing structure so that the game can be successful? The idea arose to assign players a broad category, out of which they could construct their persona, given certain qualities, challenges, abilities. In this way, it would not

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necessarily be just their role that was important, but a series of dynamic qualities that might include gender, age, occupation, family structure, etc. This could make up a whole phase of the game and the pawns could be built out of component parts that reflect the dynamic qualities of the characters.

Cooperation and collaboration One of the first qualities of the game that was decided was that it would be a cooperative game, where players worked together against the game itself, rather than competing with one another. This was in an effort to embody positive community development strategies in the game itself. In iteration one, there was no built-in game mechanism that encouraged cooperation, collaboration or the sharing of knowledge, abilities or assets. It was hoped that the game could include a component of cooperative play above and beyond a collective objective. In order to reflect the experience of place, it was determined to be imperative for players to be able to contribute their abilities and assets to other playersâ&#x20AC;&#x2122; actions. Also, for players who were experiencing negative developments in their places, it would be advantageous if they could receive help from the others playersâ&#x20AC;&#x2122; abilities, assets or places.

Assets and Obstacles Being a collaborative game, it was necessary to introduce challenges that the team would cooperatively face. In the first iteration, assets and obstacles went on the role cards. There was too much similarity between assets and abilities to warrant the inclusion of them both in this player-specific way. The question became: do the assets and obstacles need to be specific to each player? It seemed that they would be more effective if they were collective, such as community assets and collective challenges rather than an individualized approach. 134

Modular Board The idea for the modular board came from concepts nine and ten in the previous phase of the design process. These concepts included a map that was generated by the stories that were shared, rather than prescribed in advance. This idea, where players build the map as they go, was a powerful one that seemed to underscore the fact that authentic sense of place is created by the way people inhabit and interact within it. Therefore, if the game board was created by players in a generative way, rather than being predetermined, they would feel they had an active role in shaping the resulting place and the stories it generated. The first iteration used square tiles as the base module that, when placed together, formed the full board. By making the pieces square, the resulting shape was regimented and predictable when a more dynamic and organic shape was desired. The idea arose for tiles with more faces that would result in a more unpredictable board shape, which was explored in subsequent iterations. In addition, a mechanism was required for choosing how to place the board pieces. In the first iteration, players chose randomly but it became apparent that it would be more effective if their choice for placement was considered and informed and had some bearing on the game play.

Movement The mechanisms in iteration one that informed playersâ&#x20AC;&#x2122; movements were awkward and unclear. It was evident that a more effective mechanism would be needed in subsequent iterations that made movement purposeful and goal-oriented, rather than arbitrary.

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Facilitation and instruction In testing the first prototype, it became apparent that instruction and facilitation of the game would be a challenge. Ideally, the game would have very few facilitation requirements and instructions would be clear and relatively simple. The game is meant to be a scaffold for interaction and hopes to inspire storytelling and collaboration rather than limiting it. In order to accomplish this, the game would need to be encouraging and supportive, rather than frustrating or limiting. One important question that arose was whether the game would need to be moderated by a facilitator or it could be played by a group who had no experience with the game.

Positive and negative stories of place One component of the first iteration that was unsuccessful was the positive and negative stories of place. On reflection, it became clear that the stories of place should not be limited to ones that were positive or negative or related only to specific categories, since in reality these stories are multi-faceted, having both positive and negative consequences and affecting many different sectors, categories and qualities of place.

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ITERATION 2 Chunking

Aligning

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Content Analysis

Precedent: Pandemic In exploring mechanisms that would be appropriate for this game, it was helpful to analyze exemplary games with similar mechanisms, aims and goals. Pandemic, designed by Matt Leacock and released by Z-Man Games in 2008, is a co-operative game where players work together to achieve a collective goal. The game also includes variable roles, which endow players with different abilities. Both of these mechanisms were considered for the prototype.

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COMMUNITY DEVELOPMENT STRATEGIES In the second iteration, a new component was added called assets. These related to factors within a community that contribute to its strength, abilities and value. Assets, along with the concept of individualsâ&#x20AC;&#x2122; roles and abilities that was introduced in the first iteration, are two mechanisms that are discussed often in literature on community development. As a result, it was necessary at this point in the design process to conduct further research into existing development strategies in order to ensure that the game mechanisms were effective in mirroring the real-world process of community development.

