Child centred design for education by Estefania Trisotti

CHILD-CENTRED DESIGN FOR EDUCATION

ESTEFANÍA TRISOTTI BERNAIN MA SERVICE DESIGN / ROYAL COLLEGE OF ART Word count: 9,411 / Tutor: Harriet McKay / September 2016

CHILD-CENTRED DESIGN FOR EDUCATION Applying service design principles to design for young learners

Dissertation researched and written by EstefanĂa Trisotti Bernain as part of the Critical History Study course.

CONTENTS

List of figures

Introduction

Designing for children today

Service design principles and case studies

KAD Lab

Conclusion

Appendix

Bibliography

LIST OF FIGURES

Figure 1: The Children’s Creativity Museum, <http://dylanje.blogspot. co.uk/2012/05/childrens-creativity-centre-for-wales.html> [accessed 27 September 2016]. Figure 2: The Children’s Creativity Museum, <http://redtri.com/san-francisco/ kids-create-and-experiment-at-the-childrens-creativity-museum/> [accessed 27 September 2016]. Figure 3: BFS pupils preparing signs for “March agains the unfair treatment of black people”, September 26 2016, < http://www.brooklynfreeschool.org/mission/ > [accessed 27 September 2016]. Figure 4: Huffington Post, Brooklyn Free School, <http://www.dek-d.com/ studyabroad/41659/> [accessed 27 September 2016]. Figure 5: Filisia interfaces, Alex plays the ‘reaction to stimuli’ module, <http://filisiainterfaces.com/cosmo/> [accessed 27 September 2016]. Figure 6: By Author, Cosmo service blueprint. Figure 7: Jake Stangel, <http://www.bloomberg.com/news/articles/2013-07-11/ diy-dot-org-be-prepared-for-21st-century-scouting> [accessed 27 September 2016]. Figure 8: DIY, Create a Kid Profile, <chttps://join.diy.org/join/ profile?next=https%3A%2F%2Fdiy.org> [accessed 27 September 2016]. Figure 9: DIY, Create a Kid Profile <https://join.diy.org/join/ profile?next=https%3A%2F%2Fdiy.org> [accessed 27 September 2016]. Figure 10: Tech Insider, Innova school <http://www.techinsider.io/innovaschools-in-peru-offer-great-education-for-cheap-2015-7/#dotting-perus6

landscape-are-29-innova-schools-serving-nearly-20000-students-in-the-k-11system-each-building-is-modular-the-walls-and-chairs-are-movable-andthe-spaces-are-designed-for-teachers-to-shift-lessons-quickly-and-easily-1> [accessed 27 September 2016]. Figure 11: Thor Swift <http://www.nytimes.com/2014/07/06/business/ international/shaping-a-school-system-from-the-ground-up.html?_r=0> [accessed 27 September 2016]. Figure 12: Tech Insider, Innova school <http://www.techinsider.io/ innova-schools-in-peru-offer-great-education-for-cheap-20157/#innova-insists-that-kids-need-to-be-self-directed-if-theyre-ever-tosucceed-as-a-result-each-child-participates-in-the-schools-innovationprogram-which-gets-them-all-thinking-about-one-social-challenge-at-the-endof-the-year-students-present-their-solutions-together-7 Author: Enrique Castro-Mendivil/Reuters> [accessed 27 September 2016]. Figure 13: Design Council, Double Diamond (2007), adaptation made by author < <http://www.designcouncil.org.uk/sites/default/files/asset/document/ Design%20methods%20for%20developing%20services.pdf> [accessed 27 September 2016]. Figure 14: By author, Stakeholder map for inspiration. Figure 15: By author, Examples of stakeholders defined during a stakeholder analysis meeting at Kings College Guildford school. Figure 16: Eden, Colin, and Fran Ackermann. â&#x20AC;&#x2DC;Analysing and comparing idiographic causal maps.â&#x20AC;&#x2122; Managerial and organizational cognition: Theory, methods and research (1998), adapted by author. Figure 17: Innovation Unit, Table 1. An abridged stakeholder analysis table, adapted 7

by author, <https://www.csu.edu.au/__data/assets/pdf_file/0018/109602/EFS_ Journal_vol_5_no_2_02_Kennon_et_al.pdf> [accessed 27 September 2016]. Figure 18: Photographed by author, Stakeholder analysis at Kings College Guildford 1. Figure 18: Photographed by author, Stakeholder analysis at Kings College Guildford 2. Figure 20: By author, Persona printable design. Figure 21: By author, Consent form template for parents, guardians or carers to fill out for research purposes.

INTRODUCTION

My interest in design for children began four years ago when I started working as a graphic and interface designer for an online educational start-up. During this experience, I was introduced to the “ed-tech”1 world and became fascinated by the way innovative industries are designing products and services for children. I noticed there was rarely a focus on truly understanding users, and this did not just apply to children, but to parents and educators as well. We broadly understood who these users were, and what they needed, but there was a big separation between what happened inside the start-up, and what happened in the schools and homes, where our digital products were used. The idea of aligning services and products to the users’ needs known as User centred design, has been increasingly recognised in the past few years, but nevertheless, it is still uncommon to find this in real world industry.2 These issues stimulated my interest in this subject and studying service design at the Royal College or Art has me the opportunity to research it in more depth. Practising service design over the last year has reinforced my belief that graphic design enhances communication and reduces the disconnection between what happens in the “design world” and what happens in the “users’ world”. This does not just apply to graphics that captivate people by presenting a finished product, but also their use in earlier stages of research: to create tools; to demonstrate methods; and to persuade and engage people. Service design can be applied to countless areas such as healthcare, social care, environment or education. For this reason, I began wondering if there was a way to construct a customised set of tools that can be used when designing for children, as an opportunity for designers to be more forensic, to save time and to create products that bring value to young learners.

1 EdTech is a study and ethical practice for facilitating learning and improving performance by creating, using and managing appropriate technological processes and resources. In other words, use of technology in form of products/apps/tools to enhance learning, pedagogy and instruction. 2 Tim Brown, ‘When Everyone Is Doing Design Thinking, Is it Still a Competitive Advantage?’ Harvard Business Review (August 2015) <https://hbr.org/2015/08/when-everyone-is-doing-design-thinking-is-it-still-acompetitive-advantage> [assessed 19 September 2016].

Design thinkers can significantly improve education for children. The accelerated expansion of technology and communication has stimulated the need to change the way educational services for children are planned, designed and delivered. Educators and service design agencies are proposing that new educational models should be focused not only on knowledge,3 but on the constant creation of skills, empowering children to participate, communicate and innovate in preparation for the challenges of an unpredictable future.4 When we think of educational services, we tend to think of schools, but learning happens in a much larger, intangible and complex context: children learn at home, while playing, within a community, within a culture, and increasingly today, through interconnected channels. If service design is an interdisciplinary and evolving approach that combines different methods and tools from various disciplines,5 I would argue that the approach is perfectly suitable for innovation in education for children. Being intrinsically empathic and holistic, service design (or as many call it, â&#x20AC;&#x153;design thinkingâ&#x20AC;?) can be a valuable approach to create child-centred learning initiatives, at different levels of complexity. This dissertation aims to reflect on design for children today from a service design perspective that values the role of graphics to enhance constructive and collaborative communication. It asks: what are the particularities of designing services for children instead of adults?; How does it happen in practice?; And, since the tools and methods of service design can be used in almost every context, would it be possible to adapt some tools and methods, and customise them for educational purposes? To answer these questions, I will explore how five underlying principles of service design can be applied to the design of educational services for children. By understanding the principles and exemplifying each with real cases, I will propose a framework containing tools I have customised to inspire designers across various fields to enhance learning for children. I am focusing on children aged 2-12 for the following reasons. Children less than two years old are simply too young to co-design, and at around twelve years old children transition into adolescence, which is a significant enough change to require a different

3 Bill Lucas and Guy Claxton. Wider Skills for Learning: What are They, how Can They be Cultivated, how Could They be Measured and why are They Important for Innovation? (London: NESTA, 2009). 4 Bernie Trilling and Charles Fadel. 21st century skills: Learning for life in our times. (San Francisco: John Wiley & Sons, 2009). 5 Marc Stickdorn, Jakob Schneider, Kate Andrews, and Adam Lawrence. This is service design thinking: Basics, tools, cases. (Hoboken: Wiley, 2011) p. 28.

approach. In addition, there are many studies showing the valuable impact of early intervention programmes on outcomes for children.6 Therefore, focusing on children up to twelve years old is likely to maximise their potential. The first section will describe today’s educational landscape and the main challenges designers face when designing for children. This will be followed by a brief introduction to service design, highlighting what it can offer within the educational sphere. In the third chapter I will present the five key principles of service design, namely that it: is user-centred; is co-creative; uses sequencing; uses evidencing; and is holistic.7 Each principle is explained, and an illustration is provided of how the principle could be used in service design with 2-12 year old children. As the point of this exercise is to be user- or child-centred, the principles will be accompanied with case studies of service design in education, highlighting key learning and appropriate tools. The following chapter, presents my framework proposal “KAD Lab”, which is an initiative that identifies tools and methods that designers can use to develop services for children. The KAD tools aim to encourage designers to use problem-solving techniques to innovate within education. This study combines different theories and perspectives drawing on educational, psychological and design thinking sources. The aim is that this dissertation will allow me to acquire a new perspective and become a better trained designer able to meet today’s educational demands.

