RESEARCH +EDUCATION FORUMTOKYO 2023

Forum
Proceedings

WDO Research and Education Forum 2023 Proceedings / Design Beyond

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Page IIWDO Research and Education Forum 2023 Proceedings / Design Beyond

The following document is the published collection of technical papers accepted forpresentation at the WDO Research and Education Forum that took place during World
Design Assembly 2023 in Tokyo (Japan), hosted by the Japan Institute of Design Promotion
on 27 October 2023.

Forum Chair

Editorial Team

Prof. Pier Paolo Peruccio
Politecnico di Torino (Italy)

Andréa Springer
Programmes & Communications Director,
WDO

Academic Reviewers
Prof. Thomas Garvey
Carleton University (Canada)
Lilian González-González
Anahuac University of Mexico (Mexico)
Sheng-Hung Lee
Massachusetts Institute of Technology(USA)
Verena Paepcke-Hjeltness
Auburn University (USA)

Natalie Dutil
Communications Manager, WDO
Sarah Virgini
Programmes & Communications Officer,
WDO
Document Layout
Tu Tram Pham
Visual Communications Officer, WDO
World Design Assembly 2023 logo design
Hiromura Design Office

Industry Reviewers
Anne Asensio
Dassault Systèmes (France)
Hari Nair
Design for Winning (USA)Srini Srinivasan
Design Innovation Institute Shanghai(China)Pradyumna Vyas
Confederation of Indian Industry (India)

The authors of individual papers are responsible for technical, content, and linguistic
correctness. All content remains the property of authors, editors and institutes.
ISBN 978-1-7770192-2-8
Copyright © 2024
© World Design Organization (WDO)®
455 St-Antoine Street West, Suite SS10
Montreal, Quebec, H2Z 1J1 (Canada)
WDO.org
WDO Research and Education Forum 2023 Proceedings / Design Beyond

Page IIIMessage fromthe Chair of
WDO Education
Committee

Messagesfrom WDO

Speakers/
Panelists

Forum Themes
and Papers

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Page IX

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About this publication
Held on 27 October 2023, the WDO Research and Education
Forum 2023 took place on the first day of the World Design
Assembly at Chiba University’s Design and Research Institutein Tokyo (Japan). Hosted by the Japan Institute of Design
Promotion, the Forum explored the theme of Design Beyond
and aimed to share perspectives and ongoing researchdemonstrating the future impacts of design across different
human, technological and planetary contexts.
Bringing together academics, students and industry leadersfrom around the world, the event focused on three distinct
sub-themes: design for humanity, design for human-centred
technology and behavioural design for planet. Merging diverse
insights, the Forum put forth a dynamic vision for tomorrowthat showcased the value of designing beyond the borders
and boundaries that have shaped our modern era.
The following proceedings are the collection of papers
selected for presentation and publication.

To view the keynote presentations and panel discussions from the Research and Education Forum, as well as see the posters presented,
please visit: wdo.org/programmes/world-design-assembly/wda-2023/wdo-research-and-education-forum-2023/

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WDO Research and Education Forum 2023 Proceedings / Design Beyond

Theme 1
Design for Humanity
This track invites explorations anddebates that leverage our understandingof design and designing for humanity.
Exploring contributions from various
practice-based and thinking viewpoints,
this theme highlights projects where
design plays a key role in areas such associal change, social innovation, social
inclusion and cohesion.

Crafted Resilience:
Designing for Empowerment
and Social Impact Using
Phulkari, a Traditional Craft
in a Heritage Setting

Design Beyond Politics:
Socio-political Obstacles inIndia’s Healthcare

Puja Anand
Harbina Kaur
Alok Bhasin

Institutions
Rikkyo University (Japan)

Institution
Pearl Academy (India)

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Leveraging AI to Infuse
Humanity in Industrial
Design Education
Sooshin Choi
Institution
Department of Industrial
Design, Savannah College of
Art and Design(USA)

Page 16

Mary Reisel

The Ceruleans (Japan)

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Evolutional Creativity
Evolutionary Principles for
Creative Learning
Eisuke Tachikawa
Institutions
NOSIGNER (Japan)
Japanese Industrial designers
Association (Japan)
Kanazawa College of Art (Japan)

Page 44

Developing City Design
Power Index Model

Mapping Everyday Solutions
to Foster Social Cohesion andCommunity Resilience

Shyhnan Liou1,2
Chi-Yi Chang1
Yu-Chen Chen1
Junyu Chen1
Ying-Yi Hsieh1
Tu-Chung Liu1
Tang-Ling Kuo1

Raditya Ardianto Taepoer1, 3
Kenta Ono2
Prananda Luffiansyah Malasan3, 4Meirina Triharini4
Arianti Ayu Puspita4

Institutions
1
Taiwan Design ResearchInstitute (TDRI) (Taiwan,
Chinese Taipei)
Nation Cheng Kung
University (Taiwan, Chinese
Taipei)2Page 23

Institutions
1
Graduate School of Science andEngineering, Chiba University(Japan)2Chiba University (Japan)

Research Center for Culturaland Environmental Products,
Institut Teknologi Bandung(Indonesia)

3

Faculty of Art and Design,
Institut Teknologi Bandung(Indonesia)

4

Design for Humanity:
Exploring the Power ofCo-design to Empower
Young Population forSocial Impact

Page 56

Anastasios Maragiannis
Institution
College of Design, Creative &Digital Industries,
University of Westminster(United Kingdom)

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WDO Research and Education Forum 2023 Proceedings / Design Beyond

Page VTheme 2
Design for Humancentred Technology
Digital and physical technologies haveradically transformed the way we live
and work, and technology is one ofthe drivers of humanity’s future. As a
product of humans, it exists because
we have designed, developed, financed,
disseminated, accepted, and employedit. However, technology can also embody
the negative aspects of humanity. As welook to the future, this theme explores
the role of technology in achieving the
Sustainable Development Goals andtheir global impact.

Smart Display Developmentwith Services andSupporting Tools to Tackle
Elderly Care Problems

Integrating Intelligent
Agents and Service Designfor 3H Care: a Path to SDG 3
in Singapore

Ara Cho¹
Inho Lee¹
Youngjin Chung¹
Hoyeong Song²
Seonhee Jung³
Kenny Ryu⁴
Yuwon Jeong¹
Jihyun Lee²

Bo Gao1
Di Wang1
Robin Chan Chung Leung1
Zhiwei Zeng1
Benny Toh Hsiang Tan1
Yang Qiu1
Huiguo Zhang1
Xinjia Yu1
Jun Ji1
Bo Huang1
Eng Sing Lee2
Hui Hwang Teong3
Ray Tian Rui Lai3
Wai Han Hoi4
Chunyan Miao1

Institutions¹Korea Institute of Design
Promotion, Gyeonggi-do(South Korea)²Neofect, Gyeonggi-do(South Korea)³Scube Design Lab, Busan(South Korea)

Institutions
1
Joint NTU-UBC Research

⁴Blessing Eco Design, Busan(South Korea)

Centre of Excellence inActive Living for the Elderly(LILY) Nanyang Technological
University (Singapore)

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Outer Space Technology:
Harnessing its Potential for
Sustainable Life on Earth
Through Human-Centred,
Service, Policy, and ProductInnovation
Abigail Hoover1, 2Institutions
1
Royal College of Art, Facultyof Design (United Kingdom)
2
Imperial College London,
Faculty of Engineering(United Kingdom)

Two Approaches to Humandecentred Design: Between
Life and Matter
Nobuhiro Masuda1
Yosaku Matsutani2
Yasuharu Akiyoshi3
Juppo Yokokawa4
Kazuhiro Jo1,5
Institutions
1
Kyushu University, Fukuoka,(Japan)Otemon Gakuin University,
Osaka (Japan)

2

3
Kyoto Seika University, Kyoto,(Japan)Page 83

4
Tokyo University of the Arts,
Co-speculation for FutureTokyo(Japan)Personal Data Use—Toward
Shared Authorship of Future 5YCAM, Yamaguchi (Japan)
Technology Use Scenarios
Among Multi-stakeholders

Masako Kitazaki1
Fumiya Akasaka2
Riichiro Take3
Ryoko Koborita4
Kazushi Ishigaki5
Institutions
1
Musashino Art University,
Tokyo (Japan)

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Science Fiction and Design
Fiction to Learn About AI
Luisa Mok

Fujitsu, Tokyo (Japan)

Institution
Division of Emerging
Interdisciplinary Areas,
Academy of Interdisciplinary
Studies, The Hong Kong
University of Science andTechnology(Hong Kong SAR)NTT Communications, Tokyo(Japan)Page 105

National Institute ofAdvanced Industrial Scienceand Technology, Ibaraki(Japan)2

3

4

5
LDAT Research &Consulting, Yamagata (Japan)

Page 91

National Healthcare Group
Polyclinics (Singapore)2

3
Tan Tock Seng Hospital(Singapore)4
Woodlands Health, National
Healthcare Group (Singapore)

Page 75

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WDO Research and Education Forum 2023 Proceedings / Design Beyond

Theme 3
Behavioural Designfor Planet

Design with More than
Humans: Reimagining Social
Biomimicry throughCollaborations in Learning,
Performance andCoauthorshipThis track aims to highlight design
research, training projects, educational
tools and methods capable of generatingproducts and services that trigger
behavioural change to benefit Planet
Earth. These inspiring recommendations
aim to generate, in individuals as well as
in communities, a new conscious andengaging push to change habits andadopt virtuous behaviours.

Institution
Kyushu University Facultyof Design, Department ofStrategic Design (Japan)

Tokushu Inamura
Melanie Sarantou

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Ephemeral E-commerce:
Environmental Design
Project Curriculum to
Redefine Consumer
Behavior
Christopher Mark KaltenbachInstitution
American University of
Sharjah (United ArabEmirates)

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Bottom-Up Circular
Economy with the
Alternation of Recycling
Plastic Waste in CE
Strategies by Adapting
Open-Source Design and
Adaptive Manufacturing
Daisuke Nagatomo
Hsu Wei-Yun
Tseng Kuan-Wei
Su Ke-Shin
Hung Yu-ju
Institution
Department of Design,
National Taiwan Normal
University (Taiwan (Chinese
Taipei))!Do Something: Provoking
Sustainable Behaviour
Change Through Collective
Design Initiatives
Emma Peters
Emma Mills
Stephen Loo
Rebecca Green
Teresa Crea
Institution
School of Art and Design,
Faculty of Art, Design andArchitecture, University of
New South Wales (Australia)

Page 142
Kiwi Kai, from the Soil
to your Plate: Designing
Educational Tools for
Pro-environmental
Communications
Fabiola Cristina
Rodríguez Estrada1
Catriona MacLeod2
Garth Harmsworth3
Antonio Alfonso Rodríguez
Rosales1
Institutions
1
CICTEG- Centro deInvestigación Científica yTecnológica de Guerrero(Mexico)2
Manaaki Whenua – Landcare
Research, Dunedin (New
Zealand)Manaaki Whenua - Landcare
Research, Palmerston North(New Zealand)

3Page 149

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WDO Research and Education Forum 2023 Proceedings / Design Beyond

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WDO’s Research and Education Forum is not just a
seminar on design education. It is a global event thatconnects the world of industry, professional design
research and design universities and schools acrossdiverse geographical contexts.

Pier Paolo Peruccio
WDO Research and Education Forum Chair

Through this goal of bridging the gap between design
academia and industry, we have created a legacy of
sharing – ideas, best practices and innovations thatare not only shaping design education and research
but also effectively preparing the next generation ofdesigners with the skills they need to affect change. In
the last year alone, we’ve seen a massive shift acrossdesign academia, from the methodologies and tools weleverage to the research approaches we engage in.
Exploring the theme of Design Beyond, the WDO
Research and Education Forum 2023 looked at theintersection of design across three themes: design forhumanity, design for human-centred technology andbehavioural design for planet. The insights shared asa result of this Forum, and throughout this publication,
demonstrate that while Design Beyond may concern the
future of design, there are many ways that designers
are addressing this theme in the present.
As evidenced by the record number of paper and poster
submissions we received, this year’s theme did indeed
resonate across our global community. This publicationcompiles the papers that were selected and presented
on 27 October 2023 in Tokyo (Japan) by international
research academics, designers and educators. On
behalf of the committee, we would like to thank them forsharing their insights as part of the WDO Research and
Education Forum 2023.