Mapping Community Assets â&#x20AC;&#x153;Every single person has capacities, abilities and gifts. Living a good life depends on whether those capacities can be used, abilities expressed and gifts given.â&#x20AC;? John McKnight, cited in Berkowitz & Wadud, 2013

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Community assets relate to anything within a community that improves the quality of life or strength of the community. They can be anything from a person to a physical structure (such as a community centre or library), to a community service (such as a strong public transportation system) to a business (Berkowitz & Wadud, 2013). When communities survey and reflect on their assets, they reconfirm their strengths and discover possibilities for new assets or for strengthening those that already exist (Rossing, 2000). Asset mapping is an inventorying process that is undertaken in community development initiatives. To be most effective, the process must involve a group of community members from many sectors and socio-economic strata, as a diverse group will be more likely to identify a range of assets that may not be apparent to everyone (Berkowitz & Wadud, 2013). Methods for completing community asset mapping include making lists of known assets, surveying sources like town directories, business listings and newspapers, conducting surveys and creating maps.

The goals of community asset mapping that were outlined in the surveyed literature on community development aligned with the goals of the game. For that reason, the practice was embedded into play at this point using the asset components, where players were asked to brainstorm the assets that already existed in their community.

Community Development Roles Another realization that arose out of this research was that in community development initiatives, there are often several roles that different community members play. The Ontario Healthy Communities Coalition outline several community development roles on their website including: Guide:

a worker who helps the community identify goals and find means to achieve them Enabler: a worked who facilitates problem solving processes within the community Assistant: an expert role that is associated with social planning Liaison: a worker who acts as the intermediary between the community and other bodies such as government or institutions (Ontario Healthy Communities Coalition, n.d.)

These types of community roles seemed much more positive and productive that the types of roles that were imagined in the first iteration of the game. As a result, the roles that were imagined in iteration one were discarded in iteration two. The concept of roles was reintroduced in iteration three, inspired by the ones provided by the Ontario Healthy Communities Coalition.

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Iteration 2: Drafting

PLACE TILES ASSETS

spiritual

COLOUR CARDS 141

CONFOUNDING VARIABLES opportunities threats

PAWNS

STORY TILES

economic natural social

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REFLECTION In the second iteration, the roles and abilities were temporarily discarded in an effort to design a more effective game without too many confounding variables. Assets were transformed into separate components and the variable tokens from iteration one became story tiles, used to track playersâ&#x20AC;&#x2122; stories throughout the game. The place tiles took on a more dynamic shape and were not place or story specific, as they were in iteration one. Instead, they related to four broad categories of place: spiritual, social, economic and natural. These categories were reflected in the colour cards, which determined how players moved across the board. Player actions became more deliberate and considered than in the first iteration.

Opportunities and Threats Iteration two did not resolve the opportunities, threats or challenge component of the game. It was successful in doing away with the segmentation between threats and opportunities, which came out of the realization that by separating the two, there is no opportunity to discuss how threats can also be opportunities and vice versa. In light of this, the cards were not labelled threats or opportunities, but instead were called confounding variables. It was up to the players to determine whether they were threats or opportunities. By telling a story that imagined the variable as an opportunity, the players received a benefit. If they were unable to imagine the variable as an opportunity, there was a negative repercussion. The actual mechanism for how and when the confounding variables are presented was not resolved in this iteration, but the clearer concept that came out of this iteration was explored in the third one.

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Phases of Game Play and Length In iteration two, there was a board-building phase, where participants told stories and thus got to place one story marker on each place tile. In the same phase, opportunities and threats were generated and recorded on the cards. It became clear in playing the game that if the set-up phase is too long and too monotonous, players will become impatient. It would be best if the set-up element could be spread throughout the game. Similarly, it became apparent that the length of the game must be appropriate to the situation and context. In iteration two, the objective of the game was to fill all place tiles with stories. Each tile required six stories in order to be filled and each story required four cards of the same colour. This meant that each tile would require twenty cards of the same colour. This would make for a very long game and would require many cards. There were several ways to address this. One option was to require fewer story markers for each place tile. Another option was to require fewer colour cards to place a story marker. A third option was to allow players to determine the length of play desired and set an objective accordingly. The latter was the most appealing as it allowed for some flexibility, depending on the context of when and where the game was played.

