DESIGN- & INNOVATION ACTIVISM FOR SOCIAL CHANGE
Morten Grønning Nielsen March 2nd 2015
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| D&IASC |
contents
CONTENTS INTRODUCTION 4 DEFINING SOCIAL DESIGN UNDERSTANDING DESIGN ACTIVISM
5
7
EXAMPLES OF DESIGN FOR SOCIAL CHANGE
14
INTRODUCING INNOVATION ACTIVISM
19
SOCIAL CHANGE IN THE FUTURE
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BIBLIOGRAPHY 24 APPENDIX 1 25
LIST OF ILLUSTRATIONS FIG. 1
MORTEN GRØNNING NIELSEN AESTHETIC ACTIVISM MAP, APRIL 2014
FIG. 2
MILLION DOLLAR BLOCKS PROJECT. LAUREN KURGAN, 2003
FIG. 3
CRAMER-KRASSELT, “SLOWER IS BETTER” FOR ELM GROOVE POLICE, APRIL 2009.
FIG. 4
NICK O’DWYER, “LITTER WARS” DOCUMENTARY FOR BBC, FEBRUARY, 2013.
FIG. 5
LARS KRISTIANSEN, FEBRUARY, 2011.
FIG. 6
MICHAEL LODBERG OLSEN, “DE FRIVILLIGE” 2012.
FIG. 7
UIWE, MORTEN GRØNNING NIELSEN, “STREETPEE” SEPTEMBER 2012.
FIG. 8
UIWE, CHRISTIAN PAGH, “STREETPEE AT DISTORTION” JUNE 2012.
FIG. 9
MICHAEL LODBERG OLSEN, “DE FRIVILLIGE” 2012.
FIG. 10 MICHAEL LODBERG OLSEN, “DE FRIVILLIGE” 2012. FIG. 11 MIND-LAB, “NY NORDISK SKOLE – FORANDRING NEDEFRA” 2014. FIG. 12 CRAMER-KRASSELT, “SLOWER IS BETTER” FOR ELM GROOVE POLICE, APRIL 2009.. FIG. 13 NICK O’DWYER, “LITTER WARS” DOCUMENTARY FOR BBC, FEBRUARY, 2013. FIG. 14 MORTEN GRØNNING NIELSEN, “STREETPEE” 2012.
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list of illustrations |
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| D&IASC | defining social design
INTRODUCTION Design is often understood as a meaningful product or a system that provides a service. Design however, can also be used as a tool to make people change their behaviour, their mindset or social values. The argument put forward in this text is that anyone can use design instrumentally to promote social change. This is done every day by governments, organisations
Several authors1 have already described the use of
design and design activism, then, look at what current
design, art and architecture as a way of changing our
researchers are proposing design activism to be, and
world, and we know that design takes many different
finally present a definition.
forms and the word can be used to describe almost any kind of action or creation. Trying to involve all design
The text proceeds to analyse and critique the way the
disciplines in this text would therefore result in a very
term ‘design activism’ is used to describe projects, which
broad analysis, without any real substance. Therefore,
does not have any particular disruptive social elements
one of the aims of this text is to narrow down the thinking
to it, or is missing clear statements that challenge the
around physical design, as in products, installations and
status quo. Then, concrete examples of design for social
objects in public space.
change will be introduced, and used throughout the rest
and individuals. This statement brings with it many questions: is there is a methodology for doing this? If not can we make one? Are initiators always designing their approach with intentions of changing things, or does it happen as a by-product for problem solving? How powerful is design when trying to change social issues? And is it ethical to use design as an instrument to try and force change? These are the questions, which will be debated throughout this text.
of the text to back up the statements presented. When looking into various design projects for social change, the term ‘design activism’ quickly appear in
A main viewpoint of the text is that design has the
the literature. This text suggests that design activism is
power to actively change the current status, and design
a type of ‘design for social change’, as the two share
activism should seek to do this, rather than to comment
the same ambition. However, it would be inaccurate to
on it. As a way of identifying projects that does this, the
say ‘design for social change’ is also ‘design activism’.
proposition of a new term, ‘Innovation Activism’, will be
As a consensus of the definition ‘design activism’ has
presented and described as a type of design activism
not been fully reached by current research, the start of
which involves physical objects that plays an active role
this text will try to analyse the differences between social
in change. To distinguish between social design, design activism and innovation activism, five parameters - that
1
Alistair Fuad-Luke, Ann Thorpe, Jacques Ranciére, Thomas Markussen, Carl DiSalvo, David Berman
any social project can be evaluated by - will be presented.
This enables us to dissect and analyse a project in detail, and to some extent classify what type of project we are dealing with. As there is no fixed borderline between
D&IASC | defining social design |
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DEFINING SOCIAL DESIGN
social design, design activism and innovation activism, the purpose of the parameters, rather than classifying, is to bring out examples, discuss them and understand which ones are comparable, which are exemplary and which fall in between definitions.
Starting in the 1960s the western world became increasingly aware of its path towards an unsustainable future scenario. In the seventies movements for sustainability, equality for all and ethical consumption developed both independently and together with other
Finally the text will take a look at social change through the activist lens, and briefly discuss how we can expect design activism and design for social change to develop in the future. We finally look at two initiatives by Scandinavian governments, which suggests that the
movements, who basically rejected unsustainable living. In 1971 when Victor Papanek published his book Design for the real world - now a classic in design reading - a droplet spread rings in the water and a new attitude spread in the world of design. He wrote that:
future democracy of some countries, will include new opportunities for individuals to propose- and contribute to the social change they want.