6 Adnan T. Bhutta, Mario A. Cleves, Patrick H. Casey, Mary M. Cradock, and K. J. S. Anand, ‘Cognitive and behavioral outcomes of school-aged children who were born preterm: a meta-analysis,’ Jama 288.6 (2002). 7 Stickdorn, Schneider, Andrews and Lawrence.

DESIGNING FOR CHILDREN TODAY

‘THE PRINCIPAL GOAL OF EDUCATION IS TO CREATE INDIVIDUALS WHO ARE CAPABLE OF DOING NEW THINGS, NOT SIMPLY REPEATING WHAT OTHER GENERATIONS HAVE DONE.’⁸

Jean Piaget

RESISTANCE TO CHANGE

The debate around education is exposing an urgent need to evolve in response to the fundamental changes that the world has experienced over the last few decades.9 These conversations are acknowledging the need to find ways to empower children with the knowledge, skills and confidence they need to shape a better future.10 However, many describe education as an area that has been “resistant to change”,11 not able to achieve the critical mass of thinking and practice that could create improvement. As education is one of the foundations of the future of any individual and culture, the reasons for this may largely be political. Areas like healthcare have benefited enormously from technological innovation, as have so many other disciplines such as engineering, science and the arts. This problem is clearly addressed by Sir Ken Robinson in a 2008 RSA Animate video about Changing Education Paradigms12 where he highlights that the current system of education was designed and conceived in the intellectual culture of the Enlightenment and modelled on the interests and economic circumstances of the Industrial Revolution.13 He said: Every country on earth at the moment is reforming public education [...]The problem is they are trying to meet the future by doing what they did in the past. [...]Schools are still pretty much organised on factory lines — ringing bells, separate facilities, specialised into separate subjects. We still educate children by batches.14

Jean Piaget, quoted in Sarsani, Mahender Reddy. Creativity in education. (New Delhi: Sarup & Sons, 2005) p. xiv.

9 Trilling and Fadel.

10 United Nations Educational, Scientific and Cultural Organization, ‘Education Counts: Towards the Millennium Development Goals’, Unesco (2011) <http://unesdoc.unesco.org/images/0019/001902/190214e. pdf> [assessed 25 September 2016]. 11 Claxton, Guy, Maryl Chambers, Graham Powell, and Bill Lucas. The learning powered school: Pioneering 21st century education. (Bristol: TLO Limited, 2011). 12 RSA Animate: Ken Robinson: Changing Education Paradigms, online video recording, TED, October 2010, <https://www.ted.com/talks/ken_robinson_changing_education_paradigms> [accessed 28 Septmeber 2016]. 13 RSA Animate: Ken Robinson: Changing Education Paradigms, online video recording, TED, October 2010, <https://www.ted.com/talks/ken_robinson_changing_education_paradigms> [accessed 28 September 2016]. 14 Ken Robitson, ‘Changing education paradigms, Transcript of the lecture’, RSA Animate (2011) <http:// www.learninginstitute.co.uk/wp-content/uploads/2016/07/rsa-lecture-ken-robinson-transcript.pdf> [accessed 28 September 2016]. p. 2.

IS TECHNOLOGY THE ANSWER? Ken Robinson is not the first person broadcasting a need for change. In the early eighties, Seymour Papert (1980) also highlighted concerns about of the future of education. An early pioneer of artificial intelligence and father of the educational computer, Papert foresaw the challenges that education would face with the rise of computers. Heavily inspired by Piaget’s constructivist theory (explained later in this dissertation), Papert wrote the book Mindstorms, Children, Computers, and Powerful Ideas.15 He challenged the whole idea of how education is delivered and drew attention to the potential that computers and artificial intelligence will have in the future of education, establishing that children can intellectually develop without being taught. He wrote: Although technology will play an essential role in the realisation of my vision of the future of education, my central focus is not on the machine but on the mind, and particularly on the way in which intellectual movements and cultures define themselves and grow. Indeed, the role I give to the computer is that of a carrier of cultural “germs” or “seeds” whose intellectual products will not need technological support once they take root in an actively growing mind.16

Even though technology is by far the most important 21st century skill,17 Papert questions whether it is the key vehicle for change. There is little evidence that technology alone helps individuals actually develop new skills,18 and its role has often been misunderstood. It is not about buying the latest technological gadgets for a classroom, but rather thinking about how technology might be effectively applied to meet the real needs of young learners. For example, there is an abundance of powerful applications designed to enhance a child’s creativity, but having a child spend 6 hours a day in front of a screen (as studies have demonstrated19) will not improve their cognitive and social development. If technology will not bring change by itself, what will? Who is supposed to champion the change that is needed? Guy Claxton and Bill Lucas stated that

15 Seymour Papert. Mindstorms: Children, computers, and powerful ideas. (New York: Basic Books, Inc., 1980). 16 Ibid., p. 5. 17 The term “21st-century education or skills” is generally used to refer to certain core competencies such as collaboration, digital literacy, critical thinking, and problem-solving that advocates believe schools need to teach to help students thrive in today’s world. In a broader sense, however, the idea of what learning in the 21st century should look like is open to interpretation—and controversy. 18 The Economist Intelligence Unit, ‘The learning curve: Education and Skills for Life’, Pearson (2014): 2. 19 Jane Wakefield, ‘Children spend six hours a day or more on screens’, BBC News (27 March 2015) <http:// www.bbc.co.uk/news/technology-32067158> [accessed 20 September 2016].

‘Schools are in urgent need of redesigning’20, attributing the resistance to change to: politicians whose time horizon is based on their election cycle; unrealistic radical ideas; and academic educationalists that do not have the requisite sense of urgency. They believe that headteachers and their staff are the ones who will increasingly lead change. The traditional approach to education policy and practice is very top-down and it is true that, in this context of conservatism, change is most likely to happen from the bottom-up. Indeed, many of the most exciting innovations, encountered while writing this dissertation, come from the front line, not large organisations and government departments. However, in contrast to Guy Claxton and Bill Lucas’ opinion, this is not a task that should be left to educators alone. Improving the future of education, requires a broad range of actors, who should collaborate in a supportive atmosphere. This dissertation proposes that there is an opportunity for designers, to work alongside educators and other relevant stakeholders, to create change. Designers cannot innovate in isolation and it is not possible to redesign the whole of education, it is simply too big. This further highlights the role that technology can play. The internet allows creative people to share ideas, collaborate and inspire others. There is much potential to exploit this further.

FOSTERING 21ST CENTURY LEARNING SKILLS The workforce of the future will need to adapt to the rapid pace of technological change by continuing to upgrade their skills. The importance of lifelong learning cannot be overestimated.21 Governments all around the world are under pressure to deliver improved learning outcomes because they are increasingly important ingredients of success.22 In order to continually improve educational approaches, it is necessary to have an understanding of the purpose of education. Is it inculcation? Is it about values and ideas? Is it developmental? How should children learn today? How do children learn best? All of these questions demand thoughtful debates and solutions which are impossible to address fully in this dissertation, however,

20 Guy Claxton and Bill Lucas. ‘What kind of teaching for what kind of learning’ SSAT (2013) p. 2. 21 Alexis M. Herman. Futurework: Trends and challenges for work in the 21st century. (US: Department of Labor, 1999) p. 74 22 The Economist Intelligence Unit, p. 2.

they are necessary questions. Across the globe, opinions and perspectives about the purpose of education vary and individuals and governments have their own definitions. What is considered ‘good’ for education in the UK,23 may not be the exactly the same as in Chile,24 or in China.25 Understanding the context of a problem is a primary consideration before taking action. However, there is broad agreement that educational models today should be focused on the constant creation of skills as well as knowledge, empowering children to participate, communicate, and innovate to face the challenges of an uncertain future.26 If we look at different educational curricula, the idea of promoting skills is usually present, even though it does not always occur in practice: One of the most pervasive and endemic problems in education in just about every country is the lack of attention paid to skills provision. Even in the richest countries, fewer than half of school students are career or college ready, with the result that higher education institutions and employers often find themselves re-skilling school leavers before they embark on the next phase of their lives.27