Assets In the second iteration, the assets were non-specific. When they were placed on a tile, they allowed that tile to require only half of the story markers of other tiles. Ideally, the team would work to identify what the assets were (in the context of their community) and how they affect the game play. In life, not all community assets are equal and each have different benefits to place. The question arose: could this quality of community be embodied in this component of the game? The asset component was further developed in the third iteration.

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Player Roles, Abilities and Cooperation In iteration two, there were no player roles and no special abilities. It was challenging to include player roles and abilities without making the game overly complicated. It seemed that there was a missing element that was necessary to introduce in order to enable player roles and abilitiesâ&#x20AC;&#x201D;this element needed to be something which the players would work together to realize or avoid. In an effort to identify and develop the element, it was decided that removing player roles and abilities at this time would make it easier to develop the higher level game mechanisms and strategy. Once the game was functioning better, the roles and abilities could be reintroduced. Although iteration two was more cooperative than iteration one, there was still room for improvement. Ideally, the game would only work if everyone was able to cooperate. This cooperation would include the sharing of assets, abilities, place and stories and teamwork in addressing threats and opportunities.

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ITERATION 3 Content Analysis/Chunking/Aligning

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Iteration 3: Drafting

people services built environment natural environment inspirer discard

pick up

ACTION CARDS VARIABLE CARDS

connector

147

STORY MARKERS generator natural

ASSETS PLACE TILES PAWNS

economic

spiritual social

protector

ROLE CARDS

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REFLECTION With the third iteration, the game was brought to a higher level of function and efficacy. The components all seemed to work in tandem with one another and the game inspired conversation, connection and imagination. There were still some challenges that needed to be addressed in subsequent iterations, but overall the third version of the game included nearly all of the desired components, including player roles and abilities and assets with different qualities and functions. In its third iteration however, the game was yet to include confounding variables.

Scalable Game Length and Level of Difficulty The third iteration accommodated a variable game length and objective. At the outset of the game, the moderator or group would identify the goals and determine an appropriate objective necessary to achieve these goals (for example, three tiles must be filled with stories or all tiles need to be filled with stories). The objective would depend on the number of players and the allotted amount of time. Another component of the game that could be scaled according to participants and time was the requirement for laying story markers. In this iteration, only one card of the colour of the occupied square was required in order to lay a story marker. If a more challenging game was desired, more cards could be required for this action as well as the action of laying an asset, which also only required one card.

Player Roles and Abilities In iteration three, the player roles and abilities were pre-defined. They were inspired by the different categories of place tiles and referred to broadly outlined roles in the community: connector, generator, inspirer and advocate. The function of these roles

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would be made explicit through storytelling. Their abilities would also be predefined and would serve a specific function during game play, unique to each individual player. It became clear that it would be ideal to include many player roles which could be utilized or chosen from. The game would not require all roles to be active in order to function (for example, if the participant group was smaller). Other roles might include innovator, dreamer, and worker. With iteration three, because pawns were the same colours as the roles, the game could only accommodate four players. If there were more players (perhaps up to ten per game), there would need to be as many pawns. There could be multiple players with the same role and abilities, but there would need to be some way to distinguish the pawns from one another.

Assets With this iteration, the assetsâ&#x20AC;&#x2122; functions were to enable storytelling. That function did not depend on the category of asset, of which there were four: person, built environment, natural environment or service. The only requirement was that one of each asset had to be on the board in order to win. Effectively, this kept the game simple but true to realworld community development. It also encouraged participants to include assets in their storytelling through the bonus feature that if, when laying an asset, oneâ&#x20AC;&#x2122;s story could connect the place tile, their role and the asset category, there was a collective benefit where everyone got to pick up an extra card. It was realized that if assets had added benefits, it might make the game more interesting, but would also make it more complicated. The benefits and costs of this feature were explored in subsequent iterations.

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Confounding Variables In iteration three, the confounding variable cards (opportunities and threats) were not included. It was important that the basic game was able to function without them first. Their function and implications on the game play were explored in subsequent iterations. Through this component, the idea was to introduce challenges that participants would have to address collectively. In order for them to be effective, the confounding variables had to promise a collective benefit or impose collective penalties. It was determined that because the game already included many card-based components, it would be ideal to use dice or a spinner to determine the variables. One possibility that arose out of the second iteration was that if a threat was not prevented, the place tile in question could be flipped over, thus putting it out of play or story markers could be flipped to impede playersâ&#x20AC;&#x2122; progress. If a place tile became covered entirely with negative story markers, it would be flipped over and removed from game play, thus increasing the gameâ&#x20AC;&#x2122;s level of difficulty.