In an age of mass production when everything must be planned and designed, design has become the most powerful tool with which man shapes his tools and environments (and, by extension, society and himself). This demands high social and moral responsibility from the designer. It also demands greater understanding
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| D&IASC | understanding design activism
of the people by those who practise design and
Designers have an essential social responsibility
includes the traditional economical bottom line, as well
more insight into the design process by the
because design is at the core of the world’s
as a social and an environmental bottom line, making a
public.2
largest challenges… and solutions. Designers
business able to evaluate its performance on the three
create so much of the world we live in, the things
P’s: profit, people and planet5. This ideal framework
Today, Papanek’s observation serves as an integrated
we consume, and the expectations we seek to
seems viable for us to use as an important reference to
part of design education, Designers and product
fulfil. They shape what we see, what we use, and
a preliminary understanding of social design, and think
developers have an obligation to consider the full
what we waste.3
of it, as a design activity that responsibly accounts for
lifecycle of their work. Changing from one material to
its own economical, environmental and social impact. In
another might result in a considerable reduction the
Based on this information we have some broad ideas
reality the three P’s will not have an equal distribution of
ecological impact of the product. It might also increase
of what social design covers; sustainability, ethics,
positive outcome, as especially small social projects are
its recyclability and support a local community in a
responsibility and a sympathetic relationship to current
focused on bringing an either environmental or social
third world country. More than ever, designers have a
and future generations. However, an agreed upon
impact, and not so much on economical profit.
responsibility, as David Berman (Canadian designer and
definition remains to be decided by scholars. At the
former board member of the International Council of
moment social design is still a vague and far reaching
Communication Design), writes in his recent book Do
term, but David Berman and IDEO4 agree that one of
Good from 2009:
the most essential parts of a socially responsible design project is the ‘Triple Bottom Line’. This is an accounting framework created by John Elkington in 1994 which
2
Victor Papanek, Design for the Real World; Human Ecology and Social Change (New York: Pantheon Books, 1972), p. ix
3 4
David Berman, Do Good: How Designers Can Change the World (Berkeley, California: AIGA, 2009), page 1. Tim Brown, Design for Social Impact (Palo Alto: IDEO & The Rockefeller Foundation, 2008) page 7 http://www.ideo.com/images/uploads/news/pdfs/ IDEO_RF_Guide.pdf (accessed 12 June 2014)
5
Tim Hindle, “Triple Bottom Line,” The Economist, November 17, 2009, http://www.economist.com/ node/14301663 (accessed 10 August 2014)
UNDERSTANDING DESIGN ACTIVISM
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terms; like social design, eco-design, political- and
Before entering too deep into the discussion of what
critical design. Ann Thorpe, one of the first to properly
design activism is, or isn’t, it seems useful to try and map
address design activism and author of Architecture &
out where it belongs in relation to other disciplines.
Design Versus Consumerism7 describes an example There are designers who are conscious of how they can
from the Centre of Urban Pedagogy (CUP), a non-profit
The French philosopher Jacques Ranciére describes how
use their design skills to do social work and actively
social movement in New York that use design to improve
art and politics are interlinked and that both disciplines
try and raise awareness and promote change, through
civic engagement. The project highlighted as design
share the ‘distribution of the sensible’ that:
design. This phenomenon is called design activism and
activism is a leaflet, that CUP produced, which clarifies
is relatively new as a research topic, only described by a
street vending rules so that vendors understand them,
Establishes at one and the same time
few authors6 within the past decade. In most literature
as well as what rights they have if they are confronted by
something common that is shared and
design activism is described as an intervention in the
locals, other business owners or authorities.
exclusive parts. This appointment of parts
public space, typically a building, a service, an awareness
is and positions is based on a distribution
campaign or a temporary installation.The challenge with
Is that design activism? Probably not at its strongest, but
of space, times and forms of activity that
the term ‘design activism’ is that it has not yet been fully
we cant really say that it isn’t, because a social movement
determines the very manner in which
discussed and the term seems to cover projects all the
saw a need to educate and acted upon it - and it is not
something in common lends itself to
way from art activism and advertising to projects such
inaccurate to say that they are campaigning for change.
participation and in what way various
as green urban spaces and architecture. At this point
At the moment there is no a way to dismiss a project as
individuals have a part in this distribution8
we don’t fully understand who the design activists are,
‘not design activism’, because no-one has established
except for those who are self-proclaimed. We don’t
an accepted set of parameters.
know how to separate design activism from other broad 6
Including Alistair Fuad-Luke, Ann Thorpe, Jacque Ranciére, Thomas Markussen, Carl DiSalvo, David Berman
7
Ann Thorpe, Architecture and Design versus Consumerism: How Design Activism Confronts Growth (Abingdon, Oxon: Earthscan, 2012), p. 140
8
Jacques Ranciére, The Politics of Aesthetics: The Distribution of the Sensible (London: Continuum, 2006), p. 7.