Knowledge is crucial, but young learners need to understand how to find it, how to interpret it, how to utilise it and how and when to act on it, and this requires a broad set of skills. According to the ‘The Learning Curve’ report, the eight skills that are crucial to young people’s future success are: leadership, digital literacy, communication, emotional intelligence, entrepreneurship, global citizenship, problem-solving and team-working.28 The problem is that there has been little political will from governments to promote these skills despite the fact that many employers have been constantly demanding an improvement in these areas.29 To put it in context, the OECD estimates that half of the economic growth in developed countries in the last

23 HM Government, ‘The purpose of education’, Department for Education (July 2015) <https://www.gov.uk/ government/speeches/the-purpose-of-education> [accessed 27 September 2016]. 24 World Data on Education, ‘Chile’, Unesco (2007) <www.oei.es/historico/pdfs/Chile_datos2006.pdf> [accessed 29 September]. 25 World Data on Education, ‘China’, Unesco (2007) <http://www.ibe.unesco.org/sites/default/files/China. pdf> [accessed 29 September]. 26 Lucas and Claxton, Wider Learning Skills, p. 10. 27 The Economist Intelligence Unit, p. 1. 28 Ibid., p. 7. 29 The UK Commission for employment and skills, ‘The Employability Challenge’ UKCES (2009) p. 1.

decade came from improved skills.30 For this reason, when designing for education today, it is critical to find ways to inculcate these wider skills in young people, to help them navigate their way through an increasingly uncertain and unpredictable world â&#x20AC;&#x201C; a world in which the ability to create and implement new ideas will be essential.31 Most of the literature around the need to change in education is around the what needs to be done, such as developing skills in young learners, and the the reasons why, for example responding to the social and economic challenges of the 21st century. However, there is little information and consensus around how this change might happen and who is best placed to lead and deliver it.

EDUCATING CHILDREN THROUGH THE LENS OF SERVICE DESIGN Service design is less than twenty years old, and it is often difficult to explain what it is. Many books and academic articles have tried to explain it, but there is still not an agreed definition or even an agreed name, as it also called design thinking or human-centred design, among other terms. According to Stefan Moritz: Service design helps to innovate (create new) or improve (existing) services to make them more useful, usable, desirable for clients and efficient as well as effective for organisations. It is a new holistic, multi-disciplinary, integrative field.32

In comparison to other design disciplines, the design of a service implies a service provider and people who will use that service in a specific time and space. A service can have multiple users, artefacts, environments, interpersonal encounters and touch-points. For example, a service designer specialising in healthcare, will consider not only the needs of the patients, but also the circumstances of the providers, nurses, doctors, infrastructure, legislation, online communication and much more, in order to examine how the service is orchestrated. This holistic approach enables the identification of touch-points33

30 The Economist Intelligence Unit, p. 8. 31 Lucas and Claxton, Wider Learning Skills, p. 10. 32 Moritz, Stefan. â&#x20AC;&#x2DC;Service design: Practical access to an evolving fieldâ&#x20AC;&#x2122;, KISD (2005) p. 5. 33 Touch-points are one of the central aspects of service design. These are the points of contact between customers and service provider. This could be understood as the people, information, products and spaces that one might encounter in service.

and pain-points34 that will be redefined as design opportunities. These can spark ideas that can be converted into service propositions that are viable, desirable for the users, commercially appealing and that will ultimately bring value into the patient’s lives. Today, service design is moving inside organisations and governments that want to innovate and improve their service strategies, offers and user experiences. In addition, service design can empower users and staff to work bottom-up to improve services and this makes it a particularly relevant approach to apply to education. Service design for education can embrace a variety of interventions to improve learning experiences using a design thinking approach. This could range from mini-interventions, such as designing an app to help children to learn how to write, to complex interventions, such as providing systems to facilitate school-community connections. Service design borrows thinking from many disciplines, such as ethnography, psychology and business management, and uses a range of tools such as interviewing, designing blueprints, prototyping and creating storyboards. Although these tools are flexible, and designers can adapt them to a particular context, those who are not service design experts may struggle to identify the right tool for their particular needs. For example, designing projects for hospitality, is different from designing for clients within banking, or for children within education. Therefore, there is in an opportunity to design guidelines and customised tools and methods for service design in education. However, service design alone, just as technology, is not the answer that can solve all education’s problems. What it can really do, when it is applied well, is bring value to institutions, by helping to find innovative solutions that work at any scale and that are aligned to 21st century educational challenges. In the next section, I will explain the 5 core principles of service design, illustrating them with real case examples. They all aim to enhance and foster the skills that individual children need to acquire in the 21st century.

34 Pain points are touchpoints where the experience, from the point of view the user, falls flat or is inconsistent with the totality of the experience. Steven Bell, ‘Get in with your touchpoints’, Designing Better Libraries (2012) <http://dbl.lishost.org/blog/2012/05/15/get-in-touch-with-your-touchpoints/#.V-xTYjuRze1? [accessed 28 September 2016].

SERVICE DESIGN PRINCIPLES AND CASE STUDIES

3. SEQUENCING

Cosmo Therapy

4. EVIDENCING

DIY

2. CO-CREATIVE

Brooklyn free school

1. USER-CENTRED

Childrenâ&#x20AC;&#x2122;s creativity museum

5. HOLISTIC

Innova schools

In order to provide a better understanding of how the service design approach could be applied when designing for children, I will consider the core principles behind service design, as defined by Marc Stickdorn and Jakob Schneider in the book This is Service Design Thinking.35 The foundational principles are: usercentred, co-creative, sequencing, evidencing and holistic. After explaining each one of the principles, I will show how these are relevant to education by referencing real service design case studies with children, reflecting on their practices, to help identify the key factors a designer should consider when designing services for children. Note that the order of the principles does not reflect the sequencing of the design process.

1. USER CENTRED The user-centred principle, known also as human-centred design is about deeply understanding the people we are designing for, in order to create new solutions that are aligned to their needs. It is probably the most important characteristic of service design, which is intrinsically present in the other four principles. Placing people at the centre of the design process implies having an empathic approach that considers the needs, expectations, anxieties and behaviours of the people we are designing for. What does it mean to do user-centred work with children? Moving from a usercentred to a child-centred approach means addressing considerations that are not present when designing for adults. The cognitive developmental level of a child changes over time, so the design approach needs to take this into account. Understanding the age group of the children is fundamental: what might work for a four year old will not necessarily apply for a seven year old. For this reason, it is important to understand children’s developmental stages. The most influential theorist in the study of cognitive development was Jean Piaget, (1896 -1980) a Swiss clinical psychologist known for his pioneering work in child development. Piaget’s Cognitive Development Theory, is labeled as constructivist ‘because it considers that children construct knowledge for themselves’.36

35 Stickdorn, Schneider, Andrews, and Lawrence. 36 Constructivist view: The view that people construct their own knowledge and understanding of the world by using what they already know and understand to interpret new experiences.

Piaget based his Theory of Cognitive Development on four main learning concepts: schemata, assimilation, accommodation, and equilibrium. These take place at each of four age stages: Sensori-motor (from birth to 2 years), Preoperational (from 2 to 7 years), Concrete Operational (from 7 to 12) and Formal Operational Stage (from 12 to 15-20).37 I will describe the key points of the preoperational and concrete operation stages only, since those periods cover the ages from 2 to 12. Pre-operational Stage 2-7 years: During this stage, children do not yet understand concrete logic, perceiving the world only from their point of view, (Piaget called it intuitive),38 through language and mental images. Even toddlers that are not speaking yet understand most of what they hear, indicating that they are able to make associations. As designers, we might not always be able to fully communicate with 2 to 3 year olds, so it is necessary to use observation with them. If we focus on four years olds, we can engage in real conversations since there is a significant increase in childrenâ&#x20AC;&#x2122;s vocabulary and grammar after around 18 months old. By 5 years, their vocabulary is more than 2,000 words making communication more straightforward.39 However, communication will be significantly improved if we can add visual images or artefacts to supplement speech for young children. Concrete Operational stage 7-12 years: During the concrete operational stage, children think more concretely and in a decentered way, and can consider several aspects of a problem.40 However, at this stage their thinking is still closely limited to concrete materials, context and situations. This means that intangible reasoning is not yet developed (therefore the name concrete operational). It might be more straightforward to design with, and for, children within this stage than in the pre-operational stage, since there are more ways to communicate with them. In addition, egocentric behaviour is no longer present, so children are able to distinguish between their own perspective and that of another person. Supplementing communication with visual and concrete stimuli will assist with this. However, service designers should avoid abstract language.