Moderation It became clear in iteration three that the game required a moderatorâ&#x20AC;&#x201D;someone who could pause the play to ask questions, pose challenges, provoke connections and inspire further dialogue. This would ensure that the game served its purpose of inspiring conversation that could be translated into concrete next steps for community development. To that end, the capacity for record-keeping would need to be built into the game, where the results could be captured and shared easily. These results might include collective goals, inspiring stories, innovative connections, an increased awareness of pertinent issues, assets and threats pertaining to the community and possible next steps generated by the game play.

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ITERATION 4

TYPE

Gibson (semibold and light) by Rod McDonald on myfonts.com

INSPIRATIONAL ILLUSTRATORS

Edward McGowan (right top & bottom) Travis Ladue (bottom left)

Aesthetic direction (above) A moodboard was created to explore the aesthetic of the game. Inspirational images came from illustrators Edward McGowan (2012) (top and bottom right) and from Travis Ladue (2013) (bottom left).

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REFLECTION Iteration four was an exploration of the aesthetic approach for the prototype. It was important that the design of the game reflect its goals in every component, from functionality to the colours, typography and iconography. Colours were identified that represented approachability, playfulness, imagination and positivity. It was important that the aesthetic lean towards the whimsical (rather than the authoritative or tedious), so that players would feel encouraged to be adventurous, imaginative and supportive of one another. Because a goal of the game is to underscore the powerful influence that place has on our experiences, decisions and identities, the typeface selected for this iteration was Gibson by Canadian designer and educator Rod McDonald. McDonald created the Gibson typeface in honour of design pioneer John Gibson and proceeds from the sale of Gibson go towards the Graphic Designers of Canada Design Education fund, which supports other design research in Canada. Also, McDonald lives in Nova Scotia and teaches at NSCAD, thus establishing a connection between the typeface and the place in which this game was created. Images that embodied or reflected the spirit of the game were compiled from graphic designers Edward McGowan and Travis Ladue. Like the game, this style of imagery combines mapping with bright and playful descriptions of inhabited landscapes. After the initial aesthetic approach was identified, a pattern was created based on the shape of game pieces. It was then identified that icons were needed to differentiate the components and categories in the game. An icon style was found that would match the aesthetic approach.

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ITERATION 5 The fifth iteration marked the first in which the game was completely playable. It had a clear but flexible objective, player roles that invoked collaboration, and the capacity to elicit compelling stories. Through game play participants generated tangible and conceivable solutions to real challenges faced by places all over the world.

REFINEMENTS IN ITERATION 5 - Revised player roles - Bigger place tiles and story markers - The introduction of challenge dice (confounding variables)

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Iteration 5: Drafting

challenge dice story markers

assets

place tiles pawns

role cards

155

action cards

REFLECTION This iteration built on the third iteration of the game, with a few minor changes to pieces and the addition of the new component of challenge dice. This iteration became the first to be an entirely functioning, enjoyable and challenging game with a beginning, a middle and an end.

Variables become challenges In the first iterations, (unsuccessful) attempts were made to include a variable component that would interrupt regular game play and require players to cooperate and avoid a threat in order to carry on. By conceptualizing this component only as a threat, it was challenging to determine how it would link with the aspects of regular play. In order to understand how the variable component might integrate with the rest of the game, it was necessary to reexamine the impact and consequences that unpredictable challenges have on place-based identities and communities. In doing so, it became clear that when communities face challenges, they must come together and pool resources and skills in order to address and transcend the challenge. With this in mind, it became clear that the variable component in the game should represent the challenges that places face and the mechanisms employed in reacting to the challenges should mirror those of lived experience. This reexamination and reflection on how communities face challenges to place made the implementation of this mechanism in the game much clearer.

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Roles are refined The player roles were again refined through the development of this iteration in order to accommodate the new component of challenges and to streamline and integrate the way that players interact with one another. At the end of the fourth iteration, the plan was to add more player roles in order to allow for more players to participate and to make game play more exciting and engaging. However, it became apparent that this would further complicate the game and make developing a functioning and streamlined prototype difficult. In light of this, it was decided that the initial prototype would have only four players and four player roles. After further testing and once a refined and successful prototype was created, the game could then be expanded to include more roles and more players.