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| D&IASC | understanding design activism
Using this and Ranciére’s term ‘Aesthetic Activism’
As stated, design activism is vaguely defined in current
as a starting point the map (FIG. 1) branches out into
research and often compared with Art Activism and
three major directions, Art-, Design- and Performance
Political Activism9. Therefore the frameworks are based
Activism. There are more directions which could be
on sociology (Thorpe), political theory (Disalvo) or
integrated in the map, such as internet activism although
sustainability; ‘The five capitals’ framework (Fuad-luke).
this seems to be on the peripheral of the aesthetic activism spectrum, and therefore left out.
Thorpe’s starting point is that design activism is a reaction to consumerism, and argues that a typological activist framework from sociology studies can be helpful for classifying design activism techniques as either (i) a protest artefact that confronts and put out a statement questioning the current status (ii) a demonstration artefact that reveals positive alternatives that are better that the current situation; (iii) a service artefact that provides humanitarian aid for victims or groups in need. Thorpe lists nine other tactics10, which are based on information sharing such as communication,
FIG. 1
Morten G. Nielsen - Aesthetic Activism Map. 2014.
9 10
Thomas Markussen, “The Disruptive Aesthetics of Design Activism: Enacting Design Between Art and Politics.” Design Issues: 1. (2011): p. 1. http://www.nordes.org/opj/ index.php/n13/article/viewFile/102/86. (accessed 13 September 2014) Ann Thorpe, Architecture & Design versus Consumerism, how design activism confronts growth (London: Earthscan, 2012), p. 138.
competitions, exhibitions, research, events and so on,
conventional analysis of where crime occurs, who the
which seems to be conventional political actions with a
victims are etc., and it invited for many new speculations
hint of design, rather than design activism at its core.
of why this happens and how to react to this kind of
D&IASC | understanding design activism |
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development. Even though DiSalvo’s statement is Markussen and Fuad-Luke argues that the typology is
not entirely substantiated by evidence, as he base his
insufficient as it does not reveal much in terms of method,
statement on one example, his key argument; that
goals or techniques, and secondly it is considered to
the project opens a space of conflict, and is therefore
be too vague, and projects seem to fall under several
political design11, resonates with the thinking behind
categories.
this text. On the base of this, it seems logical to argue that design activism is a form of political design, it is
DiSalvo examines areas where design and politics
always politically opinionated at some level, and we
intersect and starts by making a distinction between
could use that ‘space of conflict’ as one criteria for any
‘Design for politics’, and ‘Political design’. Basically,
project being design activism. Before looking at our
he calls projects that has a place in a political setting,
final understanding of design activism, it seems useful
such as a voting booths ‘design for politics’, and as an
to look at who the initiators of these activities are.
example of ‘political design’ he uses a project called FIG. 2
the Million Dollar Blocks project by Laura Kurgan (FIG. 2). Her project analysed the geographical history of inmates in prison, and made a map of specific street blocks, of which the government now spend more than a million dollar per year, to incarcerate residents of these blocks. Her approach was new compared to
11
Carl DiSalvo, “Design, democracy and agonistic pluralism.” (Proceedings of the Design Research Society Conference 2010). p. 2.
Laura Kurgan “Prisoner migration patterns, Brooklyn, NY”, Million Dollar Blocks Project, 2003.
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| D&IASC | understanding design activism
WHO ARE THE DESIGN ACTIVISTS?
and on the time and space in which this
could be interesting to consider if governments can be
We now have the opportunity to discuss the identities
activity is performed. Having a particular
design activists. Answering yes to this statement seems
of activists in detail, to figure out what makes a design
‘occupation’ thereby determines the
contradicting, as activism implies a minority or a social
activist, and evaluate if a design activist is always self-
ability or inability to take charge of what
movement campaigning for change. However there are
proclaimed or if anyone can fit within the term. All
is common to the community; it defines
many examples of governments campaigning for social
activists have a passion for changing a specific political
what is visible or not in a common space,
change. This could be anti-smoking campaigns, free city
or social issue, and they look for a method of achieving
endowed with a common language, etc.12
bikes and road bumps. There are even projects which
this goal.
looks like they could be called design activism. We could choose to understand the word ‘occupation’
Figure 3 shows a radar speed sign from Elm Grove police
A reflection on strategy is inevitable for going forward,
in our activist context as ‘method of communication’.
district in U.S. which display the cost of the accident bill
and often activists take the easiest road, and turn to their
Based on that interpretation it can be argued that
one can expect, if having a crash at the current speed.
voices in a confrontational manner. Those who do not
anyone, regardless of background or knowledge of
The same department also had a sign that showed
seek confrontation find alternative ways, which can be
design activism methodology, can be considered as
number of days one could expect in a hospital bed,
very powerful if executed in a strategic and meaningful
a design activist. To challenge this argument it makes
and one that showed the chance of a crash in percent,
manner. Those who manage to do that through physical
sense to look at who the initiators and the beneficiaries
based on the speed of the approaching cars. This
installations and innovations, are then ones we are
of design activism is. Fundamentally, individuals and
sign is disruptive in peoples daily commute, and the
interested in. Ranciére describes who these people are
organisations are the ones we would expect to use
information is not only suggestive, but also interactive,
by stating that:
design activism in their approach, to change social
and has a clear aim for drivers to reduce their speed. This
issues, and based on general history, governments are
is not only design for social and behavioural change, but
more likely to be the target of activism. Therefore it
because of its disruptiveness, we have an example that
the distribution of the sensible reveals who can have a share in what is common to the community based on what they do
looks a lot like government-initiated design activism. 12
Jacques Ranciére, The Politics of Aesthetics: The Distribution of the Sensible (London: Continuum, 2006), p. 8.