Page VIIIWDO Research and Education Forum 2023 Proceedings / Design BeyondSince 2019, WDO’s Research and Education Forumhas brought together designers, academics, students
and design professionals from around the globe as ashowcase of design education and research. Under thebanner of Design Beyond, 2023 saw our community
come together in Tokyo (Japan) to explore future
perspectives on design through the lens of humanity,
technology and planet.

David Kusuma
WDO President (2022-2023)

It is fundamental that in this age of digital transformation
designers are consistently pushing the boundaries ofinnovation and creativity. They are designing beyond
what we can imagine to ultimately create for a futurethat is yet unknown. Designers globally are grapplingwith the impact and potential of technologies thatmimic human sentience and capabilities, and what thismeans for the future of both people and planet. Curating
perspectives from across the fields of design, the WDO
Research and Education Forum 2023 and this resulting
publication identify how we can best prepare the next
generation of designers to design beyond boundaries.
We extend our appreciation to WDO Promotional
Member Japan Institute of Design Promotion for theircollaboration and support in hosting this event. A special
thanks as well to the WDO Research and Education
Forum Committee lead by Chair Pier Paolo Peruccio(Italy) who committed their time and expertise tooverseeing the development of our programme: Anne
Asensio (France), Thomas Garvey (Canada), Lilian
González-González (Mexico), Sheng-Hung Lee (USA),
Hari Nair (USA), Verena Paepcke-Hjeltness (USA), Srini
Srinivasan (China), Pradyumna Vyas (India).

WDO Research and Education Forum 2023 Proceedings / Design Beyond

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Keynote Speakers
Ayse Birsel

Designer, Author and Co-founder of Birsel+ Seck (USA/Turkey)
Ayse Birsel, is a Turkish-born, New York-based award-winningindustrial designer, author, executive coach. She is the cofounder of Birsel + Seck, working with Amazon, Herman Miller
Knoll, Toyota, among others.

Jian Liu

Professor, Associate Dean, School ofArchitecture, Tsinghua University (China)
Jian Liu is a Professor of Urban Planning and Design and
Associate Dean of School of Architecture Tsinghua University.
She is also a Registered City Planner in China, the Managing
Chief-Editor of China City Planning Review and the Past
President of Asian Planning Schools Association.

Katja Forbes

Design Leader & DEI Director, Data
Visualization Society (Singapore)
Katja Forbes is a seasoned leader in the digital industry witha proven track record of driving growth and innovation. She
is an expert in areas such as ethical navigation of emerging
technology, CX, UX, data science, and product design.

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WDO Research and Education Forum 2023 Proceedings / Design BeyondPanelists
Moderator

Tadanori Nagasawa
Professor, President of Musashino Art University (Japan)
Cultural Engineer and educator in art and design. Nagasawa was formerly the
President of Musashino Art University and a Senior Fellow of Royal College ofArt. He received an MA from Royal College of Art (UK) in 1981 after graduatingfrom Musashino Art University in 1978.

Jacob Mathew
Senior Design Principal, Srishti Manipal Institute (India)
Jacob Mathew spent his early work life transforming business with design. He
now leverages business, design and entrepreneurship to transform society,as a mentor, at Industree Foundation and as Design Principal, Srishti Manipal
Institute.

Kenta Ono

Professor, Design Research Institute, Chiba University(Japan)Kenta Ono is currently researching system design and design theory in the
System Planning Research Unit at the Design Research Institute of Chiba
University. With a ME and Ph.D. from Chiba University, his previous experience
includes Mitsubishi Electric Corporation and Mitsubishi Telecom Europe S.A.
(France) as an interface designer.

Hyungkun Yoon
Director, Korean Society of Design Science (South Korea)
Hyungkun Yoon is a ‘Japan-Korea-China Three Country Design Specialist’ who
has been in the design field and design education for more than a decade ineach country. He received a doctorate in ‘Emotional Engineering’ from Chiba
University (Japan) and worked for R&DMAK in Tokyo. After graduating fromYonsei University in Korea, he went to China in 2004 at the request of Shanghai
Jiaotong University. He has since consulted for companies in areas such as
Chinese sensitivity analysis on Toyota design and UI/UX for Samsung MP3. He
is currently a director of the Korean Design Association.

Michal Ziso

Architect, Founder & CEO, ZISO Innovation + Architecture
Lab | The SLEEP (Israel)
Michal Ziso is an architect, a futurist entrepreneur and space architect
revolutionizing the designed environment on Earth through space innovation.
As the founder and CEO of ZISO Innovation + Architecture Lab and The
SLEEP - SpaceTech startup, she pioneers inclusive-human-centred design on
a global scale. Michal is a graduate of the Technion and the International Space
University, and an advisor to SpaceTech VC’s.
WDO Research and Education Forum 2023 Proceedings / Design Beyond

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Programme
27 October 2023
Tokyo (Japan)
Opening remarks
David Kusuma
Kazuo Tanaka
Toru Yamamoto (Mayor of Sumida City)
Pier Paolo Peruccio

Keynote Sessions
Ayse Birsel
Jian Liu

Paper Presentations
Theme 1: Design for Humanity

Moderators: Lilian González-González and Pradyumna Vyas

Theme 2: Design for Human-centred Technology
Moderators: Anne Asensio and Meghan Preiss

Theme 3: Behavioural Design for Planet
Moderators: Pier Paolo Peruccio and Srini Srinivasan

Panel Discussion
Jacob Mathew
Kenta Ono
Hyungkun Yoon
Michal Ziso

Closing Keynote
Katja Forbes

Close of Forum
Pier Paolo Peruccio
Akira Ueda (Director of Design Research Institute, Chiba University)

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Posters
The following posters were accepted and presented during the poster exhibition held during the WDO Research and Education
Forum. To view these posters, please visit: wdo.org/programmes/world-design-assembly/wda-2023/wdo-research-andeducation-forum-2023/

Theme 1: Design for Humanity
Addressing Food Accessibility & Food Services in the
Aftermath of 2023 Turkey Earthquake
Bengisu Akviran, Yilmaz Ege Nergis, Arda Tunç Özyörük, Nisan
Ürerer, Elif Kocabıyık Savasta, Can Özcan
Human-centred Design Approach for Bettering Lives ofConstruction Workers in India
Srikar Avr and Padam S
System Design to Bring University Students Closer to STEAM
Javier de Jesus Cervantes Estrada
Develop & Lead your Organization by Design to Deliver Value
Across the Triple Bottom Line for Prosperity Not Profit and Not
at the Expense of People or our Planet
Stephan James Clambaneva

Web Accessibility in the Future: An Attempt to Combine
Service Design Approach and Inclusive Design
Yasuko Yamamoto, Akira Nakayasu, Atsushi Akiyama, Keisuke Shoji,
Fumino Suzuki, Takeshi Youoku, Atsuko Uda

Theme 3: Behavioural Design for Planet
Designing Failure to Successful Design
Massimiliano Cavallin
Promoting Local & Sustainable Food Practices Through
Visual Communication DesignPeter Kwok Chan, Ben McCorkle
Recycle-inducing Plastic Bottle Label Design
Yeonhoon Choi

Te Kāhui Tika Tangata, the Human Rights Commission
David Hakaraia

System Glitch: Shifting Consumer Behavior Through an
Embrace of Repair Mentality
Hazal Gumus Ciftci

Study on CMF Design and Process Development System for User
Emotive Satisfaction
Jiyoung Han

Curation as an Approach to Ecological Design Research— Sustainable Revolution Driven by Eco-design Curating
Siyang Jing

OLTA: Human Rights Issue Selectshop PlatformYejin Lee

Edo Piano Concept Model Design
Manabu Kawada, Yoshihiro Katsumata, Akie Hinokio, Yurii Kasao,
Kenta Ono, Chihaya Sakai, Ritsu Arai, Teppei Hanawa

Design for Activating Citizens to the Future(s)Aiko Monoi, Yu Ikemoto, Mami Takahashi, Tasuku Soga, Yoshitaka
Shibata, Takashi Shirasawa, Toshiomi Moriki
Deforme’ Water Bottle
Fatima Muhammad Nasir
The Intersection of Design and Craftsmanship for Crosscultural
Creation
Fabiola Cristina Rodriguez Estrada and Nakano Yoshito
A Visual Analysis of Facial Expressions in Cross-Cultural
Character Design
Siddharth Sinha, Lisa Winstanley

What Will Happen to All the Dead Batteries?
Hyeil Kim
Designing a Culture of Care through Embodied Sustainability:
A Design Research Approach to Understand, Translate and
Implement Japanese Cleaning Culture in Western Society
Birgit Neu-Severin, G. Neu-Rinaudo
Paper Basket: A Sustainable Design Project to Rediscover
Leftovers
Jiyeong Yun

Theme 2: Design for Human-centred
Technology
Anthropological Methods in DesignThomas Ask
Water Resilient Oasis: Adapting Design Technologies for
Water-stressed Regions Based on Urban Resilience Attributes
Soheil Dashti
Stepping Out of the Slate
Manabu Kawada, Yoshihiro Katsumata, Akie Hinokio, Yurii Kasao,
Hinako Matsui
Dystopias of Digital Memory: Technology Helps Us Remember
but are We Allowed to Forget?
Aparna Raman

WDO Research and Education Forum 2023 Proceedings / Design Beyond

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Theme 1

Page XIVWDO Research and Education Forum 2023 Proceedings / Design BeyondDesign for
Humanity

WDO Research and Education Forum 2023 Proceedings / Design Beyond

Page 1

Crafted Resilience: Designing
for Empowerment and Social
Impact Using Phulkari,a Traditional Craft in a
Heritage Setting

Authors:
Puja Anand
Harbina Kaur
Alok Bhasin

Institution:
Pearl Academy (India)

Abstract
The paper explores the potential of traditional crafts, specifically
Phulkari, from Punjab (India), as a means of empowerment
and social impact within a heritage setting. The authors
conducted a case study and proposed the establishment of anexperiential centre that would celebrate the craft of Phulkari,provide immersive experiences to the public, function as a
training facility for local women, and feature a retail space. The
centre would preserve the historical significance of Phulkari
and promote economic empowerment and social well-being
in the local community. With the adaptive reuse of heritagebuildings, the centre provides a tangible link to the past,enabling communities to reconnect with their roots, traditions,and values. The study concludes that the experiential centre
has the potential to sow the seeds of resilience, leading to amore inclusive and prosperous society, particularly for women.
Keywords: Adaptive reuse, empowerment, heritage setting,
Phulkari, resilience

UNESCO recognizes the profound influence ofdesign on social and economic development andhas embraced the power of creative solutions
to uplift marginalized communities and promotesustainable models.

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Design Beyond / Crafted Resilience: Designing for Empowerment and Social Impact Using Phulkari, a Traditional Craft in a Heritage SettingIntroduction

Research Objectives

In a world that is constantly evolving and faced with complex
challenges, the pursuit of sustainable development andgender parity has become increasingly vital. The Sustainable
Development Goals (SDGs) established by the United Nations
provide a guiding framework emphasizing the urgency of
empowering women and building resilient communities.
Among the 17 SDGs to be achieved by 2030, the fifth goal thatespouses Gender Equality stands out as a fundamental pillar,
focusing on the ambition to enable women to achieve equal
status in society and attain financial independence.

This research aims to investigate the potential of Phulkari
as a tool for women’s empowerment in a heritage context.
The study seeks to understand how this traditional craft
can promote social transformation by providing economic
opportunities, agency, and increased societal influence
for women. Additionally, the research focuses on gender
empowerment and economic development, highlighting
Phulkari’s role in fostering gender equality and local economic
growth.

UNESCO recognizes the profound influence of design onsocial and economic development and has embraced thepower of creative solutions to uplift marginalized communities
and promote sustainable models (UNESCO 2005).The fusionof heritage, craftsmanship, and social impact is a realm in which
design can exert its transformative power. This research paperdelves into the integration of Phulkari, an intricate traditional
craft practiced by women in the northern region of India, as ameans of empowerment and social impact, particularly within
the unique context of heritage sites.
Phulkari, an exceptional and captivating textile embroidery
technique, boasts its distinctive floral patterns and has
profound cultural significance. Predominantly practiced by
women in the state of Punjab, it has been a cherished art
form passed down through generations. The term ‘Phulkari’
itself translates to ‘flower work’, a name that accuratelyreflects the delicate and intricate floral patterns that grace
its vibrant fabrics. The essence of Phulkari lies in the expert
hands of its artisans, who painstakingly hand-stitch colourfulsilken threads onto cloth, imbuing life into mesmerizing motifs
and designs. Each piece they create serves as a canvas forstorytelling, often depicting themes from nature, mythology,
or daily life. These tapestries, alive with vibrant colours andintricate patterns, have evolved into symbols of resilienceand empowerment for Punjabi women. It is within this cultural
treasure that we find the seeds of our exploration – a craft thatis deeply interwoven with the life stories, hopes, and dreams of
the women who continue to preserve it.