37 Joan Littlefield-Cook, Greg Cook, Laura E. Berk, and Helen Bee. â&#x20AC;&#x2DC;Child development: Principles and perspectives.â&#x20AC;&#x2122; Allyn and Bacon Vol. 55. (2005): 10. 38 Ibid., pp. 10-11. 39 Ibid., p. 14. 40 Ibid., p. 14.

An important consideration when creating services for children, is that there is no difference between playing and learning. Debra Levin Gelman, author of Designing for Kids wrote: Unfortunately, education systems in many countries throughout the world have taught us that playing and learning are separate activities—one is conducted in a classroom setting, and the other on a playground. In fact, every time designers mention the importance of play when designing for kids, they usually counter it with this thought, “But I want to create something educational, to help kids learn. I don’t want to make just another game.41

In a interview, she commented that the distinction between playing and learning is blurred, and that industry today has not been sufficiently aware of this, confirming the importance of empathising with the developmental characteristics of children when designing for them.42 User-centred design with children aged 2-12 will either need to involve direct observation of children in the service situation, or the creation of safe spaces, tools and enjoyable activities that enable children to communicate their feelings and responses, to the services they receive. In addition, we must not forget the fundamental roles that parents and educators play in improving children’s lives. Parents, on one hand, are the most important people in their children’s lives, and their support for their children’s learning and development is crucial.43 Educators, on the other hand, play an important role in proving support outside of the home. It has been demonstrated that better-educated pre-school teachers with specialised training are more effective than those with generic training.44 Evidence from around the world shows that the most important factor in determining the effectiveness of a school system is the quality of its teachers.45 Designing a service for a parent or educator as a core user is therefore as important as being child-centred. With this in mind, the first case study highlights a service that takes a child-centred approach, though focusing not only on children, but on families and the community as well.

41 Debra Levin Gelman, Design For Kids. (Brooklyn: Rosenfeld Media, 2014). 42 Gerry Gaffney: Design for Kids: An interview with Debra Levin Gelman, online audio clip, UXpod, 17 August 2014, <http://uxpod.com/design-for-kids-an-interview-with-debra-levin-gelman/> [accessed 28 September 2016]. 43 Early Learning Partnership Parental Engagement Group/National Quality Improvement Network, ‘Principles for engaging with families: A framework for local authorities and national organisations to evaluate and improve engagement with families,’ NQIN (2012): 2. 44 Steven, Barnett, W., ‘Better Teachers, Better Preschools: Student Achievement Linked to Teacher Qualifications’. NIEER, Preschool Policy Matters, Issue 2. (2003): 3. 45 M Government, ‘The Importance of Teaching: The Schools White Paper’ The Department for Education (2010), p. 19.

CHILDREN’S CREATIVITY MUSEUM CASE STUDY

The Children’s Creativity Museum in San Francisco, USA, is a hands-on, multimedia arts and technology museum for children of all ages. It is well-known for its technology-based exhibits, which allow youth to produce their own media through various interactive and creative activities and programmes. Formally known as Zeum, the museum redefined its core purpose and vision in 2011, with the objective of offering imaginative activities to children. Their mission is to ‘nurture creativity and collaboration in all children and families. We believe that creative expression, innovation, and critical thinking are core to fostering the next generation’.46 The museum has a child-centred approach, focusing not only on children, but on families and the community as well with a strong design thinking vision that celebrates creativity. Their core principles are to provide a model for 21st-century learning, to nurture lifelong learning and creativity, to connect families and communities and to build on the ideas of others.47 Dr. Carol Tang, Executive Director at Children’s Creativity Museum, emphasised in an interview the importance of inspiring children from a very young age: ‘Having been a university professor for several years, I realised that in order to really inspire a larger number of people, we need to start at a younger age. It really is important when kids are young, and they are influenced by so many different factors, that we provide a good role model and good inspiration for STEM.’48 For this reason, the museum’s programmes focus on children from 2 to 12 years old. One interesting aspect of the museum’s approach is that instead of considering visitors as consumers of museum exhibits, they intend to integrate them in order to create a dialog as a more effective way of learning. It does not look like a conventional exhibition, but more like an experimental laboratory where

46 <http://creativity.org/about/> [accessed 28 September 2016]. 47 Ibid. 48 STEM Education is an interdisciplinary curriculum, which focuses on science, technology, engineering and mathematics (STEM). Later on, Rhode Island School of Design (RISD) championed the STEAM highlighting the importance of getting children involved in Arts as well. Sarah Goodman, ‘Redefining “Museum”: A Fireside Chat with Dr. Carol Tang of the Children’s Creativity Museum’, KnowAtom, (18 March 2015) <https://www.knowatom.com/blog/fireside-chat-carol-tang-redefining-museum> [accessed 28 September 2016].

Figure 1: Museums interior

Figure 2: Children learning the basics of stop-motion animation by creating their own characters and then bringing them to life on-screen.

different activities can be created. An example of this, is the animation studio, where children are encouraged to use their imagination and bring it to life by learning the basics of stop-motion animation.49 Instead of watching videos, children can create videos, using their own clay characters and stories. The museum also engages parents and educators in the activities, as shown in figure 2. Dr. Tang explains: We [the museum educators] feel like we’re modelling good behaviour and good questioning for teachers and parents so that they see what it means to probe and get your kids to reflect what they’ve done. A lot of parents haven’t really done that themselves. They’re seeing it in action and so when they see our educators do it, we hope that gives them an idea of what they could be doing every single day at home with their own kids. I think that’s an important part of connecting. I think the different sectors, parents and educators are recognising the kids turning to adults to be involved in their growing up.50

The Children’s Creativity Museum is a good example of a child-centred service. Co-creation, the next principle, shows how collaboration can be an asset to improve education in a small school.

2. CO-CREATIVE To co-create or to co-produce51, as some call it, is about involving all relevant stakeholders to explore needs and co-design new or existing processes. The key principle is the idea that everyone can be creative, they can all have ideas and contribute to design processes to improve their lives and the lives of others.52 Co-creation is by default user-centred, because users co-design and may even codeliver services. To engage in co-creation, service designers need to consciously fashion environments which will foster idea generation in different stakeholder groups. This involves creating safe spaces and activities and tools which foster innovation, and questions that stimulate thinking.

49 http://creativity.org/explore/animation-studio/. 50 <https://www.knowatom.com/blog/fireside-chat-carol-tang-redefining-museum/> [accessed 28 September 2016]. 51 Polaine, A., Løvlie, L. and Reason, B., 2013. Service design: From Implementation to Practice. (New York: Reosenfeld Media, 2013), p. 23. 52 Elizabeth B-N., Sanders and Pieter Jan Stappers, ‘Convivial toolbox: Generative research for the front end of design’, BIS (2012), p. 8.

So what does it mean to undertake service design with children? A crucial implication of Piaget’s theory is that children learn by actively constructing their world, so service design techniques that give them the opportunity to coconstruct their learning will be beneficial. If 4 year olds learn best through play, and co-constructing their own learning environment, then schools that regularly provide these kinds of opportunities for children, should foster greater levels of learning. Brooklyn Free School attempts to do this.

BROOKLYN FREE SCHOOL CASE STUDY

Brooklyn Free School (BFS) is a private and ungraded school located in Brooklyn, New York City. Students at BFS range in age from 4 to 18 years old, and learn from a model that combines democracy, inclusion, diversity and equality. According to the New York Times, BFS is ‘arguably New York’s most radical centre of learning, a romantic gamble on the idea of laissez-faire education and an audacious repudiation of the regimented curriculums and high-stakes tests that increasingly dominate the city’s public school system’.53 The Brooklyn Free school was founded nine years ago under the principles of A.S. Neill’s Summerhill School in England.54 The educational system is listed as the ‘oldest children’s democracy in the world’,55 where children of all ages take responsibility for their own education and their own community - using a process where all voices can be heard and all count equally, regardless of income, race, ability, age, or gender. At BFS, students are free to pursue their interests for much of the school day, as long as it doesn’t impinge on the rights of others. According to Nicole Dupré, mother of Amanda, a 6 year old BFS student, the inclusive democratic system is a day-to-day aspect of the school. Every week there are meetings held to discuss the subjects that students want to talk about. In those meetings, every student and adult is invited to practice democracy. An example of this happened a month

53 Alan Berger, ‘Land of the Free’, The New York Times (7 May 2006) <http://www.nytimes.com/2006/05/07/ nyregion/thecity/07free.html?_r=0> [accessed 28 September 2016]. 54 lexander Sutherland Neill (17 October 1883 – 23 September 1973), known as A. S. Neill, Scottish educator and author known for his school, Summerhill School, and its philosophies of freedom from adult coercion and community self-governance. 55 A.S Neill’s Summerhill School, <http://www.summerhillschool.co.uk> [accessed 28 September 2016].