of these two examples it seems rational to conclude
it quickly shows that many countries have institutions
that governments also adapt activist behaviour and
who work actively with design for social- and behavioural
methods in their design thinking, to change social
change. The UK has the ‘Behavioural Insights Unit’,
norms.
owned and shared by several institutions in the Danish government. MindLab works primarily on analysing how to innovate and improve in different places in the public sector. An interesting example for our activist context is their work on ‘New Nordic Schools’ (NNS) as they are proposing that the schools should challenge the assumption that change comes from the top. MindLab propose a system where pupils, pedagogues, teachers and parents are encouraged to initiate change at a grassroots level, and where the proposals find their way not only to the head of the schools, but extend into municipal and regional basis. To do this, MindLab’s study explore new frameworks that accommodate interaction and change within NNS and municipal developments. In other words; MindLab is working to Cramer-Krasselt, “Slower is better” for Elm Groove Police, April 2009.
11
Looking closer into how governments work with design
Finland has SITRA and Denmark has MindLab, which is
FIG. 3
D&IASC | understanding design activism |
change the current system, so that it is more likely to change by future initiatives and activism. On the basis
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| D&IASC | understanding design activism
FINAL DEFINITION OF DESIGN ACTIVISM
The ‘counter narrative’ is understood as the activist
term. Merriam-Webster14 defines activism as ‘a doctrine
Earlier it was established that we want to adopt what
response to the ‘space of conflict’, in other words, it
or practice that emphasizes direct vigorous action
DiSalvo calls a ‘space of conflict’ in our understanding
is the means of which the activist is using design to
especially in support of or opposition to one side of a
of design activism, and use this as a necessary criteria
change the current situation. This definition almost
controversial issue’. Oxford Dictionaries15 have a similar
before calling a project design activism. There is an
fulfils the criteria we have set up so far, although, since
definition: ‘The policy or action of using vigorous
element of disruption that seems to be missing in many
it is not mentioning any information on the sender, or
campaigning to bring about political or social change’.
of the examples provided in todays literature. As we are
an element of disruption, there is enough incentive to
The two definitions are clear and bring associations
talking ‘activism’ we expect some level of provocation
make our own definition as:
of strong and famous activists and organisations like
or at least a strong and clear message. Fuad-Luke’s
Gandhi, Aung San Suu Kyi, Pussy Riots and Greenpeace.
preliminary definition of design activism, comes very
A
disruptive
activity
signalling
a
clear
close to how we want to understand the term. He
activist statement in a shared space, when
The two main authors on design activism have a
defines it as:
an individual, organisation or government
softer approach when understanding activism, Fuad-
institution intentionally try and change a social,
Luke quotes Sidney Tarrow’s definition16 as ‘Collective
Design thinking, imagination and practice applied
environmental or economic situation, with
challenges (to elites, authorities, other groups, or cultural
knowingly or unknowingly to create a counter-
innovative solutions, smart thinking and/or
codes) by people with common purposes and solidarity
narrative aimed at generating and balancing
creative communication.
in sustained interactions with elites, opponents and
positive social, institutional, environmental and/ or economic change.13
‘DESIGN ACTIVISM’ AS AN OVERLY USED TERM In the opinion of this text, the various interpretations
13
Alastair Fuad-Luke. Design Activism Beautiful Strangeness for a Sustainable World (London, UK: Earthscan, 2009). p. 27.
of the word ‘activism’ is why design activism has not yet established itself as a clear, commonly understood
14 15 16
“Activism.” Merriam-Webster.com. http://www.merriam-webster.com/dictionary/activism. (accessed 23 August 2014). “Activism”. Oxford Dictionaries. Oxford University Press. http://www.oxforddictionaries.com/definition/english/ activism (accessed 23 August 2014). Sidney Tarrow, ‘Power in Movement: Collective Action, Social Movements and Politics’, 1994, quoted in Alastair Fuad-Luke. Design Activism Beautiful Strangeness for a Sustainable World (London, UK: Earthscan, 2009). p. 5.
authorities’. Thorpe poses a very interesting question
We should choose to understand design activism as
for this text, as she states that design is often defined
a rare sight and a difficult discipline, motivated by a
as an activity for the general improvement of peoples
fundamental passion for change, rather than an inclusive
lives, a statement I agree with, and then summarises Tim
term that is used to describe any project with a social or
Jordan’s definition17 of activism as an activity that seeks
environmental aspect to it.
to improve the conditions of peoples lives.
She then asks: ‘isn’t most design, in some senses, design activism?’18. An insightful
and correct observation,
however, it weakens the term, when design projects suddenly become design activism without having any activist behaviour or element to them. Thorpe continues on the same page, describing that most design is not initiated to help a neglected group, but is based on consumerism and peoples ability to pay, for these life improvements.
17 18
Tim Jordan, ‘Activism! Direct Action, Hacktivism and the Future of Society’, 2002, summarised in Ann Thorpe, Architecture & Design versus Consumerism, how design activism confronts growth (London: Earthscan, 2012), p. 4. Ann Thorpe, Architecture & Design versus Consumerism, how design activism confronts growth (London: Earthscan, 2012), p. 4.