Set up is rethought With this iteration, every part of game play was considered, including how the game is set up. The aim was to reflect the overall objectives of the game in every aspect, even in setting up the game. There was also an effort made to structure the game experience in a way that introduced players to the rules and strategies in a gradual way, integrating learning into the game play, rather than requiring players to read an instruction manual and understand all of the rules before beginning to play. In order to achieve this, a new procedure for deciding on the arrangement of the place tiles was implemented that invoked storytelling right away and would hopefully work to introduce players to one another, to the place they were discussing and to the spirit and objective of the game.

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Necessity of prompts is realized In testing the fifth iteration, the necessity of clear and explicit prompts and direction was underscored. If the game was to elicit meaningful and relevant stories, the directions must be clear to the players regarding what qualifies as a story and what qualify as assets. In addition, it became clear that players would need to be prompted to engage in reflection during game play. It was identified that the best place to provide these prompts and direction would be in the gameâ&#x20AC;&#x2122;s supporting documentation.

Communicable results remain elusive In its fifth iteration, the game still was not able to capture results effectively during game play. Instead, players would be encouraged to engage in a reflection exercise after the game was complete in an effort to recap the stories, challenges and successes that were uncovered during the game. Ideally, this capacity for record keeping would be built into the game so that by the time the game was complete, the results would already be tabulated and ready to be shared.

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PROTOTYPE

Once the game reached a point where it was playable and embodied as many of the design objectives as possible, it was time to create a prototype that could be tested. This provided the opportunity to fine-tune everything from the game mechanisms to the production materials and processes to the aesthetics. This was an important point in the design process as it made apparent flaws and shortcomings that were overlooked in the design iterations. Also, in creating the prototype, assumptions that had been formed about the materials and processes that would be necessary to produce the game were tested and in some cases discarded all together.

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160

PROTOTYPE Action cards (discard pile) Role cards

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Story markers Challenge dice Assets

Place tiles

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Directions

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164

165

166

167

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VII: TEST Reflect on design choices and proposed solution in light of all data and information collected. Measure the effectiveness of the proposed solution using previously determined strategies and methods.

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PROTOTYPE TESTING

PLAYER PROFILES SO:

23; recent graduate from NSCAD University; originally from Saint John, New Brunswick; has lived in Halifax for 6 years; works in design and retail

JM:

29; originally from Pictou, Nova Scotia; studied for four years in Ontario; has lived in Halifax for 4 years; works in environmental science and technology

LW:

26; recently moved to Nova Scotia; originally from Huntsville, Ontario; has lived in Halifax for 1 year; works in construction

Note: Participants were familiar with one another before playing the game.

COMMUNITY IN QUESTION Because participants all resided in the same neighbourhood and each had a deep connection to the place, it was selected as the community in question for the game. Halifaxâ&#x20AC;&#x2122;s North End is a community located in the north part of the cityâ&#x20AC;&#x2122;s downtown core. Map data: Google, 2014

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SHARED STORIES OF PLACE Gentrification

“I don’t think it’s derogatory. It just means you’re from somewhere else.” (JM)

“Three months ago, I would’ve said we needed more bars and cafes, but Dynamic Communities suddenly we’ve got tons of those. It seems this area is gentrifying really “When I first moved to Halifax, I lived next quickly. It reminds me of something I to the needle exchange. I thought living heard recently at a spoken word event. there was interesting. There’s a dynamic One of the poets was talking about population around that area. Monday and Africville and said something like: ‘buildSunday mornings, there would always ing parks on the graves of our forefathers be some interactions or altercations. Not so that your dogs can shit on them.’ It that the stories were always negative. made me think about people getting But I think that little hole-in-the-wall door pushed out of communities—like, will that that, you know, a lot of people would ever happen to us?” (SO) walk by, it served a real need and a fulfilling purpose in the community for a lot of people who relied on that service.” (JM) Not belonging “When you mention come-from-aways, my instinctual reaction is to grumble. A CFA is someone who comes from outside the Maritimes, I think. It just means someone who isn’t from said place.” (JM) “But there’s something derogatory about it—like ‘you don’t belong here.’” (SO)

walking by and asking ‘What’s going on? Can I help?’ One neighbour ended up lending me a charger, another neighbour who’s a photographer lent me an extension cord and someone else let me plug everything into their outlet. But nothing worked. In the end, another buddy came over who knew cars and it turns out the transmission had slipped out of place. It was just one of those situations where I couldn’t have figured it out without the help of all my neighbours. Of course, once they found out what happened they all laughed at me. I am the person in the neighbourhood that always needs help. But, lucky for me, they always come to my rescue. That’s why I love living here.” (SO)