Figure 3: BFS pupils preparing signs for â&#x20AC;&#x153;March agains the unfair treatment of black peopleâ&#x20AC;?.

Figure 4: BFS weekly meeting

ago, when a concern about the role of screen gadgets took place. Students realised that many of their peers spend too much time playing games with their phones or tablets, and they decided to take that to the morning debate. The topic was openly discussed, questioning how educative those gadgets are, and how to respond. As a result, they decided that on two days a week, there would be no screens or digital devices allowed at school, in order to give space to other real life activities. This is an example of co-production on an ongoing basis, with students and professionals co-designing the learning experience. Children are treated with the same respect as adults and they co-design the way education is delivered, making this a good example of co-creation. The user is part of an ongoing learning loop which ensures the service is designed by, and for, the people who use it and their needs and behaviours are constantly considered.

3. SEQUENCING Service design is about designing experiences for people. Just like a film, services happen in a timeframe as a sequence of interrelated actions, which can be broken into phases. The three basic phases are usually described as: the pre-service phase, the service phase, and the post- or after-service phase.56 All of them can be thought of as a movie sequence. Each phase also has backstage activities that happen without a user being aware of them, and front stage activities, in which users are directly in contact. Just in the same way that movie directors plan their stories using storyboards, service designers find it helpful to visualise services as a timeline. This is done with a graphic tool and is referred to as the storyboard, user journey or service blueprint. In planning the journey, designers can capture the big picture of a service and its interconnections, where sequences are described and analysed in order to engage and detect what the pain points might be for users. This method helps to structure the information gathered during a design process, and there is no typical or “standard” way to do it. The method is flexible enough to be adapted to the scale and complexity of the service.

56 Esben, ‘Education as a Service: How questions shape our approach’, Medium (13 Febuary 2016) <https:// medium.com/@esbengrndal_9676/education-as-a-service-9c82f14d707b#.u37fxdv0x> [accessed 28 September 2016].

COSMO THERAPY CASE STUDY

To illustrate how sequencing works, I will describe how I applied sequencing techniques for “Cosmo Therapy”. Cosmo is the name of the first product created by Filisia Interfaces, a start-up that I have been collaborating with. Cosmo is a product-service system57 designed to help therapists to engage with children with special educational needs during their therapy sessions. This is done by training cognitive, physical and communication skills through a multimedia device that uses sound, music and colour. It uses hardware which interfaces wirelessly with to up-to 6 colour units. By April 2016, Filisia had created functional prototypes both physical (light units) and digital (user-interface). However, there were many design issues that needed to be solved before their first public release, planned for September 2016. I began working for them with the purpose of collaborating in the design process. This is a service design example where even though the system is created with the needs of the children in mind, the educators are the ones that need to be closely considered, since they are the ones that will make the experience happen. For this reason, I began the research by interviewing music therapists working with children, as well as visiting a London-based school called Mapledown, that works with children that have severe and complex learning disabilities - the core users of the Cosmo system. Having an overall understanding of the problems they face, together with what the start-up planned to offer, I used sequencing tools create a service blueprint. A service blueprint is a journey helps to structure, design, and align touch-point interactions as they unfold over time.58 This blueprint contained four phases: Pre-engagement, purchase, play, and share. Play is the most important one, because it it involved children playing with Cosmo in their therapy sessions. The columns show what happens at each stage including the thoughts and feelings of the user revealing the various pain-points. It also reflects the different touch-points and the backstage processes that users do not see. A series of questions emerged: will we engage with our possible customers only online?; do we want to have a trial option available or not?; how much should we consider the UK national curriculum guidelines?; how is Cosmo different for a musical therapist than a physical therapist? The result of this activity led us to

57 Cosmo is both a service and a product. The product are the light units one can buy, but it is a service as well, since the system provides reports, data and support which is something that users “can not own”. 58 Polaine and Løvlie, p. 80.

Figure 5: Child with his therapist testing Cosmo.

Figure 6: Cosmo service blueprint, used during the development of the product.

make many operational decisions, such as allowing customers to have a free trial prior to purchasing. The more therapists using Cosmo, the more children with disabilities will be able to explore new possible ways of communicating. Making services visual and showing how they work over time is key to understanding complexity. If processes are left to conversations or intangible ways of communication, it is very different for people to engage with them and share an understanding with the others involved. Sequencing also reminds us that to be successful, things must work at both the front end of the service and backstage. The journey map can also be updated with future changes.

4. EVIDENCING Since many services are intangible by nature, it is necessary to visualise them to make them visible. The methodology called evidencing, involves creating objects and images and exploring the way a proposed design innovation will feel and work through its touch-points.59 Evidencing can happen in a variety of forms: bills, mails, brochures, a phone call or other service manifestations. These manifestations evidence to users all the backstage valuable information that is happening behind a service, and is a great way to engage. Evidencing is planned at specific points during the journey depending on the service story and needs. For example, bank services have many customers that never go to their physical branch offices. However, evidence appears when they send text messages to confirm a deposit, online clicks when navigating the website, sending online evaluation surveys or paper letters, among other options. What is interesting about evidencing when designing for children, is that evidence is created by the adult(s) closer to the the child as well as by the child itself. The reason is that children are not adults, they have different aims, they just want to play or achieve a specific goal. If a child wants to play with an iStore App game, it is the parent who will have to enter their credit card details, make the purchase and later on receive emails or any other sort of evidence. The child is only interested in playing. At other times evidence is designed for educators or other adults involved, depending on the kind of service we are designing. In the last example of Alexandra, she is the one who represents children and

59 <http://www.servicedesigntools.org/tools/43> [accessed 28 September 2016].

will receive, for example, the customer satisfaction surveys and not the children themselves, even though the children are the end users. The following is an example of evidencing for users.

DIY.ORG CASE STUDY

DIY.org. (acronym for do it yourself) is a U.S. based “makers” website and app listed as an Open Educational Resource (OER) for members up to 18 years old. With over 600,000 registered children,60 the platform offers a wide variety of challenges, designed by the company for children to complete and learn. The service offers over 170 skills for children to explore, and each one has around 10 challenges to be achieved. Inspired by them, children can build a portfolio of their creations to share with their peers, while earning digital badges for their accomplishments. For example, a young learner can become a “bike mechanic”, by learning how to restore old bikes or fix a flat, or a “chemist”, by building a molecular model themselves or creating a foam explosion. The platform is a good example of learning 21st-century skills in a 21st-century environment. It suggests general guidelines on how to develop the challenges proposed, but the children themselves are being encouraged to discover their own pathways to find solutions and help each other in that journey. DIY, being an online intangible service, incorporates many evidencing tools. The following two examples are the most interesting: Badges: Rewards for the skills accomplishments Once children have completed three challenges under any given skill, they earn a badge. The badge represents the initiation into a skill area such as biologist, magician, jewellery designer or philosopher. Later, those challenges can be taken to the “Master Skill” level. In order to demonstrate their learned skills, children build evidence of their achievements by recording themselves, either with videos or photos. The colourful e-badges appear not only in their digital profiles, but are evidenced with real badges as a rewarding way to connect the online and offline world. The badges can be stuck to their clothes or rucksacks. An engaging characteristic of the badges, is that learners earning them are being perceived as experts by their peers within the community, who ask them for help and advice to meet their own challenges. Chalon Bridges, DIY.org’s Director of Learning and Partnerships, said:

60 Ashlee Vance, ‘DIY. Org. Be Prepared for 21st Century Scouting’, Bloomberg, (12 July 2013) <http://www. bloomberg.com/news/articles/2013-07-11/diy-dot-org-be-prepared-for-21st-century-scouting> [accessed 28 September 2016].