Moreover, the study underscores the importance of acommunity-centred approach, emphasizing the significance ofaligning the project with the local community’s aspirations andrequirements. The research objective is to gain knowledge,
apply it to design, and ensure community involvement andsatisfaction in the project.

Research Methodology
The authors employed a comprehensive research methodology
for their case study, which was undertaken as a final-yearthesis project. Their primary objective was to revitalize thetime-honoured art of Phulkari by integrating it within a heritagebuilding. This was achieved through the proposal for designing
an experiential centre and a training and retail establishment,
which aimed to empower local women.

The research process commenced with a thoroughinvestigation into Phulkari, encompassing its historicalsignificance and cultural relevance in the Punjab context. This
foundational knowledge was essential to inform the subsequent
design and implementation phases. The project team actively
engaged with local communities and Phulkari artisans, gaining
a deeper understanding of their perspectives, needs, andaspirations. To gather valuable insights, site visits were carriedout to the heritage building, interviews were conducted withkey stakeholders, and surveys were administered to a diverse
range of participants. This multifaceted approach ensured thatthe project was grounded in academic research and attuned
This research endeavour is not only an attempt to shed light to the practical realities and aspirations of the community.
on the significance of Phulkari but also to consider its potential
when harnessed in the context of heritage sites. Heritage The research process was further enriched by the invaluable
sites, with their rich historical and cultural tapestry, provide contributions of Dr. Maneet Kaur, a distinguished researcher
an exceptional backdrop for integrating traditional crafts in Phulkari Craft, and Ms. Seema, a prominent Phulkari
such as Phulkari. They serve as repositories of collective craftswoman. Their expertise and hands-on experience added
memory, representing a bridge between the past and the depth and authenticity to the research endeavour.
present. However, these heritage sites often confront the dual
challenge of preservation and relevance in a rapidly changing Through in-depth interviews and dialogues with skilledworld.
artisans, the research gained a profound understanding of the
intricacies of Phulkari craftsmanship, as well as the challenges
Our study aims to explore the potential synergy between and aspirations of the women who dedicated themselves to
traditional craftsmanship, such as Phulkari, and heritage sites. this traditional art form.
The hypothesis at the core of our research is that by integrating
Phulkari into heritage settings, we can empower womenartisans, promote community engagement, and contribute to
the preservation and revitalization of cultural heritage. This
multi-faceted approach offers a unique opportunity to address
the challenges faced by marginalized women, heritage sites,
and the wider community. Our research seeks to bridge thedivide between traditional craftsmanship and heritage sites,in the process promoting social and economic empowerment
and preserving cultural heritage.

Design Beyond / Crafted Resilience: Designing for Empowerment and Social Impact Using Phulkari, a Traditional Craft in a Heritage Setting

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About Phulkari
Phulkari holds immense cultural significance. The craft, which
derives its name from the Punjabi words ‘phul’ meaning flower,and ‘kari’ meaning work, is deeply rooted in the history andtraditions of Punjab (Hitkari 1980). The primary attribute of
Phulkari is that the embroidery is executed on the reverse sideof the fabric, thus automatically creating a design on the rightside of the fabric. Historically, Phulkaris were bestowed uponbrides as a wedding gift. This auspicious symbol of happinessand prosperity, and a representation of the marital well-beingof a married woman, is deeply intertwined with the life of a
Punjabi girl. The traditional Phulkari embodies the resilienceand vibrancy of Punjabi women, reflecting the challenges
and triumphs they face in their daily lives (Kaur and Gupta
2014). Passed down through generations, Phulkari serves asa testament to the rich cultural tapestry of the region. Women,
particularly in rural areas, meticulously create these vibranttextiles, with each piece telling a visual story that reflects not
only the artistic skills of the maker but also the emotions andnarratives of the women who crafted them. These Phulkari
pieces are laden with history and tradition, symbolizing thecontinuity of Punjabi culture across time (Kohli et al. 2020).
It is deeply intertwined with a woman’s life from birth todeath. The craft’s unique designs and vibrant colours capture
the exuberance and spirit of Punjab, echoing the region’s
flourishing farmlands, lively festivals, and energetic dances.
Phulkari has become an integral part of the Punjabi identity,
representing their resilience, creativity, and deep cultural pride(Kohli et al. 2020).

Prominent Motifs of Phulkari and their SignificanceImage 1: Phulkari representing flower motifs.

Image 2: Phulkari with peacock motif.

Floral Motifs

Birds and Butterflies

Flowers, as the central element of Phulkari, play a crucial rolein the craft. They symbolize the beauty of life, growth, andfertility, and various types of floral motifs are utilized, including
marigolds, lotus, and other blossoms. These motifs represent
abundance and prosperity, making them a popular choice forPhulkari pieces created for weddings, where they reflect thedesire for a fruitful and prosperous married life. The vibrantcolours in which flowers are often depicted in Phulkari add tothe craft’s exuberance (Kaur and Gupta 2014).

Birds and butterflies are recurring motifs in Phulkari,representing freedom and transcendence. They embody theaspiration for a life filled with colour and happiness. These
motifs commonly depict birds in mid-flight or butterflies
fluttering among flowers, bringing a sense of movement
and lightness to Phulkari pieces. They are well-suited forcelebratory occasions and impart the hope for a joyful andliberated existence.

Image 3: Phulkari showcasing village life.

Image 4 : Phulkari with geometrical motifs.

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Design Beyond / Crafted Resilience: Designing for Empowerment and Social Impact Using Phulkari, a Traditional Craft in a Heritage Setting

Peacock Motif

Geometric Patterns

The peacock motif is a symbol of grace and beauty, often
associated with love and romance. The Phulkari artisans oftenfeature the graceful, regal stance of the peacock in their work.
Its vibrant plumage and majestic presence evoke feelings ofelegance and allure, making it a preferred choice for bridal
Phulkari pieces, where it conveys the idea of beauty, love, andthe beginning of a new chapter in life.

Triangles, squares, and rectangles are widely used as fillers
or borders in Phulkari stitching. Although these patterns lookless detailed than other motifs, they have symbolic meaning
because they reflect order and harmony in the cosmos.
Phulkari artworks create balance and visual appeal byintegrating geometric patterns. These patterns represent theordered and organized components of existence, adding to
the artwork’s overall wholeness and aesthetic appeal.

Village Life
Phulkari needlework depicts rural life, including motifs suchas dwellings, trees, and other agricultural occupations. Thesesymbols honour the rural culture of Punjab, where farming isstrongly woven into the societal fabric. This type of Phulkari
embroidery expresses a deep connection to the land and therich traditions of the region, expressing a yearning for thesimplicity and vitality of rural life.

Types of Phulkari

Image 5: Example of a Bagh Phulkari.

Image 6: Example of a Sainchi Phulkari.

Bagh Phulkari, the term ‘bagh’ comes from Hindi, meaninggarden, due to its elaborate needlework and portrayal of large
gardens on some Baghs. Often crafted for significant events
like births and weddings, Baghs feature embroidery covering
the entire base fabric, revealing only thin lines of the basecloth in the design. ‘Bagh’ literally means ‘garden of flowers’,
and what sets it apart from flowered Phulkaris is the dense
needlework that obscures the base colour, transforming
the embroidery into the fabric itself. It is commonly used forspecial occasions, known for its opulent appearance, andbrides frequently wear Bagh Phulkari pieces during weddings.

The Sainchi Phulkari is a type of Phulkari featuring human andanimal forms in a storytelling format, deriving its name fromthe Punjabi word ‘Sainchi’, meaning ‘authentic’. The stories
depicted are based on real events or traditional folk tales,with naturalistic imagery typical of rural Punjab. Motifs include
cattle, birds, crops, combs, mirrors, and cooking utensils,reflecting the artisans’ world. It is often used for everyday
wear and is noted for its elegance.

Image 7: Example of a Thirma Phulkari.

Image 8: Example of a Chope Phulkari.

Thirma Phulkari, distinguished by an unbleached base fabric,
deviate from the usual red khaddar of other types. Embroideredwith floral or geometric motifs, those with full embroidery arealso considered Baghs. The intricate design primarily usessilk thread in shades like red, magenta, blue, yellow, or green.
Traditionally worn by older women and widows, the Thirma
Phulkaris symbolize purity.

Chope Phulkari is a reversible Phulkari that features
prominently in wedding rituals. A Chope is a large red chaddar(or wrap) embroidered with yellow and gold thread. The
Chope’s design is composed of geometric forms, mainly
triangles, and lattice formations, with the occasional inclusionof a peacock or cow motif. It is commonly given as a gift during
various ceremonies, symbolizing best wishes and blessings.

Design Beyond / Crafted Resilience: Designing for Empowerment and Social Impact Using Phulkari, a Traditional Craft in a Heritage Setting

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Image 9: Example of a Darshan Dwar Phulkari, with columns, arches and human and animal
figures.

Image 10: Vari Da Bagh Phulkari with gold coloured silk thread.

The Darshan Dwar Phulkari, often donated to temples andgurudwaras, features a red base adorned with variously
coloured threads, typically yellow, known as the ‘gateway forbeholding the divine’. Its embroidery includes columns along
the sides, topped with outward-pointing arches. The central
area resembles a lively street with human and animal figures,
while geometric shapes like diamonds, stars, and triangles fill
the borders (Kaur and Gupta 2014).

The Vari Da Bagh is a sort of chaddar or shawl used in Punjabi
wedding ceremonies, deriving its name from the phrase‘garden of the bridal trousseau.’ This Bagh is distinguishedby a main field decorated with gold-coloured silk thread andborders with a vibrant colour palette. Geometric features
dominate the design, which includes a core field with repeatedconcentric diamond shapes and borders ornamented with acomplementary pattern of diamonds and zigzag lines.

Image 11: Example of Bawan Bagh Phulkari with 52 motifs.

The Bawan Bagh Phulkari is a highly intricate embroidery stylethat features a striking crimson fabric adorned with rectangularcompartments containing a variety of vibrant geometric motifs.
The main component of the fabric, referred to as a ‘chaddar’,typically contains 42 to 48 cells, with additional cells added
along the borders at both ends. The name Bawan Bagh isderived from the Punjabi language and translates to ‘fifty-two’.
The Phulkari design will consist of 52 distinct motifs.

Result/Outcome: Proposal for the Establishment of an Experiential Centre
Celebrating the Craft of Phulkari
The proposal advocating the establishment of an experiential
centre dedicated to the celebration of the Phulkari craft
originating from Patiala in Punjab, and its neighbouring regions
has yielded a multifaceted outcome that transcends its initialconception. The fundamental concept of this centre revolves
around the transformation of traditional crafts to align themwith contemporary market demands. It places particularemphasis on the development of women-led and womenoriented traditional crafts from the region, thereby introducing
a new dimension to the contemporary sector within the interior
lifestyle market. As the entire centre is directed and operated
by women, with its products crafted by women, it significantly
contributes to the realization of the fifth Sustainable

Page 6Development Goal (SDG), which pertains to gender equality.
This endeavour is primarily focused on nurturing culturalpreservation, skill development, and economic empowerment,
all while embracing the adaptive reuse of heritage buildings. The
project extends beyond merely celebrating the Phulkari craft; it
provides immersive experiences for the public, imparts training
opportunities to local women, and establishes a sustainable
market for Phulkari products. This holistic approach highlights
the importance of preserving and showcasing traditional
heritage crafts within the context of heritage buildings, while
simultaneously addressing critical aspects of socio-economic
empowerment and community identity.

Design Beyond / Crafted Resilience: Designing for Empowerment and Social Impact Using Phulkari, a Traditional Craft in a Heritage SettingDescribing the Project
The Proposed Centre will have Four Primary Spaces.
Experiential Centre: This core element offers immersive
experiences, workshops, demonstrations, and exhibitions that
educate visitors about the rich history and cultural significanceof Phulkari. The aim is to attract visitors and create an informed
and appreciative audience for the craft, promoting its cultural
importance.

Retail Space: Creating a sustainable market for Phulkari
products in the retail space ensures the craft’s viability,
supports economic sustainability, and preserves tradition.
Artisans within the heritage setting will craft interior lifestyle
products, available for sale on-site and for external markets.