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| D&IASC | examples of design for social change
EXAMPLES OF DESIGN FOR SOCIAL CHANGE Taking a step back from design activism, we now look at three examples of design for social change, to help discuss and support some of the claims that has been put forward. A fantastic example of an individual using
not go unnoticed” and she approached them at a reflective level, inducing bad conscience, and the results were remarkable. Three months later the dog fouling had decreased by 75%.
Jill’s work shows how someone can change the behaviour of a local community with small effort and more importantly; no bad vibes, no threats or surveillance and no hostility towards anyone.
design for her personal war on dog fouling was shown in the BBC documentary “Litter Wars” in 2013. Here, Jill from North Yorkshire skilfully use design to combat careless dog owners.
On a pathway next to a school, she observed how much dog waste was left on the grass, and how the warning signs with a £1000 penalty fine for dog fouling had no effect. She launched her own campaign and highlighted all the dog waste with little pink flags to create a much more visible representation of how much there actually was. The message to the sinners was clear: “this does
FIG. 4
Nick O’Dwyer, “Litter Wars” Documentary for BBC, February, 2013.
D&IASC | examples of design for social change |
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An example of an organisation that saw a need and took
and proved very successful and had up to a 100 injecting
action was ‘Fixerum’, who are based in Copenhagen.
visitors a day, none of whom suffered overdoses with a
The word Fixerum is a Danish word for a consumption
deadly outcome19.
room, where substance abusers can inject their drugs in a hygienic setting, while being monitored by nurses.
A second Fixelance was later added to the project,
In Vesterbro, a part of Copenhagen where there is
which ran for about a year before the government
a high concentration of drug users, Fixerum wanted
recognised its social contribution and its indispensability.
the government to open a consumption room, as the
In 2012 the government adopted the two Fixelances
addicts of Vesterbro found it increasingly difficult to
and funded two additional permanent consumption
‘be’. In other words, users would have nowhere to inject
rooms in Vesterbro. Today Denmark has 4 permanent
heroin, so they did it in the streets and some left their
consumption rooms and in march 2014 one of the
used syringes on the ground, thereby endangering
original Fixelances was acquired and exhibited by the
others. Sometimes even dead bodies from addicts who had suffered a fatal overdose would be found
FIG. 5
Lars Kristiansen, February, 2011.
Danish National Museum. This is not only the story about a great social project, it is also a story about a
the next morning. As the government were not taking
local community that decided to react. They designed
much action, Fixerum decided to raise enough funds to
and ran a service that accommodated the need and
buy an old German ambulance, and repurpose it as a
in the end they were successful in making the social
mobile consumption room, a ‘Fixelance’, where addicts
change they wanted.
could go an inject their drugs, while being monitored by volunteering nurses and social workers. The madeshift solution rolled into the streets of Vesterbro in 2011 FIG. 6
Michael Lodberg Olsen, “De frivillige” 2012.
19
Steen Andersen, Fixerummet Der Fik Hjul: En Historie Om Værdighed. (Copenhagen: Forlaget PB43, 2012). p. 103.
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| D&IASC | examples of design for social change
A recent example of a government communicating
Designed for the urban aesthetics, this object didn’t
through design happened in Copenhagen in the
look bad in its surroundings. The group at the bench
summer of 2013. For many years a specific bench area,
area loved the installation and immediately started
has been occupied by local alcoholics, who meet up
using it, and the families weren’t bothered as much any
and drink together. They sit here because most of them
more.
doesn’t have anywhere else to go. In general no-one in Copenhagen wants this group of people around
The case seem like many other design cases where a
because they make the neighbourhood look bad,
problem is solved and everyone is happy - but this particular case has an extra dimension to it. First, the
The local community had been tolerant, because for
City of Copenhagen communicated that modesty is
the most part the group didn’t bother anyone, and had
not the same as it was 10 or 20 years ago, and society
become an integrated part of the area. It was a problem
can now tolerate looking at a guy using a urinal in the
though, that people from the group would go and
open. Second, it was a way of saying that it is fine that
urinate against bushes close to apartment buildings,
this bench is used by this group and the municipality
thereby upsetting some of the families who lives there.
support their need for a place to be, and a place to pee.
Like many other places in the world, in Denmark it is
Two social conventions were challenged in one product.
generally shameful to pee in public, and disrespectful
Now, the successful strategy has been repeated in other
towards whomever owns the premises. Local families
parts of the city, where more urinals have been installed.
complained about odours and that kids would get scared, and the City of Copenhagen had to figure out a way that would solve the issue. They eventually commissioned and installed an open-air street urinal.
FIG. 7
UiWE, Morten Grønning Nielsen, “StreetPee” 2012.
D&IASC | examples of design for social change |
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To be fair, the process of installing the urinals did not
power to force things through if they want to. Depending
happen from one day to the other. First, some were
on the position of the initiator, we have social changes
temporarily installed in Copenhagen because of an
that start and continues top-down from political
annual street party called Distortion. This event changes
leaders, or bottom-up from enthusiastic individuals.
everything in the area, like Rio de Janeiro during
It is also interesting to note that that Jill’s campaign
Carnival. It is three days of partying, open mindedness
was quite strong and noticeable, while Copenhagen’s
and experimentation. Three days where different rules
approach were more subtle and careful. This might be
apply. The City of Copenhagen saw this as a good
because Jill is less concerned about being right than
opportunity to introduce the urinals to the urban
Copenhagen, after all being wrong when you are a big
environment, and six urinals where installed on different
institution is far worse than if you are just one individual.