Figure 7

Figure 8

Figure 9

While submitting accomplishments, children not only earn badges, but they start a conversation within the community, where other kids can ask “How did you do that?!” or give them props. It is a way to share what they have done and begin a conversation.61

Chalon Bridges states that by evidencing badges, learners gain respect from peers when they have done something that completely “wows” them, so they begin mentoring each other, without even looking at the website instructions. Children at the top of the community with the largest followers are not the self-promoters. They are those who are most helpful, interacting in a safe and supportive community. Credentialing skills with digital badges is a powerful way to intrinsically motivate children to learn whilst, at the same time, giving them recognition for their accomplishments. It also allows children to own their own learning and have agency. Signing up: Having an adult’s permission In DIY, parents as well children as are being evidenced by the system. As we can observe in these two screenshots, when children show that their age is below 18, parents need to give them permission first: ‘We need to make sure each kid has adult permission (it is U.S. law!). We confirm your identity using your email address and credit card number’. Children over 18 are not able to join the community: ‘DIY is a safe online community for children, and we’d like to keep it that way. Feel free to look around, though!’.62 When gathering the next of kin adult permission, the platform makes sure that they have an email channel to send evidencing information to the parents as well, if necessary. They can also use it as a marketing channel to sell some of their paid learning offers. As mentioned by Zach Klein, DIY’s CEO: ‘We’ve done all the legwork to make them as safe as possible.” Steps include obtaining verifiable parental consent, and parents get a dashboard where they can follow their kids’ progress and social activity.’63

61 Noah Geisel: Interview about Digital Badges with DIY.org’s Chalon Bridges, online video recording, Youtube, 12 March 2015, <https://www.youtube.com/watch?v=zUsJpaSiIn8 min 2:15 13th March 2015> [accessed 28 September 2016]. 62 <https://join.diy.org> [accessed 28 September 2016]. 63 Ingrid Simone, ‘DIY: A Place for Kids’ Creativity to Blossom as They Learn 21st-Century Skills’, Toca Boca <http://tocaboca.com/magazine/diy-kids-creativity/> accessed 28 September], n.p.

What is interesting from evidencing here is the way the organisation uses design elements to engage both parents and children. Parents realise that the website is secure, responding to U.S. regulations regarding children, and that what children learn on the platform is creative and useful. Children on the other hand, have a platform that is customised for their specific age, where they can be involved in a fun system that acknowledges their progress with badges as rewards.

5. HOLISTIC Holistic is about always having the big picture in mind. It provides vision and direction to the development and refinement of all parts of the service system, like the brand, products, logistics, IT and the service itself.64 Key questions are as follows: what is the core purpose of the service?; what context is it operating in?; who are the key stakeholders? This awareness makes it possible to look at the whole picture through different lenses. If sequencing is about understanding the story, being holistic increases the viewpoint even more, by considering the system ecology and all other forces that can touch a service. Child-centred design involves more than looking at the child’s lived experience. Depending on the type of project, it is relevant to consider aspects like the community, government policy, and school culture and location. All of these considerations could have an impact on the service to be developed.

INNOVA SCHOOLS CASE STUDY

Innova Schools are a part of the school system in Peru, designed from the ground up by IDEO in collaboration with the Innova team in 2011. The purpose of the project was to ‘design a network of low-cost private schools from scratch, including the classrooms, the curriculum, the teacher-training strategies and the business model.’65 In Peru, public schools ranked 65th out of 65 countries 66

64 Joe Marquez, and Annie Downey. ‘Service design: An introduction to a holistic assessment methodology of library services.’ Weave: Journal of Library User Experience 1, no. 2 (2015). 65 Claire Martin, ‘Shaping a School System from the Ground Up’, The New York Times (5 July 2005), <http:// www.nytimes.com/2014/07/06/business/international/shaping-a-school-system-from-the-ground-up. html?_r=0> [accessed 28 September 2016]. 66 <https://www.ideo.com/work/designing-a-school-system> [accessed 28 September 2016].

Figure 10

Figure 11

Figure 12 39

with an emerging middle class that understood that a good education is critical to their children’s development. Innova Schools envisioned a privately funded educational system that could be offered at an affordable price. Today, there are 29 Innova schools (and the number is rising) serving nearly 20,000 students in the K-11 system.67 The Innova approach was intrinsically holistic. Their intended audience is students, parents, teachers, school leaders, investors and the community at-large, including business and government leaders in Peru. They also took into consideration the academics, classroom space, operational tools and the business model, in order to make Innova a sustainable organisation able to evolve and to continue its growth. According to Carlos Rodriguez-Pastor, CEO of InterGroup:68 We brought a holistic point of view to the project that has led to a significant and ongoing influence on Innova’s entire organisation. Our comprehensive, human-centred approach to rethinking the educational system means that the final design takes into account the interests of all stakeholders— students, parents, teachers, administrators, investors, government leaders and the greater community.69

The project started with a six month human-centred design process.70 This was done within the context of the project’s vision and purpose: ‘To design a school system that is international in quality, affordable to families in the emerging middle class and able to grow to a significant number of schools, thus having nationwide impact’.71 To achieve this the team considered a wide variety of stakeholders, engaging everyone, allowing them to create something feasible, viable and desirable,72 that met everyone needs and motivations. The team investigated scalable school

67 Chris Weller ‘A Peruvian billionaire contracted a top design firm to remake his country’s private schools, and the results are stunning’, Tech Insider (4 August 2015) <http://www.techinsider.io/innova-schools-inperu-offer-great-education-for-cheap-2015-7> [accessed 28 September 2016]. 68 Intergroup Financial Services Corporation. (Intercorp) is one of Peru’s largest financial service companies and the client behind Innova’s project. 69 <http://www.aiga.org/aiga/content/why-design/aiga-case-studies/justified-2014/case-study-innovaschools-designing-a-school-system-from-the-ground-up/> [accessed 28 September 2016]. 70 Luebkeman, Chris, ‘Design Is Our Answer: An Interview with Leading Design Thinker Tim Brown.’ Architectural Design 85, no. 4 (2015). 71 <www.aiga.org/>. 72 The IDEO approach brings together what is desirable from a human point of view with what is technologically feasible and economically viable. <https://www.ideo.com/about/> [accessed 28 September 2016].

models around the world, visited inspiring schools, and looked at analogous systems such as retail, hospitality and healthcare to understand their approaches to scale.73 They also did fieldwork, prototyping, development of the curriculum, teaching strategies, buildings, operational plans, and the underlying financial model to run the network of schools. After six months, they launched a pilot to test their concepts and make improvements based on real data. The project led to the implementation of an innovative and holistic school system, whose effectiveness is based on four pillars. Firstly, an engaging learning approach, that meets international learning standards. Secondly, redefining the role of the teachers, supporting them with an online platform, Teacher Resource Centre, for the learning program and school network that also includes parents. Third, the need for space flexibility translated into a classroom and campus design, that complemented the new learning model (with dynamic learning environment containing furniture on wheels; foam cubes form flexible seating or tables). Finally, it included the design of a sustainable financial model that would support sustainable growth. To date, the initiative has been a success, not only commercially but also academically. In 2015 Innova became the largest private network of schools in PerĂş. According to the NY times (2014),74 61 percent of second graders tested as proficient in math, compared with a national average of 17 percent; according to an Innova administrator; the equivalent results in reading comprehension, were 83 percent versus 33 percent. In conclusion, Innova schools are a remarkable example of designing for education from idea to outcome, in a holistic way. People tend to place design into separated silos of things to be done, but Innova schools demonstrates that it is all indeed indeed interconnected, from the model proposition, to the physical space, the curriculum and the people. In the next chapter, I will present my model proposition, where I will explore in detail the tools and methods that designers can use to develop projects such as the five initiatives above.

73 <www.aiga.org/>. 74 Claire Martin.

KAD LAB

'THE MORE PEOPLE THAT ARE APPLYING THEIR CREATIVITY IN EDUCATION, THE MORE INNOVATIONS WE WILL SEE, ROUTINELY, OVER TIME.'75

Sandy Speicher

At the beginning of this dissertation, I asked if it would be possible to identify ways of designing services for children, so that tools and methods that (service) designers and educators use could be adapted for them. My model proposition intends to show that there are crucial specificities that should be acknowledged by designers designing for children. As a service designer, I have been testing and sketching possible application ideas for use with children. Some tools need more modification than others. For example, stakeholder maps, personas and co-creation workshops, are approaches that can be tailored for child-centred purposes, whilst methods such as benchmarking or doing a value proposition, are generic enough to be used without major adaptations. 75 My proposal is called “KAD Lab” which stands for kids, action and design. KAD Lab is an initiative looking to inspire designers working with children to create change for young learners. By becoming involved and understanding (service) design methods customised for education, designers are encouraged to use problem-solving techniques to innovate. This initiative is a personal reflection on my recent experience studying service design at the Royal College of Art, combined with the learning from the case studies presented. It is important to bear in mind that knowing how to use these tools, just like doing good design, is a trained skill. I believe the methods themselves don’t guarantee success, but only through the thoughtful application of them by experienced designers, who will co-work with children, educators and parents. I make this disclaimer because I believe that educators will not feel confident to undertake research and develop new design ideas if all they receive is a broad set of tools with general advice. This is the major difference between my proposal and the Design Thinking for Educators76 toolkit made by IDEO, that I discovered while writing this dissertation. In it, they offer a set of design thinking downloadable tools and methods created for educators. Although I strongly believe in the concept of empowering educators, it seems the tools are too broad to be easily understood and effectively applied by them (or even designers), without experience of doing design research. After presenting the tools to 5 primary school teachers the feedback was the tools were too complicated, too long and not very childfriendly. One teacher said ‘I don’t really understand what it is about […] It is definitely not child-friendly which means teachers won’t use the concepts with