Collaborative Space: A space within the centre where
Training Facility: Empowering local women with valuable designers and craftswomen/artisans can brainstorm,
Phulkari craft skills is a primary objective. By providing ideate, collaborate, and generate new product ideas for themarketable skills, the facility enhances women’s economic contemporary luxury market.
opportunities and societal well-being, contributing to genderequality.

Image 12: Proposed logo of
the Craft Experience Centre,
meaning direction.

Image 13: Proposed layout – Ground floor of experience centre.

Image 14: Interiors of the experience centre: corridor spaces, traditional arches and alcoves in traditional brick style doors which are integral features of traditional Haveli’s in Punjab (India).
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The Experiential Centre: A Nexus of Education and Celebration
The experiential centre, a central component of the project,
has the potential to become a vital space for visitors touncover the captivating history, intricate techniques, andprofound cultural significance of Phulkari. Conceptualized asan educational hub, the centre unveils the artistry and heritageof Phulkari through an array of interactive experiences,
workshops, demonstrations, and exhibitions.

Education and Awareness: The centre can become an
educational space, fostering awareness about the cultural
heritage of Punjab and the significance of Phulkari.
Interactive Learning: Immersive experiences allow forinteractive learning. Visitors can actively participate inworkshops and demonstrations, gaining hands-on experience.

The Training and Retail Centre: A cornerstone of thistransformative project, aims to empower local women by
imparting intricate Phulkari crafting skills, preserving the craft,and promoting gender equality. The centre’s retail section canestablish a consistent market for Phulkari products, ensuringlong-term viability and economic opportunities for women
Deepened Appreciation for Phulkari: Visitors can gain a artisans. This multifaceted centre can bridge tradition withcomprehensive understanding of the history, technique, and modernity, fostering empowerment, and help secure Phulkari’s
prosperous future.
cultural significance of Phulkari.
Immersive Experiences and Public Education: Theexperiential centre offers immersive experiences to the public,
providing them with the opportunity to engage with Phulkari
on a deeper level. These immersive experiences at the centre
have several key outcomes outlined below.

Image 15: Gallery space with infographics related to Phulkari craft, traditional style arches repeated in design.

Page 8Design Beyond / Crafted Resilience: Designing for Empowerment and Social Impact Using Phulkari, a Traditional Craft in a Heritage SettingImage 16: Retail space – Showcasing
the brand’s interior product range
developed as a collaboration
between artisan and designer.

Design Beyond / Crafted Resilience: Designing for Empowerment and Social Impact Using Phulkari, a Traditional Craft in a Heritage Setting

Page 9Harnessing the Adaptive Reuse of Heritage
Buildings
A fundamental component of this project, the adaptive reuseof heritage buildings emerged as an inspired approachto preserve and showcase traditional heritage crafts. By
intertwining Phulkari craftsmanship with historical structures,the project breathed new life into these buildings, enhancing
their appeal and restoring a sense of historical continuity(LinkedIn March 2023). Heritage buildings are more than justphysical structures; they carry the collective memory andhistorical narrative of a community. When traditional crafts like
Phulkari are practiced within a heritage setting, they not only
retain their historical significance but also become a powerfultool for empowerment and social impact.
In a recent report by the Heritage Alliance (2020), it has been
mentioned that there is a unique role for heritage in engaging
with and promoting societal and individual well-being. Heritage
can offer a "sense of rootedness and identity, of place andunderstanding" (The Heritage Alliance 2020, p. 4). This
underscores the profound impact that heritage settings canhave on individuals and communities, contributing to their wellbeing, identity, and sense of place.

Tourism and Economic Benefits: Heritage settings, with
their historical and cultural significance, attract tourists andvisitors who appreciate the authenticity of traditional crafts.
This influx of visitors contributes to the local economy (Kee2019), supports local businesses, and fosters community
development. By embracing the adaptive reuse of heritagebuildings, the project generated economic opportunities andstimulated the growth of the local economy (Alhojaly et al.
2022).
Overall, the adaptive reuse of heritage buildings has farreaching implications, encompassing cultural preservation,community pride, economic benefits, and community
engagement. This approach not only preserves the historicalsignificance of heritage buildings but also leverages them as aplatform for empowerment, socio-economic growth, and thepreservation of cultural identity.
The project’s efforts in preserving cultural heritage andfostering identity align with the research by Wellesley-Smith(2023) and underscore the significance of cultural heritage inmaintaining and promoting cultural identity and continuity.

This Adaptive Reuse of a Heritage Building in
the Context of the Project Achieved Several
Noteworthy Outcomes
Preservation of Cultural Identity: By integrating Phulkari
craftsmanship within a heritage setting, the project successfully
preserved and celebrated Punjab’s cultural identity. Thisamalgamation of traditional crafts with architecturalpreservation represented a harmonious symbiosis where
both elements enriched each other’s essence. The historicalsignificance of the heritage buildings was retained andrevitalized, becoming a living testament to Punjab’s artistic
legacy.
Community Pride and Ownership: The project instilled a deep
sense of pride within the community. Through the preservation
and adaptive reuse of heritage buildings, the local community
felt a renewed sense of ownership and responsibility forpreserving their cultural identity and heritage for future
generations. This project not only celebrated the craft ofPhulkari but also reinforced the community’s connection totheir roots, traditions, and values.
Community Engagement: The integration of traditional crafts
within heritage settings attracts community engagement. The
community becomes an active participant in preserving andcelebrating their heritage, contributing to the sustainability
and continued relevance of the heritage buildings. The
engagement of the community thus fosters a sense of unityand shared responsibility for their cultural legacy.
Cultural Resilience: Preserving cultural heritage and fostering
identity contributes to the cultural resilience of a community. It
allows communities to adapt to changing circumstances while
holding onto their cultural values and traditions. In the face ofmodernization and globalization, projects like these become
vital tools for maintaining cultural resilience and preserving theunique character of a place.

Page 10

Design Beyond / Crafted Resilience: Designing for Empowerment and Social Impact Using Phulkari, a Traditional Craft in a Heritage SettingImage 17: Exterior view of experience center with branding.

Image 18: Views of the inner courtyard, workshops and reception.

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Empowerment and Social Impact
Economic Betterment: This initiative creates employment Gender Equality: By involving women as active economic
opportunities, greatly improving women artisans' well-being contributors, this project promotes gender equality and social
by equipping them with marketable skills that enhance their inclusion.
financial independence.
Cultural Heritage Preservation: Integrating traditional crafts
Empowering Women: This aspect focuses on empowering with architectural preservation helps to preserve the rich
local women through skill development and economic cultural heritage of Punjab, fostering community pride andcultural identity for future generations.
contribution, leading to a sense of self-worth.

Image 19: Views of the retail area with traditional style brick patterns on the walls.

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Design Beyond / Crafted Resilience: Designing for Empowerment and Social Impact Using Phulkari, a Traditional Craft in a Heritage SettingImage 20: Sample of visiting card for the crafts women at Raah.

Image 21: Brand’s brochure with emphasis on women-led, women-oriented centre.

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Conclusion

Call to Action

This research paper highlights the transformative power ofdesign for humanity by empowering women through traditional
crafts. By integrating the craft of Phulkari into a heritagebuilding in Punjab (India), the project showcased the potential
of incorporating traditional crafts in architectural settings. The
establishment of an experiential centre, training facility, andretail platform contributes to economic empowerment, genderequality, and the preservation of cultural heritage. Throughcommunity engagement and active participation, the project
fosters a sense of pride and ownership in the local community.
It serves as an inspirational model for design’s potential toempower individuals, preserve cultural heritage, and contributeto building a more inclusive and resilient world. This researchunderscores the transformative power of design, reinforcing
its significance in shaping a brighter future.

This conclusion strongly advocates for the replication of suchprojects on a global scale, highlighting heritage crafts’ latentpotential for empowerment and community development. It
proposes the use of the strategies adopted in this programme
as a comprehensive model to revitalize traditional crafts
worldwide. In a world threatened by cultural loss and genderinequality, this research offers hope and demonstrates thetransformative power of design. The call to action encourages
governments, groups, and communities to invest in thepreservation of cultural heritage, economic empowerment
for underprivileged populations, and gender equality. This
research offers a model for a more inclusive, resilient society
where traditional crafts survive, communities prosper, andcultural heritage is preserved.

Page 14

Design Beyond / Crafted Resilience: Designing for Empowerment and Social Impact Using Phulkari, a Traditional Craft in a Heritage SettingReferences
Alhojaly, Rawan Abdullatif, Abeer Alawad, and Noura
Abdulrahman Ghabra. 2022. “A Proposed Model of Assessing
the Adaptive Reuse of Heritage Buildings in Historic Jeddah.”
Buildings. Multidisciplinary Digital Publishing Institute, March
27, 2022. https://doi.org/10.3390/buildings12040406.

Sharma, Naina Dr., Harpreet Kaur Dr., Harpreet K. Kohli Dr., Ritu
Lehal Dr., and Amandeep Kaur. 2021. “Phulkari: Issues Facedby Artisans in Sustaining the Traditional Handicraft of Punjab.”Pramana Research Journal (ISSN 2249-2976), Volume 11, no.
Issue 5 (2021): 16-29. Accessed May 18, 2022. https://www.
pramanaresearch.org/gallery/prjp%20-%201671.pdf

Hitkari, S. S. 1980. Phulkari: The Folk Art of Punjab. New Delhi:
Phulkari Publications.
The Heritage Alliance. 2020. “Heritage, Health andWellbeing: A Heritage Alliance Report,” 2020, https://www.
Kaur, P. 2011. “Revival of Punjab’s Traditional Handicraft:theheritagealliance.org.uk/wp-content/uploads/2020/10/
Phulkari.” Asian Journal of Management 2, no. 1 .
Heritage-Alliance-AnnualReport_2020_Online.pdf (accessed
Kaur , Rajinder and Ila Gupta. 2014. “Phulkari and Bagh Folk July 7, 2023).
Art of Punjab: A Study of Changing Designs from Traditional
UNESCO. 2005. Craft Revival Trust, Artesanías de Colombia
to Contemporary Time.” American International Journal
S.A. Designers Meet Artisans: A Practical Guide. Chicago:of Research in Humanities, Arts and Social Sciences, no.
University of Chicago Press.
December 2013-February 2014: 35-43. Accessed April 10,2022. http://iasir.net/AIJRHASSpapers/AIJRHASS14-118.pdf.
United Nations. “Transforming Our World: The 2030 Agenda
for Sustainable Development.” Annex A/RES/70/1. Available
Kee, Tris. 2019. “Sustainable Adaptive Reuse – Economic
online: https://www.un.org/en/development/desa/population/
Impact of Cultural Heritage.” Journal of Cultural Heritagem i g rat i o n /g e n e ra l a s s e m b l y/d o c s /g l o b a l c o m p a c t /A _Management and Sustainable Development 9, no. 2 (May 20,
RES_70_1_E.pdf (accessed July 3, 2023).
2019): 165–83. https://doi.org/10.1108/jchmsd-06-2018-0044.
Wellesley, Smith, and Elizabeth Claire. 2023. “Crafting
Kohli, Harpreet K. Dr., Ritu Lehal Dr., Harpreet Kaur Dr., andResilience: Cultural Heritage and Community Engagement
Naina Sharma Dr. 2020. “Phulkari Art: A Tool for Womenin Post-Industrial Textile Communities.” PhD Thesis, UK: The
Empowerment in Punjab.” Pramana Research Journal Volume
Open University.
10, no. Issue 9 : 176-187. Accessed May 18, 2022. https://www.
pramanaresearch.org/gallery/prjp%20-%201671.pdf.
www.linkedin.com. 2023. “What Are the Benefits andChallenges of Adaptive Reuse of Heritage Buildings?”, March
Maskiell, Michelle.1999. “Embroidering the Past: Phulkari
21, 2023. https://www.linkedin.com/advice/0/what-benefitsTextiles and Gendered Work as ‘Tradition’ and ‘Heritage’challenges-adaptive-reuse-heritage-buildings.
in Colonial and Contemporary Punjab.” The Journal of AsianStudies 58, no. 2 (May 1999): 361–88.
Ranjan, Aditi, and M.P. Ranjan. 2009. Handmade in India.
Abbeville Publishing Group.