Helpful neighbours “I think community always comes down to the social aspects, for me. The little corner that I live on is awesome. Like one time, my car wouldn’t start. My next door neighbour lent me cables and we tried to boost it, but it didn’t work. People were

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REFLECTION

“The game is like a stir-up tool, giving people a reason to talk to one another about things in our community, good or bad, that we don’t always talk about.” Participant (LW)

DESIGN OBJECTIVES Connect

Engage

Generate

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Even with this test group of individuals who inhabited the same neighbourhood and knew each other beforehand, the game proved to be a powerful tool in enabling collaborative storytelling. The stories that were told were diverse, colourful and at times controversial, inspiring further dialogue about a series of real challenges that face the community in question. Players had a range of perspectives that occasionally were at odds with one another, but all stories were heard and discussed by the group, exemplifying the game’s capacity to accommodate different and opposing views without resulting in confrontation or conflict.

Moderation requirements It was noted by players that the most enjoyable part of the game was the setting-up phase, where the stories were quick, personal and diverse. Later in the game, the play got somewhat bogged down in the directions and more challenging mechanisms. This could have been the result of unclear direction or a problem with the sequencing of the game. As a result, it became clear that, in order to be most effective, the game would require a moderator who was familiar with the game and could provide gentle direction, prompts and questions during game play. It would be best if the moderator could track the stories and results of the game in real time and be prepared to facilitate a postgame discussion, reflecting on the types of the stories that were told, the challenges and solutions that the players came up with and the community assets that were discussed. The true power of the game lies in its ability to introduce players to one another, to highlight varying perspectives of place and to generate conversation that otherwise would not have occurred. If players get too focused on the mechanisms and strategy of the game, they risk being distracted from telling authentic, meaningful and deeply considered stories. As a result, appropriate and effective facilitation of the game is critical. Also, in order to produce results that are meaningful and communicable, a mechanism must exist to capture the stories that are told, the solutions to challenges that are imagined and the community assets that are uncovered.

Diverse perspectives The individuals that tested the game were familiar with one another beforehand and many of the stories they had of the community in question involved one another. This produced interesting results where players offered their different perspectives on the same stories. This would not always be the case, particularly if the players were not familiar with one another in advance. In addition, this test group was from relatively the same socio-economic strata (age, income level, interests, etc.). This meant that the perspectives were not as diverse as they could have been. In subsequent tests of the game, it would be ideal if the sample group were made up of individuals from a range of socio-economic groups. Despite this, the game demonstrated its ability to prompt reflection on the role that players serve in their real-life communities. Particularly in the second stage of set-up, where players describe places they would like to see grow or be introduced in their communities, players found themselves imagining the ways in which the community could serve them better. After the game, players reflected that this conceptualization of themselves as key players in the community, who have opinions on what’s missing, is not one they think of often. In addition, by imagining ways they could face challenges together, they were able to see that as an individual, they have the ability to affect change in their community. This was a powerful moment for the players and illustrates the capacity this game has to shift players’ perspectives on place and their role in it.

Going Forward

“I think the game opens you up to the people you are playing with and in turn the place. The places play such a huge role in the stories that inevitably you will be reminded of them if you walk through that location later on. Or you’ll be inclined to visit a location you have never been...I have a feeling that with every new player you introduce, you open a whole other spectrum of stories and experiences. I’d like to play with strangers.” Participant (SO)

Overall, this test of the game was successful. It highlighted the strengths of the game and opportunities for further development. It also underscored the challenges that the game faces and players provided suggestions on how its shortcomings could be addressed. Subsequent testing will be invaluable, particularly with groups that have a diverse socio-economic composition.

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VIII: ANALYZE Collate, reflect on, interpret and articulate results.

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FINAL RESEARCH POSTER

STORYPLACE

media review

Building strong communities through shared stories of place

contextual review interviews

THE CHALLENGE

graphic modelling

Place is a fundamental source of identity for individuals, communities and nations. In todayâ&#x20AC;&#x2122;s connected and highly mobile society, place-based identities are changing. In light

literary review

deep observation

visual brainstorming

idea mapping artifacts

of this, new ways of connecting with place are needed. SYNTHESIZE

How can design help to facilitate and foster meaningful

connections to place in a way that supports strong communities? INVENT

diagramming & sketching models scenario testing

THE RESEARCH Using a research methodology based in the design process and drawing on action research, this project sought to identify opportunities for intervention in the creation of place-based identities, with the goal of fostering collaborative dialogue, celebrating dynamism and diversity and supporting inclusive, progressive and strong communities.