75 Sandy Speicher: Where Should Innovation in Education Come From?, Medium, June 22 2015, <https:// medium.com/bright/letter-one-db955da85761#.aara5x7u5> [accessed 28 Septmeber 2016]. 76 <http://www.designthinkingforeducators.com/> [accessed 28 September 2016].

children […] I am not sure I would feel comfortable using it on my own’. For this reason, the tools presented by KAD Lab are not expected to be used by educators on their own, but by designers and educators working together. This will help build educators’ understanding of design thinking and give them a supported experience of designing learning, using these practice tools. KAD Lab adapts the methods previously mentioned, stakeholder maps, personas and co-creation workshops, and presents them with detailed instructions and examples to make them comprehensive and accessible. KAD Lab is available online at www.kadlab.com. This allows easy access and enables tools to be constantly developed in response to feedback. I plan to use the tools in upcoming projects and will test them on children and professionals. New ideas will be added to KADlab and updated tools will added. However, this proposal is not rigid and can be adapted to a wide variety of design projects. This means that within the model, the methods can be customised at different stages of the design process, depending on what the design goals are. The KAD Lab process will be outlined in the next section.

KAD WITHIN THE DESIGN PROCESS As mentioned at the beginning of the dissertation, the five principles of service design do not occur chronologically, and they cover tools and methods which overlap. So for example the user or child-centred principle is an umbrella principle for all tools and methods. Doing workshops is both child-centred and co-creative since we have the children in mind but we are also co-designing with them, Similarly, we cannot create storytelling narratives without focusing on the users. To explain this better, the KAD framework fits in a design process timeline, similar to the Design Council’s Double diamond.77 Like any design project, the process has a beginning, middle, and end, which considers the following phases: Discover, Define, Develop and Deliver. Within those phases, there are general goals that should be achieved and tools that can be used.

77 The double diamond diagram was developed through in-house research at the Design Council in 2005 as a simple graphical way of describing a design process. Design methods for developing services <http://www. designcouncil.org.uk/sites/default/files/asset/document/Design%20methods%20for%20developing%20 services.pdf> [accessed 1 September 2016].

PHASE GOAL

TOOLS & METHODS (selection)

RESEARCH

2. DEFINE

SYNTHESIS

3. DEVELOP

IDEATION

4. DELIVER

IMPLEMENTATION

Gain contextual understanding

Translate research findings into usable tools

Communicate where the service succeeds or fails and why

Respond to critical opportunities with users and business goals in mind

Design brief

Personas

Storyboards

Testing

Benchmark

Journey maps

Workshops

Interviews

Service blueprint

Prototyping

Stakeholder analysis

SOLUTIONS

INTENTIONS

1. DISCOVER

Value proposition

Service safari Market research

Figure 13: Design Council, Double Diamond (2007), adaptation made by author

As can be seen in figure 13, the core principles are colour coded and assigned to the tools that relate here to them. The tools presented here are a selection, and do not represent all of the methods that service designer might use. Thee three methods I am focusing on are a stakeholder analysis, personas and co-creation workshops. Firstly, the stakeholder analysis is a tool used at the beginning of project to collaboratively identify the key actors or organisations that should be included. The second tool, personas, are visual representations and reminders of the people you are designing for. This allows designers to keep their aspirations and needs in mind though out the design process. The third tool, is a guideline to organise workshops for children and educators. All can be found in Appendix A or viewed in more detail at www.kadlab.com. 47

CONCLUSION

This paper argues that education for children is an area that is not responding fast enough to the way technology and society are progressing. It is my belief that designers are an understated resource in education and that service design specifically has huge potential to improve educational services for children. I proposed that there is an opportunity for designers, to work collaboratively alongside educators and other relevant stakeholders to create change, using technology to inspire others, helping to push design education forward. The case studies have demonstrated how the principles of service design are a suitable approach to tackle todayâ&#x20AC;&#x2122;s educational problems, by offering a childcentred and holistic focus that can help to solve complex problems with and for users. The real case examples also show how beneficial that approach can be on educational practice in many diverse areas. While writing this dissertation, I started to think more broadly about designing for children. I realised that designing for children is also designing for parents and educators, which further distinguishes the approach from the process of designing for adults alone. Considering this peculiarity, I noticed that it would add value to customise some of the tools that service design uses for these purposes, but not all of them. Some methods donâ&#x20AC;&#x2122;t really need more specification when applied for children, while others like planning workshops, doing personas and stakeholder analysis might need to be highly customised in order to increase their practical value. Furthermore, the paper explored how technology will not automatically become embedded in education, but it can (when it is well applied) be a great asset for sharing and accessing information. Having KAD Lab online as an open tool for everyone is an example of that. Finally, I see this dissertation as a beginning instead of a conclusion. Having recently started to work for an academy in Guildford, UK, I see this research as an opportunity to test my working framework of design for children, to improve it over time, including real examples online that might inspire others. 49

APPENDIX

STAKEHOLDER ANALYSIS

WHAT IS IT A stakeholder analysis is a visual representation of the various groups involved with a particular service. When designing for children, parents, carers and teachers will always be strongly associated with children, as well as other organisations or stakeholders. This tool should be used at the beginning of the design process, in order to highlight the key people an institutions involved, what they care about, what influence they have on the outcome and how they interact. By using this method, it will be easier to understand who will be affected or concerned by the identified change and plan how to engage with then to achieve the desired change.

PROCESS PHASE Discover

THE STEPS IN THE PROCESS

Step 1: Identify The first stage is to brainstorm with the team who are the people or entities that could be involved in the project. Since we are designing for children, figure 15 show some hints that could be used as inspiration. The names that can come up, can be written on papers or post-its, initially without a specific order, considering that some might be organisations, some internal or external. It is recommended that as people write their ideas, they say them out loud and share them with the rest of the team, to avoid duplicates. 51

BROADER ECONOMICS, POLICY AND ENVIRONMENTAL INFLUENCES

COMMUNITY ENVIRONMENTS, NETWORKS & FORMAL SERVICES

friends Education policy

TEACHERS & CARERS

PARENTS

Child

Child care policy

other family members

staff

Community

Parks

Local govt.

peers

Cultural spaces

Safety

Health services

Industrial relations

Neighbourhood Infrastructure

Economic conditions

Figure 14: takeholder map for inspiration

PROS P EC T PA R E N IV E TS

YVONNE ARNOLD THEATRE

DREN C H IL R E S CENT

AL UM NI

LOC AL TOD DLE R GRO UPS

BOXING CLUBS

SP O RT PA RK

G UI LF O RD BO RO UG H CO UN CI LL O RS

C H U RC H YO U TH G RO U PS

BUS INE SS FOR UM S

LOC AL POL ICE

FRIENDS

Figure 15: Examples of stakeholders defined during a stakeholder analysis meeting at Kings College Guildford school. 52

FA MI LY SU PP OR T TE AM

FAMILY LEARNING

LOCAL DOCTORS

SU RR EY YO U TH FO C U S

The following questions might be considered: 1. Who does the project affect? 2. Who is going to be enthusiastic about it? 3. Who is going to be difficult to engage? 4. Who can help? 5. Who has a vested interest in maintaining the status quo (no change)? 6. What partners should be involved?

Step 2: Prioritise A t this point, there might be long list of stakeholders related to your educational project, without a particular order. Some of them will have more or less interest in your initiative, and more or less influence in what you are doing. The purpose now is to prioritise them, placing your post-its or cards in the grid as follows:

HIGH

Manage Closely

POWER

Keep Satisfied

Monitor

Keep informed

LOW LOW

INTEREST

HIGH

Figure 16: Power versus interest grid adapted from Eden and Ackermann78

78 Eden, Colin, and Fran Ackermann. â&#x20AC;&#x2DC;Analysing and comparing idiographic causal maps.â&#x20AC;&#x2122; Managerial and organizational cognition: Theory, methods and research (1998).