street corners. Soon after, the urinals were also installed on a more permanent basis were they would stay the
The three examples serves several purposes in the
same place for days or even weeks. It seems evident
discussion of social design and design activism. Firstly
that the municipality carefully planned the process of
it supports one of the first claims made in this text;
introducing these new products to the urban scene, to
that social change by design happens everyday by
test if they would be accepted by the people, or not.
governments, organisations and individuals. Jill is a good example of an individual adopting a designerly
The four examples provided so far are very different,
approach to solve her problem, and Fixerum a good
but they share an aspect of how social change is made
example of an organisation doing the same. The City
through design. One interesting difference is the power
of Copenhagen also use design to solve a concrete
distance between the examples. Jill, or Fixerum had no authority at all, and the City of Copenhagen have the
FIG. 8 UiWE, Morten Grønning Nielsen “StreetPee at Distortion” June 2012.
situation, and as a byproduct they are changing what acceptable modesty used to be.
18
| D&IASC | introducing innovation activism
Secondly, it gives us a chance to discuss when social
make people reduce their driving speed. The Fixelance
design becomes design activism. If we go back to our
project also live up to the definition of design activism as
earlier definition:
they use a very disruptive method and powerful activist behaviour to make the change they want. An important
A
disruptive
activity
signalling
a
clear
aspect of this project is that it is much more active, when
activist statement in a shared space, when
compared to the other two, because Fixerum are actively
an individual, organisation or government
changing the situation, instead of commenting on it.
institution intentionally try and change a social,
This is quite an accomplishment and much harder to do
environmental or economic situation, with
than a commentary action, but as we can see, for certain
innovative solutions, smart thinking and/or
campaigns, it is definitely possible. Finally we have the
creative communication.
projects from the City of Copenhagen; the urinal is an innovative and disruptive installation, it actively provides
Looking at Jill first, her actions live up to our definition
a service that changes both behaviour and social norms,
of
she
so it could easily be seen as a design activist example.
communicates her dismay with the current situation
However, from the criteria we have discussed and the
and the behaviour of local dog owners. Technically the
definition we are using, for us to call this project design
project is a disruptive commentary action, so it does not
activism, it would need an element of activist bravery;
solve the problem immediately, but is does prove to be
a passion for change, a clear statement or a counter-
very effective in changing the attitude of people - and
narrative.
design
activism.
Although
not
explicit,
much better than the signs that was put up by the local council. Like Jill, the Elm Groove Police Department is using commentary design activism in their campaign to
INTRODUCING I N N OVA T I O N ACTIVISM Design is incredibly powerful as a communication tool, but it can easily become much more than that. It can be a tangible and functional object we can interact with and this potential makes a big difference when thinking design activism. There is an opportunity to use design, not only as a commentary piece, but as a solution that actively deals with a specified problem, just like a speed bump has an immediate effect. This opportunity is
quite unique and separates design
activism from performance- and art activism. As design activism is a broad term covering both active (solutionoriented) and passive (commentary) design activism projects, a new term ‘innovation activism’ is proposed to identify the active, solution-oriented, projects. The word innovation does not refer to high-tech solutions, but rather to radical thinking, alternative ways of dealing
D&IASC | introducing innovation activism |
19
with a situation and communicating through solutions
potential to actively change a situation from day one,
instead of words or graphics. To help identify these
through interventions in public space. This is a unique
projects a set of 5 parameters has been established, and
opportunity that other types of activism rarely have,
the criteria is that an innovation activism project fulfils at
its an important criteria for innovation activism and
least 4 of the five parameters.
something design activists should push hard for.
#1 Clear in its activist statement
#4 Measurable
The project clearly communicates the activist statement
Depending on the project it can be challenging to
to a target audience. I doesn’t have to be explicit but
measure any immediate change. Commentary projects
we should understand what it is about, without having
requires time to change the attitude of people. With an
someone explain it to us. It can be a quantitative
active project, however, it becomes easier to measure
approach that targets everyone or a qualitative approach
impact, and prove that it had an influence. This reflects
that targets specific stakeholders who are the ones that
back onto the campaign and strengthens it even further.
can help drive the change. #5 Permanent #2 Disruptive
Effective change is permanent, so the activist should try
Activism is a step further than advocacy and we want to
and get the intervention accepted in the public space on
see it as a disruptive act. It has elements of confrontation,
a long-term basis. Pop-ups and temporary installations
attitude and interferes with routines of ordinary people.
are good tactics for activism, however it is questionable how effective these are when compared to a permanent
#3 Active, not passive As stated earlier, design and designers have the
installation.
20
| D&IASC | introducing innovation activism
EXAMPLE To support this idea of using criteria, the Fixerum project
#1 Clear in its activist statement Yes. Although not explicit.
is tested against the parameters:
As we can answer yes to all the parameters, we can think of this project as a very strong innovation activist example. Although, finding examples that clearly meet
#2 Disruptive Yes. Very controversial.
all the criteria is difficult and it is often debatable if something has a clear statement or not, or when exactly
#3 Active, not passive
something is disruptive. However, this method gives us
Yes. They are actively dealing with the problem.
some clear aspects to think about when evaluating a
#4 Measurable
project, and its qualities.
Yes. Very successful in change as they got the government to change legislation and take over the project. Also successful in measuring their positive impact on fatal overdoses.