Image Sources
Images 1-11
Map Academy. "Types of Phulkari." Map Academy, https://mapacademy.io/article (July 5, 2023).
Images 12-21
Source – Authors (Part of the thesis project developed and rendered at Pearl Academy)

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Leveraging AI to Infuse
Humanity in Industrial Design
Education

Author:Sooshin Choi

Institution:
Department of Industrial
Design, Savannah College of
Art and Design (USA)

Abstract
Design for Humanity emphasizes the integration of humancentred principles in industrial design practices and education.
The emergence of artificial intelligence (AI) presents atransformative opportunity to effectively infuse humanity into
industrial design education. This extended abstract explores
the pivotal role of AI in fostering human-centredness, inclusivity,and empathy within industrial design education. By harnessing
the potential of AI technologies, educators can empower
students with the necessary skills and mindset to create designs
that authentically cater to the diverse needs and aspirationsof individuals and communities. However, the incorporation of
AI technology into the design curriculum presents challenges
for educators in maintaining the fundamentals of industrial
design while seamlessly integrating AI capabilities. This paper
aims to discuss strategies and pedagogical framework forsuccessfully achieving this improvement within the limited
duration of degree programmes.
Keywords: Design for humanity, industrial design education,
artificial intelligence, inclusive design

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Design Beyond / Leveraging AI to Infuse Humanity in Industrial Design Education

Figure 1: Evolution of industrial design and emanating of humanity-centred design.

1. Evolution of Industrial Design and Design Education
Before delving into the current and fore coming issues in industrial design, it is imperative to review how industrial design, ordesign in general, has evolved significantly over the past century. Early industrial designers, or industrial artists more precisely,
focused primarily on the form and function of products, and industrial designer’s tasks were drawing and production of thedesign, and thus design education was focused on the quality of the drawing and the making. The expected outcome wasvalued by the aesthetics and enjoyability of products.

1.1. Pre-design Era (19th Century)

1.4. The Transition to Human-centred Design

During the 19 century, the design landscape was largely
shaped by the Industrial Revolution and the ideals ofmodernism. The Art and Crafts movement and Art Nouveau, forinstance, played a significant role during this period, influencing
the design of objects and products. The primary motivation
behind design was to facilitate successful industrialization.
Designers focused on the act of creating and designing, withdesign education emphasizing skills like drawing and making.
The typical goal for designers was to produce beautiful andenjoyable products.

As the importance of usability and user experience became
prominent, the concept of user-centred design emerged.
However, this approach often fell short in comprehending
users as holistic human beings. Consequently, the notion ofhuman-centred design gained traction, emphasizing the needto address all aspects of human life and experience. During
this period, inclusive design and universal design principles
began to take shape, aiming to address the diverse needsof differently-abled individuals. The goal is to protect humandignity and human rights (Buchanan 2010), which often
suppressed by emphasizing the business and political avarice.

th

1.2. Design in the 20th Century
The 20th century witnessed a shift in design paradigms, primarily
driven by technological advancements and lessons learned
from World War II. Additionally, design began to be strongly
influenced by engineering and marketing. The focus of design
shifted towards creating products that offered enhanceduser experiences. The primary motivation was to succeed in
the market. Designers took on a more comprehensive role,
involving both thinking and doing, with design educationemphasizing reasoning, drawing, and making. The overarchinggoal was to design products that were not only beautiful andenjoyable but also useful and usable.

1.3. Design Beyond Design in 21st Century
In the 21st century, design kept evolving driven by growing
environmental concerns and the emergence of advanced
technologies. Designers now aimed to create productsthat carried intrinsic values. The designer’s role expanded
to encompass thinking, doing, and connecting various
aspects of design. Design education adapted to this changeby emphasizing reasoning, drawing, making, and effective
communication. The ultimate goals of design included creatingproducts that were beautiful, enjoyable, useful, usable,
meaningful, and valuable.
Design Beyond / Leveraging AI to Infuse Humanity in Industrial Design Education

1.5. Human-centred Design in the Face of
Global Challenges
With society confronting serious and profound challenges
such as global warming, environmental devastation, resource
depletion, social division, cruelty, and complex, deep-rooted
problems, the importance of humanity itself became a focal
point. Human-centred design emerged as the ultimate guidefor designers, emphasizing a broader perspective thatconsiders the well-being of all humankind. Designers began toaddress global issues with the intention of creating a betterworld for all (Norman 2023).
This shift towards human-centred design signifies a new era
in which design thinking is not only about creating beautiful,enjoyable, and usable products but also about making ameaningful and valuable impact on the world at large. In theface of these challenges, designers play a pivotal role inshaping a more sustainable and inclusive future for humanity.

Page 17

2. Is Human-centred Design Enough?
Human-centred design, while a valuable approach, has its
inherent limitations. At its core, it revolves around addressing
the needs, preferences, and experiences of humans. However,this singular focus on the human perspective may not be
sufficient to tackle the complex challenges that we face inthe 21st century. Most of troubles that we see are result ofindustry-centred and human-centred approaches.
Human beings are merely one piece of the intricate puzzle thatis our planet. Serving human interests alone fails to consider
the broader ecosystem and the intricate interconnections
between all elements of our world. This myopic view could
lead to unintended and adverse consequences that ripple
throughout the ecosystem.
By exclusively concentrating on the human aspect, humancentred design may overlook crucial dimensions of design andtheir far-reaching consequences. Many aspects of design go
beyond immediate human concerns and encompass broader
implications that affect the environment, society, and theplanet at large.
The limitations of human nature further complicate theeffectiveness of human-centred design. Human beings areoften driven by self-interest and short-term thinking, which
can blind them to the long-term and collective consequencesof their actions.
Human-centred design is challenged by the natural humanresistance to change. People are often reluctant to embrace
new approaches or behaviours unless there is an immediate,
personal benefit for them. This resistance can hinder efforts
to implement more sustainable and globally beneficial designs.
The pursuit of convenience, which is a natural habit forhumans, often at the expense of sustainability, is anotheraspect of human behaviour that human-centred design must
contend with. People frequently seek easy and convenientsolutions without fully considering the consequences or tradeoffs involved. Most of industrial products and systems are todeliver the convenience. Their side effects are undoable.
To overcome these limitations, a broader and more holistic
approach is needed. The concept of humanity-centred design
emerges as a response to these challenges. Humanity-centred
design transcends the confines of individual human needs anddesires, seeking to address the well-being of the entire planet
and all its inhabitants. It is rooted in the recognition that ouractions, choices, and designs have far-reaching impacts andthat we bear a responsibility to consider the greater good
(Russel, Buck 2020).
In an era marked by global challenges, it becomes increasingly
imperative to acknowledge the limitations of human-centred
design and adopt a more comprehensive approach. Only by
expanding our design thinking to encompass the well-being of
humanity as a whole, can we hope to address the complex andinterconnected problems facing our planet. By doing so, we
can play an active role in shaping a sustainable, equitable, andinclusive future for all life on Earth.
Humanity-centred design is a design approach that puts thewell-being of all stakeholders at the forefront of the design
process. This includes not only humans, but also the planet
itself. Humanity-centred designers emphasize empathy,
inclusivity, sustainability, and addressing the diverse needs andaspirations of individuals, communities, and all surroundings.
In practice, humanity-centred design means taking the time tounderstand the needs of all stakeholders, including those who
are often overlooked or marginalized. It means considering
the long-term impact of our designs, both on people and on
the planet. And it means working collaboratively to create
solutions that are truly beneficial to everyone (Russel, Buck2020).

3. Why Humanity-centred Design?
In the intricate tapestry of our world, humans are not solitary
beings. We share this planet with countless other species andecosystems, and our actions have profound consequences on
the well-being of all. Humanity-centred design arises from therecognition that our existence is interwoven with the broader
environment, and that we must consider the harmony of allliving things.
Humanity-centred design underscores the significance of‘being’ over ‘doing’. It urges us to pause and reflect on theessence of our existence and our collective responsibility. It
encourages us to prioritize the well-being and harmony of allliving beings over relentless, often shortsighted, actions. A
fundamental tenet of humanity-centred design is the belief thateveryone and everything deserves good design. It transcends
the boundaries of species, race, class, and geography, aiming
to create environments and systems that uplift all.

Humanity-centred design recognizes that innovation often
originates from the pursuit of the greater good. By addressing
the diverse needs of humanity and the environment, we
tap into the wellspring of creativity and innovation. In thisapproach, innovation is not driven solely by self-interest but by
the collective well-being of all beings.
Humanity-centred design serves as a clarion call toacknowledge our interconnectedness and interdependence. It
compels us to adopt an approach that considers the intricate
web of life on Earth. In an era marked by environmental
challenges, social inequalities, and ethical dilemmas, humanitycentred design emerges as a moral and practical imperative.

To respond effectively to the multifaceted challenges of ourtime, humanity-centred design provides a framework that
nurtures harmony, compassion, and collective well-being. By
embracing this approach, we can collectively shape a future
At the core of humanity-centred design lies the belief that that is not only innovative but also harmonious, equitable, andhumanity itself is the ultimate virtue. It calls for empathy, enduring for all living beings. In doing so, we fulfill our profoundcompassion, and a profound sense of responsibility toward responsibility to humanity and the world we share.
one another and the planet. In a world that faces multifaceted
challenges, embracing this virtue becomes essential to nurture Since the concept of humanity-centred design looks at theentire stakeholders on the planet with a new insight anda more equitable and sustainable future.
perspective, it may be an excellent course of innovation forbusinesses as well.
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Design Beyond / Leveraging AI to Infuse Humanity in Industrial Design Education

4. Advent of AI – Opportunities and Threats
Artificial Intelligence (AI) has ushered in a new era in the fieldof design, offering a multitude of opportunities and potential
benefits that are reshaping the creative landscape. Few of theopportunities of using AI are:Access to Bigger Data

Potential for Plagiarism
As AI-generated content becomes more sophisticated, there isa concern about the potential for plagiarism and the replicationof design concepts without proper attribution. This poses
ethical and legal challenges within the design community.

AI empowers designers with unprecedented access tovast datasets, enabling them to draw insights, patterns,
and inspiration from a wealth of information. This access toextensive data sources enhances the creative process andexpands the horizons of design possibilities.

Weakening of Design Abilities

Efficiency in Design

Loss of the Struggles Integral to Growth

AI-driven tools streamline the design process, enabling
designers to work more efficiently. Tasks that once required
extensive manual effort, such as repetitive design iterations,can now be automated, freeing designers to focus on higherlevel creative tasks.

Advanced Analysis and Prediction

Over-reliance on AI tools may diminish a designer’s inherent
abilities, such as problem-solving, critical thinking, andcreativity. Relying too heavily on automated solutions may
erode the skills that make a designer unique.

The challenges and struggles faced in the design process
play a vital role in the growth and development of a designer’sabilities. AI’s ability to simplify tasks may eliminate theseformative experiences.

Diminishing the Human Touch

AI, while powerful, lacks the human touch and intuition that
AI’s analytical capabilities offer designers the ability to predict can bring warmth, emotion, and cultural sensitivity to design.
trends, user behaviour, and the effectiveness of design choices. The risk of losing the authenticity and relatability of design
This data-driven insight enables more informed decision- outcomes is a significant concern.
making, leading to better-designed products and experiences.

Reducing Manual Labor
Automation through AI reduces the burden of manual laborin design, making the creative process more accessible andless labor-intensive. Designers can allocate their time to morestrategic and imaginative aspects of their work.

Shifting Towards more Valuable Work

The Lack of Empathy in AI
One of the most significant threats posed by AI in design
is its inherent lack of empathy. Design is deeply rooted inunderstanding human needs, emotions, and experiences,which AI struggles to comprehend. The absence of empathy in
AI-driven design may result in products and experiences thatfail to resonate with human users.

As AI becomes increasingly integrated into the design
process, designers must navigate the complex landscapeof opportunities and threats. Striking a balance between
leveraging the capabilities of AI while preserving the humantouch, creativity, and empathy in design is a challenge that
While AI has the potential to transform the field of industrial the design community must address. By embracing AI as adesign education, this integration is not without its challenges complementary tool rather than a replacement, designers canand concerns. Here are some of the threats associated with harness its power to enhance the quality and efficiency of theirwork, while safeguarding the unique qualities that make design
incorporating AI in industrial design education.
a deeply human endeavor.
AI’s ability to automate routine tasks allows designers to focus
on higher-value activities. It encourages the exploration ofcreative and innovative solutions, ultimately enhancing thequality of design work.