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EXECUTE

prototyping

TEST

prototype testing

interviews

THE REALIZATION Stories are the currency of place. Through the exchange of stories, the abstract concept of place becomes real and tangible. When individuals come together to share stories of place, they generate more authentic and collective identities of and with place, therefore contributing

Research methodology

to stronger communities. So how can design encourage and enable individuals to generate, gather and share stories of place?

IDENTIFY

THE RESPONSE StoryPlace

ATHER

A game of collaboration, community & storytelling

StoryPlace is a tool that enables and inspires collaborative community storytelling. By bringing together a diverse group

IMPLEMENT

of perspectives to generate, share and imagine stories of place, the game allows individuals to reimagine their community together in terms of possibilities, assets and abilities. The game provides a framework for engagement upon which stronger, more authentic personal and collective place-based identities

REVIEW

ADJUST

can be built, thus contributing to the development of strong, inclusive and progressive communities.

EVALUATE

ANALYZE

Roles & abilities

Community map

Stories of place

Community assets

Collective challenges

Each player has a different role

A modular board allows players

The game requires players to

The game places emphasis on

Players work together throughout

with a unique ability. Players must cooperate in order to leverage the full potential of the groupâ&#x20AC;&#x2122;s

to map their community together, identifying opportunities and imagining what their community

generate and share a number of personal and collective stories. The game values stories that are

a communityâ&#x20AC;&#x2122;s assets rather than its deficiencies. Players must incorporate the assets into their

the game and face challenges as a team. To be successful, they must cooperate and pool their

abilities in realizing possibility and overcoming collective challenges.

could look like in the future.

colourful, diverse and compelling but they donâ&#x20AC;&#x2122;t have to be positive.

stories of place.

resources, assets and abilities.

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CONCLUSION

Design is able to act as a platform for collaboration and communication. By engaging a diverse group in sharing and generating stories of place, the game contributes to the formation of more authentic and meaningful place-based identities, thus building strong communities.

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This project began as an exploration of how design could facilitate the creation or strengthening of authentic and meaningful place-based identities in support of the development of strong communities. It rested on the understanding that the places we inhabit play a critical role in who we are as individuals and the way we interact with one another. The results of the literary, media and contextual review, as well as initial design explorations, revealed that the way we connect with place is changing in a society that is highly mobile and connected. As a result, some believe that authentic and meaningful places are at risk of being overtaken by geographical homogenization and globalization. Others assert that it is the way we identify and engage with place that is changing, rather than the places themselves, and new tools are therefore needed that foster and facilitate connections with place. Through the development of several design concepts and a contextual survey of the state of place-based connections, particularly in rural communities in Canada, it became apparent that the experiences, perceptions, identities and feelings that we form around place are transmitted and transformed through stories. When individuals gather to share, generate and imagine stories of the places they share, a collective sense of place is created, thus building or strengthening a culture of community. Communities depend on these collective stories of place for their economic vitality; for the health and well-being of their members; to encourage environmental sustainability; to inspire stewardship; and to strengthen the social networks that exist within them.

Guided by a research methodology based in the design process and drawing on action research, the result of this project has been the creation of a tool that enables and inspires collaborative community storytelling. The goal is that by introducing a diverse range of perspectives to one another in sharing personal stories of place, individuals can reimagine their community together in terms of possibilities, assets and abilities. In generating new collective stories of place, community members are able to turn challenges into opportunities and identify and form new partnerships for collaboration between sectors, individuals, socio-economic groups and other communities. In the end, the game provides a framework for engagement upon which stronger, more authentic personal and collective place-based identities can be built. It rests on an engaged and multifaceted group of players and a capable facilitator who could expand on and grow from the ideas raised during game play. By connecting individuals from a range of backgrounds and encouraging them to share, generate, imagine and play together on the same level, the development of strong, inclusive, dynamic and progressive communities is made possible.

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“Stories have to be told or they die, and when they die, we can’t remember who we are or why we’re here.” Sue Monk Kidd, The Secret Life of Bees, p. 133

StoryPlace Emma Joy Lovell Master of Design NSCAD University 2014