As this idea of using parameters was developed and tested, it occurred to be useful not only for thinking about innovation activism, but for design activism
#5 Permanent Yes.
and social design as well. As discussed earlier, it is often tempting to think of a social design project as being a form of activism - maybe it’s because we tend to romanticise social design and want to underline its nobility by calling it activism(?). Although in some cases it is definitely design activism, in many cases it isn’t, and this is where this new framework can help us. We can go through point one to five on any social design project, and the thinking is that if it fulfil one, two or none of the
FIG. 9
Michael Lodberg Olsen, “De frivillige” 2012.
parameters at all, it is probably a social design project. If
it fulfils three or four parameters we are probably dealing
this methodology, now thought of as design for social
with a solid design activist project, and if it fulfils 4 or 5
change. For future research, this framework could be
parameters, it is likely to be the active type of design
used to build, a library of projects that can be discussed
activism, which in this text is referred to as ‘innovation
by researchers, so that a consensus of comparable
activism’. Of course the borders between these
projects is easier to reach. This would give us a better
definitions are overlapping each other, and we should
overview of what social design and design activism was
be critical and question the outcome of this method.
10 years ago, what it is right now, and where we can
However, based on the results of many evaluations, it
expect it to go in 10 or 25 years.
does seem like a really good way of approaching a social project, to shape our initial opinion and think of which other projects are comparable with the one at hand.
This method of using parameters was ultimately what shaped the way this text is interpreting the described examples. In appendix 1, the method is applied to all the examples mentioned in the text, and reveals that Elms Grooves Police Department’s interactive speed sign is also a good example of innovation activism. Jill’s campaign against dog fouling is definitely design activism and borderline innovation activism. The new urinals in Copenhagen and the New Nordic Schools looks like design activism but is, on the background of
D&IASC | introducing innovation activism |
21
22
| D&IASC | social change in the future
SOCIAL CHANGE INITIATIVES OF THE FUTURE Within the last 40 or 50 years we have seen more and more social change by design, created by private initiatives or governments. With all these projects came various degrees of design activism which slowly but securely established itself as a very effective method for change. This chapter is devoted to try and reach some insights to why social design and design activism came about when it did, and where we can see it going in the future.
Looking at design history it was not until after the second world war we started seeing real effort in designing for change20. Until then design was generally not conceived as a social or political discipline and it was the avantgarde art movements that lead the development of 20
Alastair Fuad-Luke. Design Activism Beautiful Strangeness for a Sustainable World (London, UK: Earthscan, 2009). p. 48.
aesthetic activism. Today, many designers still prefer to
value of design activism, when the persistence and
stay neutral, and are reluctant to approach controversial
impatience of activists, force them to try and change
subjects
abusers),
current situations using alternative routes - The fastest
or express political viewpoints through their work.
route being innovation activism, which can bypass a
However, it does look like more designers are becoming
long debate and prove its worth in one day, and almost
more determined and comfortable with controversy,
immediately become publicly accepted as something
and at the same time we see that individuals from all
indispensable.
(like
harm-reduction
for
drug
disciplines and backgrounds confidently adopt design methodology in their work and become designers.
SOCIAL CHANGE IN FUTURE DEMOCRACY In some countries, especially in Scandinavia, a democracy
We could probably assume that a lot of activism is
with more public participation is slowly but steadily
a product of political impatience, and a lot of design
developing. It seems like there is a changing attitude
activism and especially innovation activism develop
in Scandinavian governments, who are becoming more
when things are simply not solved properly, or quickly
willing to open up and let laypeople bring their input to
enough. In Copenhagen the citizens of Vesterbro
the discussion. In Denmark, for example, a collective of
waited 10 years for the debate on drug consumption
cultural and social entrepreneurs called KPH launched
rooms to end in some kind of conclusion or action21,
a website; TagDel.dk (translates directly into ‘TakePart.
and it was only when they took matters into their own
dk’). Through this website individuals, organisations
hands, things really started moving and a change was
and most importantly official Danish government
finally made. It is success stories like this that show the
institutions, post briefs and questions on how to solve social challenges, which anyone can respond to. This
21
Steen Andersen, Fixerummet Der Fik Hjul: En Historie Om Værdighed. (Copenhagen: Forlaget PB43, 2012). p. 66.
opportunity has been very well received by responders
as well as government institutions, councils, and think
in official support-mechanisms that would advise design
tanks, who regularly post new challenges, for example
activists, on how to get permission for their installations,
on how smaller cities can be made more attractive for
help them fund their ideas, or help them find the best
young families. A second example is that the Finish
way to strengthen their message.
government-funded think tank SITRA, recognised the need for a changing democracy and arranged an
In conclusion, we can expect to see more design
event in 2012 called The New Democracy Forum. The
activism, and experimental design installations in
purpose of this was to envision a future democracy were
public space, as they have proven to be effective in
laypeople would have other options than just voting.
implementing social change. For governments we
One of their key augments is that people do not feel
can expect innovative trials and pilots, experimenting
much ownership, or involvement when they only have
with different new ways to encourage participatory
an influence every 4 years at the voting booth. Instead
democracy, and an open-minded attitude towards
SITRA propose ideas and examples of how to empower
the new forms of activism. This route could very well
the public. One example was that individuals could freely
lead to societies that provide the public with a better
assign a part of their taxes to a public sector of their
sense of individual contribution and if our governments
choice. Another example was that transparency would
choose to welcome these activities, we will see a
be the norm in decision-making and as little as possible
variety of colourful initiatives that will ultimately result
would be decided behind closed doors22. Relating this
in faster sociopolitical renewals, for the better of future
back to design activism, we could imagine that this
generations.