Design Beyond / Leveraging AI to Infuse Humanity in Industrial Design Education

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5. Use of AI to Ensure Inclusivity and Sustainability
In a world that is becoming increasingly reliant on technology
and artificial intelligence, it is essential to harness the potentialof AI to ensure humanity remains at the heart of the design
process. Here are some of the ways in which AI can be used to
uphold and enhance the human element in design.

Automating Mundane Tasks
One of the most significant contributions of AI to design is
its ability to automate routine and time-consuming tasks. By
relieving designers of these burdens, AI frees them to focus
on more creative and human-centric aspects of their work.
This allows designers to invest more time in understanding
human needs, emotions, and experiences, ultimately resulting
in designs that are more attuned to the user.

Filling Human Gaps and Shortfalls
While AI lacks the empathy and creativity of humans, it cancomplement these human attributes. AI can assist in filling
gaps and addressing shortfalls in human capabilities. For
example, AI can provide recommendations and insights thataugment a designer’s creative thinking, ensuring that the final
design is well-informed and responsive to human needs.

The Collaborative Potential

AI and humans can form a symbiotic partnership in design.
When used as a tool and collaborator, AI can augment thehuman design process, contributing its data-processing
prowess and pattern recognition, while humans provide thecreative, empathetic, and ethical dimensions that AI inherently
lacks. This collaborative approach ensures that design remains
Literature Search and Summary
deeply rooted in humanity while benefiting from the efficiency
AI’s capacity to search and summarize vast amounts of and analytical power of AI.
literature accelerates the research phase of design projects.
By providing designers with comprehensive insights and Preserving the Human Touchknowledge, AI assists in informed decision-making, allowing Designers must remain mindful of the balance between AI’s role
designers to incorporate relevant human-centred research in design and the preservation of the human touch. AI should
into their work.
be a tool in the hands of skilled designers who can ensure that

Data Analysis and Consolidation
AI’s analytical capabilities are invaluable for sifting throughlarge datasets and identifying patterns and trends. Designers
can leverage AI to gain deeper insights into user behaviour,
preferences, and needs, enhancing their understanding of thehuman elements at play. This data-driven approach ensuresthat design decisions are grounded in empirical evidence.

Design Validation and Optimization

empathy, cultural sensitivity, and the unique nuances of humanexperiences are at the forefront of the design process.

In a world where AI continues to advance, maintaining acommitment to humanity in design is paramount. By utilizing
AI to automate tasks, analyze data, and enhance the design
process, designers can ensure that their work remains
profoundly human-centric. In this partnership between humans
and AI, design becomes a powerful force for improving the
lives and experiences of individuals and communities.

AI plays a crucial role in design validation and optimization. By
simulating and testing various design iterations, AI can help
designers refine their creations to better meet the humanfactors, such as usability and comfort. This iterative processensures that the final design is optimized for the end user.

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Design Beyond / Leveraging AI to Infuse Humanity in Industrial Design Education

6. Adapting AI in Industrial Design Curriculum – Two Columns
As the field of industrial design evolves in the digital age, theincorporation of AI and emerging technologies is both anopportunity and a challenge for design educators. This chapter
explores the duality of preparing students with future literacy
while preserving the fundamental aspects of design education(Jones et al 2022).

6.1. Future Literacy

The challenge in adapting AI into the industrial design
curriculum lies in striking a balance between future literacy
and fundamentals. It’s about blending the latest technologicaltrends with timeless design principles. This requires educators
to create a curriculum that acknowledges the significance ofAI and emerging tech while ensuring that students remainrooted in the enduring values of design.

By fostering a holistic approach, design educators can prepare
students for the ever-changing landscape of industrial design
while preserving the core values that make design a profoundly
human endeavor. In this way, students can be equipped to not
only adapt to new technologies but also to lead and shape
the future of design, ensuring that it remains deeply rooted in— New Tools and Terms: Teaching students how to utilize human experiences and aspirations (Yang et al. 2021).
new tools and navigate tech-driven jargon is essential.
Familiarity with these technologies enables students to The integration of artificial intelligence into traditional design
stay relevant in a rapidly changing design landscape.
curricula is a complex and challenging task. On the one hand,— Digital Entrepreneurship: Future literacy also encompasses AI can be a powerful tool for augmenting human creativity andcultivating digital entrepreneurship skills. Students should problem-solving abilities. On the other hand, there is a risk thatlearn how to apply design thinking in a digital context, AI could lead to the neglect of fundamental human skills, suchas critical thinking, empathy, and intuition.
fostering innovation and problem-solving.
— Adaptiveness to Tech: The industrial design curriculum
must equip students with the adaptability to evolving
technology. This includes understanding and integrating
AI, VR, AR, XR, machine learning, and other cutting-edge
tools.

— Cross-Pollination: Encouraging interdisciplinary thinking
is crucial. Cross-pollination with fields like computerscience, psychology, and engineering opens up new
perspectives for design students, allowing them to explore
fresh and innovative approaches to problem-solving.

AI modules should be incorporated into the curriculum ina way that emphasizes the augmentation of human skills,
rather than replacing them. Students should be encouraged
to combine AI tools with their own creativity, critical thinking,and empathy. By integrating AI as a complementary tool, thecurriculum can enhance students’ abilities while preserving the6.2. Fundamentals
essential human skills that make design uniquely empathetic
and innovative. By incorporating AI in a balanced way, design
As much education of students to be prepared for the future
curricula can prepare students for the challenges andchanges, it is empirical to maintain the fundamentals of design,opportunities of the 21st century.
which has a timeless value. If the fundamental is lost, there is
no hope for meaningful designs.
— The ‘Why’s of Design: A solid foundation in the fundamental
principles and philosophies of design is irreplaceable.
Understanding the ‘why’ behind design decisions ensuresthat students create with purpose and intention.
— Craftsmanship: Students should learn and hone the art ofcraftsmanship, which includes manual sketching, physicalprototyping, and a deep appreciation for materials
and production processes. These skills help students
understand the tangible aspects of design.
— Being a Designer: Beyond technical skills, instilling instudents what it means to be a designer, including thedesigner’s ethical responsibilities, is essential. It’s about
fostering a sense of professionalism, empathy, andunderstanding the role of design in society.
— Curiosity and Courage: Nurturing curiosity and thecourage to explore the unknown is vital. These qualities
drive students to ask questions, challenge assumptions,and innovate, keeping design fresh and responsive tohuman needs.
— Taking Challenges: Encouraging students to embracechallenges is crucial for their growth. Design often involves
overcoming obstacles, and this resilience equips students
to adapt and thrive in the face of complex problems.

Design Beyond / Leveraging AI to Infuse Humanity in Industrial Design Education

Page 21References
Russell, Peter, and Buck, L. "Humanity-centred design –defining the emerging paradigm in design education." In DS
104: Proceedings of the 22nd International Conference on
Engineering and Product Design Education (2020).
Buchanan, Richard. "Human dignity and human rights:
Thoughts on the principles of human-centered design." Design
Issues (2010).
Jones, David, et al. "Futures of Design Education."
In Proceedings of Design Research Society DRS 2022 Bilbao(2022).
Yang, S. J. H., Ogata, H., and Matsu, T. "Human-centeredartificial intelligence in education: Seeing the invisible throughthe visible" (2021).

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Design Beyond / Leveraging AI to Infuse Humanity in Industrial Design Education

Developing City Design Power
Index Model

Authors:
Shyhnan Liou1, 2
Chi-Yi Chang1
Yu-Chen Chen1
Junyu Chen1
Ying-Yi Hsieh1
Tu-Chung Liu1
Tang-Ling Kuo1

Institutions:Taiwan Design ResearchInstitute (TDRI) (Taiwan,
Chinese Taipei)
1

Nation Cheng Kung
University (Taiwan, Chinese
Taipei)2

Abstract
This study proposes a comprehensive model for evaluatingcity design power, with a focus on diagnosis, prescription, andenhancement. The research highlights the dynamic nature ofcities as intricate systems where design power operates atvarious levels, from individual to organizational and industrial,
underscoring the interconnectedness of these tiers. The study
employs a diverse research approach, including an inventoryof international design indexes, development of a theoreticalfoundation, expert surveys, empirical validation, datavisualization, and a prospective longitudinal study involving
World Design Capital® events. The findings contribute to a
deeper understanding of city design power and offer a practical
tool for policymakers aiming to enhance design power andcity branding. Future research should explore cross-level
constructs, enhance indicator reliability and validity, examine
causal relationships, and consider each city’s unique context.
Keywords: Design power, city index, process model

Design Beyond / Developing City Design Power Index Model

Page 23

1. Objectives
The purpose of this study is to develop a model for measuring
the design power of cities. The model is positioned as amechanism for diagnosis and prescription, that is, it provides
respectively: the measurement describing the current status
of design power, the strategies suggested for improving
design power, and the explanation and prediction of theeffect of design power. In parallel, we aim to develop a design
power index system to provide a stable and effective (withreliability and validity) description of a specific city's design
power within a particular context and time. This model isintended to be used to diagnose the conditions of a city's
design power, suggest strategies to enhance specific design
power, and explain their impact on better city performance(creativity, competitiveness, happiness, and impact of SDGs).
In addition to using the index model as the city's diagnosis andtreatment system, we can also learn about the city's special
characteristics, as a manifestation of city branding.

This study advocates that a city is a dynamically evolving
open system, encompassing design power at different levels,
including individual, organizational, and industrial levels. Theinteraction of design power conditions at different levels
create a synergistic effect on overall performance during
the development process. The unique historical, economic,
and cultural contexts of different cities define their distinct
development themes. This model conceptualizes city design
power as the operational ability to creatively solve problems forpursuing better cities, and is a dynamic system of continuous
innovation. Therefore, this study adopts an ABC processmodel (Antecedent-Behavior-Consequence) to reflect the
dynamic descriptive power of ‘strategy-activity-effect’.

2. Methods
In terms of research methods, this study firstly adopts acomprehensive review of existing international indexes, anddevelopment of a theoretical basis of the city design powerprocess model to determine the validity of the indicators.
Following that, a questionnaire survey is conducted, which
invites design experts from various countries to provide
experience and feedback on the city design power index
model constructed above. In addition to these methods thatformed the index model, empirical validation, data visualizationand WDC longitudinal study were also conducted or planned
to make the index model more pragmatic and easier tobe adopted by city policy makers by developing visualized
dashboard models. Details of the research methods are as
follows.

Study 1: Collection of International Indicators
In order to understand the relevant index models that havebeen proposed internationally for measuring design power,
this study inventoried 18 international index studies related
to city design power. These studies included the World
Design Survey 2010 (Icograda and Seoul Metropolitan City
Government 2011), Global Design Watch 2010 (Aalto University

School of Art and Design 2011), Global Innovation Index 2022
(WIPO 2022), and others. It collected a total of 251 indicatorsand consolidated them into 108 indicators using a focus groupmethod. Cluster analysis was conducted to categorize these
indicators.

Study 2: Theorizing Model of Design PowerTo explore the components of design power and how it exerts
influence, this study reviewed 15 design power related theories.
These theories included the National Design Competitiveness
Matrix (KIDP 2008), the National Design System (Moultrie& Livesey 2009), and the Design Economic Logic Model(Kimbell et al. 2021). After synthesizing these theories, an ABC
process model was proposed (as shown in Figure 1), with A
representing design power developing strategy, B representing
design activities, and C representing effects and impacts. The
results were mapped to correspond with the cluster analysis
of indicators, resulting in nine major dimensions, including A:
infrastructure, talent development, and economic support; B:
industrial dynamics, creative professionals, and innovation
R&D; C: economic impact, social impact, and environmental
impact.

Figure 1: ABC process model of city design power index.

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Design Beyond / Developing City Design Power Index Model

Study 3: Expert Survey

Study 5: Data Visualization

To ensure the applicability and ecological validity of the ABC
process model for the international context, this study invited
17 design experts from 8 different countries to complete an
online questionnaire. The experts were asked to provide
feedback and suggestions on the definitions of the city
design power index’s ABC process model and the nine major
dimensions. They also assessed the suitability of the 108
indicators and their respective dimensions.