For example, if your project is about creating extracurricular activities for children at school, one might consider the “activities coordinator” of the institution, who might have a high interest in the project, but little power to make it happen, just like parents. Or the principal of the school, could have lower interest in the initiative, but high power to make it happen. As in the step before, it is better to place one stakeholder at a time on the grid, so everyone involved can review and determine their position collaboratively. All cards or post-its should be placed with an understanding that: * Stakeholders with high power and high interest, should be managed closely in your design process. * Stakeholders with high power but less interest, need to be informed, but not bored with your initiative. * Stakeholders with low power but high interest can be helpful to your project, and should be therefore informed. * Finally, stakeholders with low power and low interest should be only be monitored, but with the minimum amount of information. Make sure to document and take pictures of the grid after the meeting.

Step 3: Engagement plan For each stakeholder, it is then possible to create a plan of how to engage them, using the sorts of strategies identified in the following list. The most important stakeholders are those in the top right hand box. Below are some strategies for engaging key stakeholders in this box:

* Reciprocity – consider what can you do for them? * Co-creation – how can they participate in co-creating your change? * Engage their emotions – expose them to users and what the change would mean to them. Other stakeholders in other boxes will still need communication but this may be more in the form of regular communication meetings or updates. 54

It is also possible to develop a stakeholder engagement plan with these headings, identifying who is best to carry out each engagement or communication.

STAKEHOLDER

PURPOSE OF COMMUNICATION AND DESIRED OUTCOME

METHOD OF COMMUNICATION

WHO WILL DO IT

WHEN

Figure 17: Stakeholder analysis table

PERSONAS

WHAT IS IT Personas are realistic representations of the people you are designing for. These are based on real people, goals, behaviours and interests. Personas represent a particular group of users and their shared interests. The method offer a quick and inexpensive way to test and prioritise features throughout the development process (Would Lisa be interested in x? Will John feel engaged with our proposal?). When designing for children, it is also advisable to make personas for educators and parents depending on the nature of the project.

PROCESS PHASE Define

THE STEPS IN THE PROCESS

Step 1: Gather real information In order to make user Personas, it is important to have a previous overall understanding of the users you are designing for. This might have been done while doing interviews, surveys or other types of research that gathers data. Without real information personas will be based on assumptions, making it unlikely for them to be truly representative of your audience. The questions you ask, will be closely related to what you wish to develop and will later incorporate in your persona. These are some questions to be inspired to brainstorm the research: 55

Figure 18: Stakeholder analysis at Kings College Guildford

Figure 19

CHILDREN

ADULTS

Age

Cognitive phase

Gender

Education level

Games they like to play

Location

Brothers/sisters

Working experience

Location

Professional background

Daily routine

Needs

Media use

Interests

How their environments look like

Goals

Needs

Technologica devices used

Interests

Day routine

Goals

Values

Step 2: Organise data After conducting research, it is possible to looks for themes or patterns. These themes can be summarised as characteristics of a persona. To give an example, children from a school could be categorised into three personas: The smart know it all student, the creative and free and the shy and uninterested pupil. The same process can also be followed for parents and educators.

Step 3: Create templates Having organised the data, the persona templates can then be created. These can be hand-made, or digitally designed (in the KAD Lab there is a downloadable illustrator vector that can be used for this purpose). The persona can have a fictional name, a strap line (like the examples I gave before) and all the other relevant data one might think is valuable for your educational project. The purpose is to make it simple, easy to read and visual, leaving out long fragments of text or irrelevant information. Normally pictures or illustrations are also incorporated in the templates to personify the persona even more. There is no one way of designing a template, but I would recommend to make it as simple as possible. It can then be printed and hung in a working space to keep those you are designing for in mind.

PICTURE

PERSONALITY / HOBBIES

NAME & STRAPLINE

AGEL

C.D. STAGE

OCATION

BACK STORY MEDIA USE

THOUGHTS & FEELINGS

GOALS

GOALS PAIN POINTS

DAILY ROUTINE

Morning

Evening

Figure 20: Persona printable design.

Step 4: Use and share Personals can also be used to underpin the rest of the design process. In addition it is also possible to used them as part of other design methods, such as storyboards and or service blueprints.

CO-CREATION WORKSHOPS

WHAT IS IT Doing co-creation workshops is an opportunity to bring together all the people involved in a project. This normally happens at the develop stage of the process, as early concepts or prototypes may have already been created and the aim is to test them with users. This allows stakeholders to validate, test, and develop ideas. If children will be included in a co-creation workshop, then it is important to choose an approach that plays to the strengths of children rather than simply adapting the same methodologies we would use with adults. 58

PROCESS PHASE Define THE STEPS IN THE PROCESS

Step 1: Define the goals The first step in planning a workshop is to define what you want to learn from your participants. Once this has been identified is is then possible to outline goals, keeping in mind your overall objective.

Step 2: Define a Timeframe, Location and Budget After defining the goals, it is important to set a timeframe. It should be aligned firstly to the design process, and with enough time to make the recruitment and prototypes necessary. In terms of location, when co-creating with children it might be advisable to do it in their natural environments. Sometimes a location can be at home, and other times, a more social context like schools where children can socialise and interact with other children, might be more suitable. This will make it easier for children to feel comfortable and behave like they would normally. Finally, the budget always needs to be considered. This can include: the location fee (if any), materials, snacks and other materials that are needed in the session. Rewards can also be given to child participants to thanks them, and their parents, for their time.

Step 4: Start the Recruitment Recruitment is often the hardest step when planning workshops. Children are most challenging to recruit since researchers will need consent from their parents first. Good places to contact are local schools or universities with childdevelopment programs as parents are already familiar with research activities.

Step 4: Prepare the material Prior to a workshop it is important to prepare the material you will use and this will take time. It is important to bear in mind not only what the material looks like but also what thinking is behind it. You need to consider the characteristics of the people using the material. Will a 6 year old engage with these graphics? Is it too complex/too simple? What is the best way to communicate the activity? A recommendation for this is to make it as visual and hands-on as possible as this increases levels of engagement. Another consideration when designing with children is that they might get bored very quickly and switch to something else. To overcome this activities 59

should be well-timed and playful and material designed for a workshop should be texted beforehand. You can also tailor your research activities to the specific age group youâ&#x20AC;&#x2122;re designing for. If people lose the trust or engagement (because of bad prototyping), is will be hard to get them back. If parents are present, it is important to make them feel equally engaged and involved. Proper procedures need to be followed and legal requirements heeded. Connect forms need to be signed to record information and take and use photographs. If children are participating, you will also need parental consent. The following template is an example that could be used for this:

Figure 21: Consent form template for parents, guardians or carers to fill out for research purposes.

Step 5: During the workshop Arrive with plenty of time to set up. It is important not to be stressed before the session, and make sure all materials, food and equipment needed is arranged in advance. If recording is going to take place, this should also be pre-prepared. Make sure consents are signed, at the beginning of the session. Break the ice: Make sure both adults and children feel comfortable at the beginning of the session 60

1. Be clear with who you are and what they will expect to do. Set out the agenda of the session at the beginning, clearly outlining the overall objective. 2. Be clear to explain what you will do with the data that you obtain. 3. Listen carefully to what participants are saying. Generally, children will come to the sessions with a high degree of enthusiasm and have the expectation that they will be heard, as well as having preconceptions about how you will use their ideas. It is important to manage expectations and communicate clearly that you will not use all of their ideas and that most ideas get transformed radically during the design process. 4. Throughout the co-design process, it is also important to make sure all participants feel comfortable with the way you’re asking them to share their ideas 5. Outline the next steps. It is important that people know what they can expect to happen after their contribution. 6. Thank people for coming and let them know how valuable their contribution was.

Step 6: Analyse data and share your findings. De-briefing after a session is very important and it is recommended that you do this as soon as possible, while ideas are still fresh.

Aditional information: Acknowledging age differences Depending on the child’s age, it might be important for designers to consider their cognitive development. Below are some tips: With children between the ages of 2 and 6, it will probably be a difficult but interesting session. Children in this segment don’t think abstractly, so no hypothetical workshop exercises will work with them. It is recommended to do activities that involve play, and that allow researchers to observe. If parents or caregivers are included, it will be easier for children to feel comfortable so it is recommended to include them (don’t forget that both parents and educators are users too). With children between the ages of 7 and 11 years of age, workbooks or journals that they can take home and fill out work well. For older children, more recent experiments include using online research tools and storytelling using videos or pictures that children have created. 61

BIBLIOGRAPHY

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INTERVIEWS Curran, Sara , Music Therapy evaluator of Cosmo, 22 May 2016 Dupré, Nicole and Amanda Cabrera, mother and daughter studying at Brooklyn Free School, 7 September 2016. Lemarquand, Kellie, Primary School Teacher, 19 September 2016.

ESTEFANÍA TRISOTTI BERNAIN ROYAL COLLEGE OF ART MA SERVICE DESIGN