goodwill towards participatory democracy could result
22
http://www.sitra.fi/en/future/new-democracy (accessed 1 June 2014)
D&IASC | social change in the future |
23
24
| D&IASC | appendix 1
BIBLIOGRAPHY Andersen, Steen. Fixerummet Der Fik Hjul: En Historie Om Værdighed. Copenhagen: Forlaget PB43, 2012 Berman, David. Do Good: How Designers Can Change the World. Berkeley, California: AIGA, 2009. Brown, Tim. Design for Social Impact. Palo Alto: IDEO & The Rockefeller Foundation, 2008. http://www.ideo.com/images/uploads/news/pdfs/ IDEO_RF_Guide.pdf (accessed 12 June 2014) DiSalvo, Carl. “Design, democracy and agonistic pluralism.” (Proceedings of the Design Research Society Conference 2010). http://blog.ub.ac. id/irfan11/files/2013/02/Design-Democracy-and-Agonistic-Pluralism-oleh-Carl-Disalvo.pdf (accessed 13 September 2014) Fuad-Luke, Alastair. Design Activism Beautiful Strangeness for a Sustainable World. London, UK: Earthscan, 2009. Hindle, Tim. “Triple Bottom Line,” The Economist, November 17, 2009, http://www.economist.com/node/14301663 (accessed 10 August 2014) Markussen, Thomas. “The Disruptive Aesthetics of Design Activism: Enacting Design Between Art and Politics.” Design Issues: 1. (2011), http:// www.nordes.org/opj/index.php/n13/article/viewFile/102/86. (accessed 13 September 2014) Merriam-Webster.com “Activism.” http://www.merriam-webster.com/dictionary/activism. (accessed 23 August 2014). Oxford Dictionaries. “Activism”. Oxford University Press. http://www.oxforddictionaries.com/definition/english/ activism (accessed 23 August 2014). Papanek, Victor. Design for the Real World; Human Ecology and Social Change. New York: Pantheon Books, 1972. Ranciére, Jacques. The Politics of Aesthetics: The Distribution of the Sensible London: Continuum, 2006. SITRA. http://www.sitra.fi/en/future/new-democracy (accessed 1 June 2014). Thorpe, Ann. Architecture and Design versus Consumerism: How Design Activism Confronts Growth. Abingdon, Oxon: Earthscan, 2012.
APPENDIX 1 EVALUATION OF EXAMPLES This collection show how the proposed five parameter method23 is used to reveal insight to wether the examples are social design, design activism or innovation activism.
initiator: FIXERUM
initiator: MINDLAB
#1 Clear in its activist statement Yes. Although not explicit.
#1 Clear in its activist statement No. Its more of a social change statement.
#2 Disruptive Yes. Very controversial.
#2 Disruptive No. It is a proposal.
#3 Active, not passive Yes. They are actively dealing with the problem.
#3 Active, not passive No. It is a proposal.
#4 Measurable Yes. Very successful in change as they got the government to change legislation and take over the project. Also successful in measuring their positive impact on fatal overdoses.
#4 Measurable Yes, it could be if realised.
#5 Permanent Yes.
Comments This is an example of designing for social change. They propose a framework that encourages grassroots level activism.
Comments A very strong innovation activist example.
23
described on page 20
D&IASC | appendix 1 |
FIG. 10 Michael Lodberg Olsen, “De frivillige” 2012.
#5 Permanent Not yet.
FIG. 11 Mind-Lab, “Ny Nordisk Skole – forandring nedefra” 2014.
25
26
| D&IASC | appendix 1
initiator: ELM GROOVE POLICE
initiator: JILL
initiator: CITY OF COPENHAGEN
#1 Clear in its activist statement Yes. “Slower is better”.
#1 Clear in its activist statement Yes. Although not explicit we know that dog fouling is not acceptable.
#1 Clear in its activist statement No. Its more of a solution to a practical problem.
#2 Disruptive Yes. #3 Active, not passive This is debatable as it is commentary in an interactive way, and encourages people to slow down. It is not actively slowing cars, but it makes the drivers do so. #4 Measurable Yes. #5 Permanent Unknown. Location might change. Comments Interesting example of how government institutions also use innovation activism.
FIG. 12 Cramer-Krasselt, “Slower is better” for Elm Groove Police, April 2009.
#2 Disruptive Yes. It is an original intervention in public space. #3 Active, not passive No. Passive, commentary. #4 Measurable Yes. The result was 75% less dog fouling in 2 months. #5 Permanent No. The flags are temporary. Comments Jill is a great example of an individual, grassrootslevel activist who has no design background, but successfully adopt a design activist method for her campaign.
FIG. 13 Nick O’Dwyer, “Litter Wars” Documentary for BBC, February, 2013.
#2 Disruptive No. It is disruptive as an unusual installation, but I does not have a passionate activist counternarrative, and most people walking by wouldn’t notice it. #3 Active, not passive Yes. They are actively solving the problem. #4 Measurable Yes. They stopped using the bushes. #5 Permanent Yes. Comments Even though this fulfill several criteria, it is lacking fundamental activist behavior, and is therefore an example of social change though design.
FIG. 14 Morten Grønning Nielsen, “StreetPee” 2012.