To empower the proposed index model usability for the policy
makers, dashboards were built to visualize the index data
presentation for better sensemaking of holistic and dynamic of
the target city. The dashboards include a radar chart and a city
map. The radar chart visualizes design power indicator data of
22 cities/counties in Taiwan from 2010 to 2022. The city map
shows locations of design infrastructures, such as museums
and design districts, and design companies in each domain or
sector of the design industry. The demonstration dynamicallyshows how design power evolves in the city over time, andStudy 4: Empirical Validation
The design power indicator data of 22 cities/counties in Taiwan how it is distributed in the city. It provides a reliable and valid
from 2010 to 2022 was collected, to verify the causality of the description of the city’s design power in a specific context andCity Design Power Index ABC process model with longitudinal time, and suggestions for formulation of developing strategies.
analysis. Partial Least Squares Structural Equation Modeling(PLS-SEM) was used to examine the correlation between Study 6: WDC Longitudinal Study
developing strategy, design activities, design effects, and To advance the practicality of the city design power index
design impact on city happiness referencing CommonWealth model to cities across the globe, a longitudinal study is
Magazine’s City Happiness Survey result between 2015 and underway involving multiple cities which have or will host2022. Analysis of different type of cities/counties in Taiwan the World Design Capital (WDC) designation. A tripartite
were also conducted to demonstrate how cities with different collaboration is discussed between Taiwan Design Researchcontext and goals developed their own city branding through Institute (TDRI), University of Valencia (UV) and University ofdifferent city design power developing strategy.
California San Diego (UCSD), to apply the city design powerindex model on the impact study of WDC Taipei 2016, WDC
Valencia 2022 and WDC San Diego-Tijuana 2024.

3. Results
In Study 1, the result show that existing design index
systems discussed vary at different levels. In addition, all
are lacking a complete index system that covers all stagesof the process. The current study focused on indicators
at the city level and provided explanations of indicators on
different levels for their potential application at the city level.
It systematically categorized these indicators into the ABC
process with the theoretical definition, resulting in a clearer
and more comprehensive design power process model.
Some international indexes have been in existence for morethan a decade, and new index systems should be proposed
to reflect current social development trends and applicationsof design, such as intelligent governance in the era of digitaltransformation.
In Study 2, a review of various theories of international designmodels revealed that their indicators implicitly reflected thethree parts of the ‘strategy-activity-effect’ process. Some
theories did not fully articulate all these parts, while others
advocated process models but hard to explain the dynamics ofthe process when conducting cross-sectional measurements
at specific point of time. This study further reclassified theindicators based on this process model and defined the natureof indicators for each dimension. The future development of
more specific indicators can be adapted based on the uniquecharacteristics of different city contexts and issues, making theindex model more adaptable. Additionally, the characteristics
of indicators should not be limited to objective and measurable
external indicators. Instead, it is recommended to focus onprocess functionality in the development and adoption of

Design Beyond / Developing City Design Power Index Model

more diagnostic indicators, integrating sources of indicators(external objective conditions and subjective experiencesof cultural psychology) and reflecting both quantitativeand qualitative descriptions in the characteristics of themeasurement.
In Study 3, design experts from different countries agreed
with the process model proposed in this study. Their feedback
mainly reflected on the uniqueness of different city contexts
and how they should be represented by parameters beyond
the current system. This study will further optimize the index
model to express the context and process stages. After expert
evaluation, the original 108 indicators were filtered to 84 mainindicators based on consensus (standard deviation less thanor equal to 1) and appropriateness (average score above 4).
The experts’ suggestions for the index model were used toenhance the definitions of each construct, as shown in Figure
2. The results showed that design operates on the three main
pillars of ‘developing strategy’, ‘design activity’, and ‘design
effect’ in the context of city conditions. The starting point foreach city may vary based on cultural, social, historical context,
and industrial structure. ‘Developing strategy’ is the foundation
for city design power, it includes design infrastructure,human development, and financial support. ‘Design activity’encompasses the effective mechanisms and energy of designin a city, covering industry dynamics, creative worker, anddesign innovation R&D. ‘Design effects’ reflects the outcome
brought about by design in the city.

Page 25

Figure 2: Definition ofeach construct of city
design power index.

Page 26

Design Beyond / Developing City Design Power Index ModelFigure 3: PLS-SEM analysis verified the causality in the process model.

In Study 4, based on the longitudinal data of Taiwan cities, PLSSEM was used to verify the casual process model proposed.
The empirical data supports the proposed process model, thatis from developing strategy to design activities, and then to
design effects and design impact, as shown in Figure 3.
Further analysis was conducted to recognize the patternwhich differentiate the design power operation process indifferent types of cities which are tech-savvy metropolises
and cultural tourism cities, as shown in Figure 4. In the techsavvy metropolis, the governments invest ample and diverse

Type 1: Tech-savvy Metropolis

resources. Data analysis reveals significant influences from
‘A-3. Financial Support’ and ‘A-2. Human Development’ to‘B-1. Industry Dynamics’, and is highly correlated to ‘C11. Economic Outcomes’. Cities of this type are relatively
maturely developed; thus, less new design infrastructures arebuilt and less influence is from such factors. Compared to atech-savvy metropolis, in cultural tourism cities ‘A-1. Design
Infrastructure’ plays a more important role on influencing ‘B-1.
Industry Dynamics’ rather than ‘A-3. Financial Support’; and ‘B1. Industry Dynamics’ is more highly correlated to ‘C1-2. Social
Outcomes’ than ‘C1-1. Economic Outcomes’.

Type 2: Cultural Tourism City

Figure 4: PLS-SEM analysis of different types of cities.

Design Beyond / Developing City Design Power Index Model

Page 27

In Study 5, in order to advance usability of these index
presentations, two dashboards were built to visualize the city
design power index data – a radar chart and a city map, asshown in Figure 5 and Figure 6 respectively. It allows users
to upload indicator datasheets to visualize their own data.
Users can select a specific city and year from the datasheet
and visualize the city’s design power. By pressing the play
button, the city’s development of design power over time isdisplayed. Another city can be selected at the same time as abenchmark, for identifying the gap between two cities, or eachcity’s advantage for city branding. By switching to the mapview, users can see the distribution of design infrastructuresand design companies in a city. This view helps users identify
the lack of design infrastructures in a certain area, and see theclustering of specific design industries. It can be used as anurban planning tool for policy makers who wish to boost city
design power.

Figure 5: Radar Chart.

Figure 6: City Map.

4. Discussion
The proposed city design power model provides an initial
contribution by offering a more valid and practical diagnostic
and actionable system. Through the reorganization of existing
design power indicators, it offers a clear understanding of how
and why indicators reflect developing strategy, operational
activities, and design effects while providing better descriptive
and explanatory function. The theoretical framework provided
for this process model serves as an explanatory model, as adiagnosis-treatment prescriptive model for understanding
the essence of design power reflected by indicators, thereby
enhancing the usefulness of the indicator system in predicting
the outcomes of design power. This study was empiricallyverified using longitudinal data in Taiwan. In addition, with deep
exploration of case studies on cities with different design
power strategies and outcomes, this model is strengthening
with a solid empirical basis. Future developments can enhancethe effectiveness and explanatory ability of the model basedon more international case data of different types of cities withdifferent levels of design power varied in contexts.
Further research suggested the following areas of focus:(1) Cross-Level Constructs: Explore different level of analysis
of design power, which across national design power,
organizational design power, and individual design power, andexamine the cross level mechanisms contribute to city design
power.

Page 28(2) Indicator Reliability, Validity, and Complexity: Clearly
define the ABC constructs and their corresponding indicators.
Establish a model for construct validity (nomothetic
networking) by defining conceptual features for theoreticalconstructs in ABC and developing operational definitions forindicators that can be objectively measured.
(3) Causal Relationships in the ABC Process Model: Build
causal models to explain how A influences B and how B
influences C for different patterns. In complex systems likecities, it can be challenging to find specific causal mechanisms.
It might be necessary to identify a few paradigmatic pathways
and validate these causal relationships based on pasttheoretical discourse and empirical evidence as part of model
development.
(4) Contextualizing of City Design Power: Recognize that eachcity has its unique cultural and policy context, affecting thedevelopment strategies of city design power. Understanding
the historical context of cities, the policy direction of local
governments, and the development direction of industries is
crucial before formulating appropriate strategies. With solid
foundational data, suitable strategies can be devised. The
index model will help identify development strategies that fit
individual cities and will further enhance the system basedon data feedback from continued use by WDO Member
Organizations in different countries.

Design Beyond / Developing City Design Power Index ModelReferences
Icograda and Seoul Metropolitan City Government. 2011. World
Design Survey 2010. Seoul Metropolitan City Government.
Aalto University School of Art and Design. 2011. Global Design
Watch 2010. DESIGNIUM.
World Intellectual Property Organization (WIPO). 2022. Global
Innovation Index 2022: What is the future of innovation-driven
growth? WIPO.
KIDP. 2008. National Design Competitiveness Report 2008.
Korean Institute of Design Promotion.
Moultrie and Livesey. 2009. International Design Scoreboard:
Initial indicators of international design capabilities. Universityof Cambridge.
Kimbell, Bailey, Nold, Kaszynska, Todd, and Mazzarella. 2021.
Design Economy 2021 Scoping Project: Introductory Paper.
London: Design Council.

Design Beyond / Developing City Design Power Index Model

Page 29

Design for Humanity:
Exploring the Power ofCo-design to Empower
Young Population forSocial Impact

Author:Anastasios Maragiannis

Institution:
College of Design, Creative &Digital Industries
University of Westminster(United Kingdom)

Abstract
This paper explores the transformative potential of design asa catalyst for social change and its capacity to yield positive
societal outcomes. It delves into co-practice-based thinking,emphasizing design’s role in addressing complex social issues,
including planetary sustainability, social change, and inclusion.
The central focus is the ‘Diversity and Inclusivity by Design’(d+iD) mission, employing co-design methodologies to shapediversity and inclusion policies within humanitarian and culturalorganizations across Europe and Africa. This project has
engaged a diverse audience of over half a million individuals
and influenced governmental and non-governmentalorganizations, especially those concerned with refugees
and cultural integration. The research demonstrates theeffectiveness of co-design in engaging marginalized groups
and diversifying design practices. It also extends its impact toprojects like the EYES, an EU NWE INTERREG-funded project(Empowering Youth through Entrepreneurial Skills) aimed ataddressing labour market exclusion. Additionally, the researchalso explores other areas that could impact humanity, e.g.
aesthetic and personalization choices in wearables andtheir social and cultural implications. The d+iD has received
significant recognition and awards, affirming its contributions
to advancing design for the betterment of humanity.
Keywords: Co-design, inclusivity, underrepresented youth,
social impact, design diplomacy.

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Design Beyond / Design for Humanity: Exploring the Power of Co-design to Empower Young Population for Social Impact

Prologue“Excellence is never an accident. It is always the result of highintention, sincere effort, and intelligent execution; it represents thewise choice of many alternatives – choice, not chance, determines yourdestiny.” -Aristotle 323 BC.
Aristotle’s emphasis on excellence serves as a poignant
illustration of how collaborative design possesses thepotential to shape societal trajectories. The cultivation ofvalues and promotion of innovation play pivotal roles in making
deliberate choices that not only influence societal outcomesamid uncertainty and growth but also contribute to meaningfulsocial change and positive community development. However,
it is worth noting that, contrary to Aristotle’s perspective, theoption to make choices within a social context is not always
universally available.
In recent years, co-design has emerged as a powerful
catalyst for societal transformation, demonstrating its
capacity to instigate significant social change and foster
positive community outcomes. Nonetheless, it is essential toacknowledge that, in some instances, choices within a social
context may face constraints.

Conversely, social exclusion is an intricate and multidimensional phenomenon encompassing the denial or lack ofresources, rights, goods, and services. It involves the inability topartake in normal relationships and activities accessible to themajority within a society, spanning economic, social, cultural,and political arenas. The repercussions of social exclusion
extend beyond individual well-being to impact the equity andcohesion of society.
Within the research project’s exploration of social exclusion,
insights derived from Joel-Gijsbers and Vrooman’s theoreticalmodel (2007), tested in the Netherlands, offer valuable
perspectives. This model, disseminated by the Netherlands
Institute for Social Research/SCP, enhances our understandingof social exclusion and its intricate dynamics. The publication
Explaining Social Exclusion provides a theoretical frameworkthat has been referenced to scrutinize and comprehend
the nuanced process of social exclusion (Joel-Gijsbers andVrooman, 2007).

Introduction
Building upon Aristotle’s profound insights into excellence, thispaper delves into the realm of practice research, specifically theDiversity and Inclusivity by Design (d+iD) project. Introducing
a co-design methodology, our critical exploration focuses
on design’s transformative power, emphasising its ability toaddress intricate social challenges and empower marginalized
populations. This inquiry unfolds within the broader landscapeof design thinking and its relevance in navigating contemporarysocietal complexities. The central thrust of this paper isto underscore the paramount importance of co-practicebased thinking paradigms, highlighting design’s pivotal rolein advancing social impact across multifaceted dimensions,
including planetary sustainability, societal transformation, andinclusivity.
Design for humanity goes beyond society; it wields thepotential to shape a more environmentally responsible future,and designers are the ones – among others – who navigate theintricate landscape of planetary sustainability. By developing
eco-conscious products, systems, and practices, design and, inparticular, co-design methodologies can significantly enhance
the Quality of Education (SDG 4), have a direct impact oninnovation and infostructure (SDG 8,9,12,17), lead innovationthat could foster less environmental harm (SDGs 6,7,14,15),(United Nations 2023). Furthermore, creativity can be a driving
force enabling marginalized populations to participate actively
in shaping their communities and driving economic growth.
It has the capacity to bridge gaps and create opportunities
that were previously inaccessible. As Papanek articulated,“Design has become the most powerful tool with which man
shapes his tools and environments (and, by extension, society
and himself).” This underscores design’s capacity to usher
in a sustainable ethos, driving innovation in materials, energy
efficiency, and environmentally conscious strategies (Papanek1971).

In essence, co-design methodologies are not only a means
to environmental responsibility but also a means to empower
marginalized communities, promoting their active involvementin the design and development processes that directly impact
lives. This inclusive approach reflects the broader ethos ofdesign for humanity, where creativity becomes a catalyst
for positive change and social empowerment. Concurrently,
co-design serves as a catalyst for societal transformation.
Rooted in empathy and problem-solving, the principles ofdesign thinking enable designers to tackle deeply entrenchedsocietal issues. From poverty alleviation to equitable access to
education and healthcare, design’s creative problem-solving
methodologies can lead to innovative solutions that propelsocietal progress. Brown, CEO of IDEO, noted design thinkingaligns “people’s needs with what is technologically feasible
and what a viable business strategy can convert into customer
value and market opportunity” (Brown 2009). In this paper, wetraverse the intricate terrain of design’s potential as a force
for positive societal change. We scrutinize the methods andimpact of the d+iD project, shedding light on how co-designprinciples can empower marginalized communities andpromote the betterment of society at large. The investigation
provides invaluable insights into the transformative capabilitiesof design, the significance of co-practice-based thinking, andthe profound implications of these endeavours on societal
well-being.
In this way, co-design becomes a dynamic force for reshaping
societies, promoting social equity, and advancing the wellbeing of communities on a global scale. The examples below
showcase this impact.

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Setting the Scene: Diversity + Inclusivity by Design (d+iD)
At the heart of the d+iD project lies a foundational commitment
to the integration of co-design methodologies into the design
development process. This commitment serves as a means of
exploring a multifaceted question: “What are the possibilities
that emerge when designers embark on collaborative design
endeavours with and for others?” The project’s researchfindings have compellingly demonstrated that involving users
in the design process results in outcomes that effectively
address their unique needs. Co-design methodologies, by
their very nature, facilitate a comprehensive understanding of
Inclusivity stands as a foundational principle of design overall user and stakeholder requirements, giving rise to enhanced
but also co-design methodologies and strategies. The project design solutions and fostering productive collaborations thatimmerses diversity and inclusivity research within the realms of span diverse disciplinary domains.
creativity in general, employing co-design methods to address
the pivotal question: “What possibilities emerge when designers The d+iD project’s profound impact becomes evident whencollaborate with and design for diverse communities?” This considering its extensive outreach, which has resonated with aresearch delves into the transformative potential of pioneering diverse audience comprizing more than half a million individuals.
co-design approaches, aiming to magnify, broaden, and This engagement unfolded through a series of events spanning
activate different facets of the design process (Smith and the years 2016 to 2022, encompassing prestigious global
Johnson 2018). The ultimate goal is to empower through co- exhibitions such as the London Design Festival and others.
design to embrace inclusivity, transcending barriers related Beyond the confines of these exhibition spaces, the project’s
to disability, gender, ethnicity, vulnerability, language, and age influence has radiated outward, instrumental in shaping bothand ensuring accessibility for all. Embracing inclusive design governmental and non-governmental organizations dedicatedprinciples not only fosters a more equitable society but also to the welfare of refugees and the integration of diverse
creates environments where everyone can fully participate. cultures.
As Microsoft’s inclusive design toolkit emphasises, “When wesolve for one, we solve for all.” (Maragiannis and Ashford 2019).
Through design, we have the means to break down barriers,
champion inclusivity, and elevate the voices of individuals who
have been historically marginalized.
At the heart of our investigation lies a comprehensive analysisof the ‘Diversity and Inclusivity by Design’ (d+iD) project,
an ambitious research initiative that harnesses co-design
methodologies to craft diversity and inclusion policies withinhumanitarian and cultural organizations operating acrossthe regions of Europe and Africa. The overarching goal ofthis initiative is to foster a more inclusive society, cultivate
essential skills, and nurture the self-assurance of marginalized
young individuals.

Policy Changes to Support Economic Migrants and Refugees
This practice research project has significantly contributed
to the development of two pivotal policies—one for the
Cyprus High Commission (CHC) in 2020 and another for
the International Refugees Forum in Greece in 2021. These
policies play a crucial role in serving communities that often
feel disenfranchised and forgotten, reflecting the project’s
dedication to inclusivity and diversity. They serve as tangible
frameworks for promoting integration, fostering cultural
understanding, and ensuring the well-being of marginalized
communities, leaving a legacy by shaping the policies andpractices of organizations committed to social welfare anddiversity (Adams 2017). The transformative essence of thed+iD project has yielded numerous positive outcomes, notablyenhancing the creative practices of young refugees and socioeconomic migrants, empowering them and reinforcing theirskills and self-confidence (Sjöberg and D’Onofrio 2020).
The inception of the CHC and Cultural Section collaboration
involved devising and co-designing diversity and inclusivity
themes with London-based designers. The subsequent d+iD
‘Empower Individuals’ exhibition at the London Design Festival
2019 highlighted social and political issues, consumerism,
gender issues, and conflict, attracting a record-breaking
600 000 visitors from over 75 countries. Following thissuccess, the CHC Cultural Section (CS) commissioned the
d+iD team to co-develop their inaugural cultural and arts
policy, focusing on the empowerment of individuals and theengagement of diverse participants. This collaboration led totangible outcomes, with the new policy becoming mandatory inPage 32

their creative projects/participation and application processes.
It has significantly influenced the decision to create new
projects focusing on more inclusive outcomes (Adams 2017).
Dr. Marios Psaras, Cultural Counsellor at CHC, highlighted the
project’s impact in supporting diverse collectives and individuals,
including youth groups, LGBTQ+ artists and projects, female
leaders in the arts and culture, and ethnic minorities. The
diversity and inclusivity by design research project has madea substantial contribution to their evidence-based approach,playing a pivotal role in their work. Additionally, the research
outputs of the ‘Empower Individuals’ exhibition addressedissues relevant to the CHC’s own cultural programme. In March
2019, the research extended its impact to the Greek Refugees
Forum (GFR), leading to the ‘Creative Citizens of Europe’
exhibition in Athens, exploring ways to engage refugees
through design and the arts. The outcomes influenced thedevelopment of a new framework and organizational policy forthe inclusion and integration of refugees into society throughthe arts. This resulted in the creation of an Equality, Diversity
and Inclusion policy empowering people through creative
arts, design, education, and sports. This policy has raised
awareness of GFR’s creative activities and positively impacted
participation, enhancing their policy and practice for securing
diverse project proposals, such as the MATCH social inclusion
opportunities project (Adams 2017).

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Jean Didier Totow, President of GFR, emphasised the integralrole of the policy in their Equality, Diversity, and Inclusion strand,
actively reaching out to underrepresented and marginalizedgroups since 2018. The project has facilitated their support forvarious community groups.
This research project has also resulted in a collaboration
with Africa Risk Consulting (ARC), a pan-African consulting
company providing information and advice for informed
investment decisions and reputation safeguarding. ARC’semphasis on diversity and inclusion in their commissioned work
led to their consultation with the d+iD project team to embed
these principles in their outward presentation and processes.
This collaboration has been instrumental in shaping their
recruitment approach and focusing on diversity and inclusion
aspects of participation. ARC utilizes this collaboration as acore means to raise awareness of their commitment to workin Francophone countries, notably in the West African andCentral African zones (Adams 2017).
Remarkably, these research efforts have had a particularly
pronounced impact on vulnerable young individuals residing in
the North-West European region, facilitating their advancement
and overall betterment.
This approach challenges the conventional paradigm, which
often places undue emphasis on the expertise of individual
designers, thereby highlighting the imperative of foregroundingsocial impact and social innovation, particularly in the context
of young people’s well-being. In this context, the d+iD projectilluminates that the advantages conferred by co-design
far outweigh any concerns raised by design practitioners
regarding potential disruptions, disorderliness, limitations,and scope. Through this holistic exploration, we unveil thetransformative power of co-design in shaping a more inclusive,
innovative, and impactful design landscape.
The project serves as compelling evidence of the profoundefficacy of co-design in actively engaging marginalized groups,
thereby bestowing upon them a newfound sense of agency.
Beyond this, it acts as a catalyst for the diversification of design
practices and the expansion of discourse within the designcommunity. In embracing this inclusive nature, design emerges
as a formidable tool, poised to drive transformative change
and engender positive social impact on an unprecedented
scale. The project is underpinned by a steadfast dedication
to reimagining and reshaping the conventional paradigms thathave long governed design processes. At its core, diversity
and inclusivity are positioned as the nucleus of co-design
methodologies, serving as guiding principles that steer thecourse of this innovative journey.
Through the effective harnessing of co-design methodologies
employed in this project encompasses a specific approachto engaging multidisciplinary stakeholders, fostering a deep
understanding of each unique practice. The project champions
the concept of collaborative co-creation, particularly with
marginalized groups. It not only empowers these communities
but also offers them a robust platform from which to amplify
their voices. Doing so initiates a paradigm shift that challenges
the status quo, advocating for the active participation of thoseoften excluded from the design process. This transformative
approach is not just a mere deviation from tradition but aninspiring endeavour that marks the convergence of designand social empowerment, setting the stage for profound andmeaningful change in the design world (REF2021 Impact 2021).

Case Study Impact: Empowering Youth through Entrepreneurial Skills andCo-design Methods (EYES)The influence exerted by the d+iD project transcends its
immediate boundaries, resonating harmoniously with otherprominent initiatives, such as the European Union-funded
programme denominated as EYES. EYES operates in synergy
with various funding bodies and is primarily dedicated to craftinga co-design methodology expressly tailored to confront theurgent issue of labour market exclusion. This methodology
places specific emphasis on individuals categorized as ‘not in
education, employment, or training’ (NEETs). Endowed with asubstantial budget allocation of €4.28 million, this concerted
undertaking is driven by the imperative to disseminate
knowledge and expertise across diverse European regions.
The ultimate objective is to establish an innovative, inclusive,
and transnational model, finally attuned to the unique requisites
and aspirations of NEETs. Notably, this model exhibits anadaptable framework that accommodates the intricacies of
local and regional contexts, offering bespoke support tailored
to individual needs and aspirations.
Within the context of the North West European (NWE) region,a conspicuous concern emerges, as an alarming 14% of the
youth cohort aged 15-34 find themselves ensnared within
the category of individuals who are not actively engaged
with society. This NEET demographic, displaying resistanceto conventional top-down interventions and demonstrating alimited connection with extant support structures, confronts
the precarious prospect of protracted exclusion from thelabour market. Particularly disconcerting is the heightened

prevalence of this issue in economically deprived NWE
metropolitan areas, where the propensity for individuals to
become or remain NEET is significantly elevated in comparison
to the national average (Council of Europe and Kovacheva2023).
The d+iD co-design methodologies, as elucidated earlier,underscore that while entrepreneurial education has
garnered significant attention as a strategic instrument inalleviating labour market exclusion, an evident lacuna exists
in the form of a systematic and comprehensive approach tointegrating NEETs into this educational paradigm. Evidenced
by the paucity of localized initiatives effectively linking
NEETs with entrepreneurial education, it is palpable thatknowledge dissemination across the NWE region is marked
by fragmentation. An exigent imperative is the disseminationof knowledge to engender a novel, transnational model.
The co-designed methodological approach represents aninnovative solution amalgamating entrepreneurial education,
personalized coaching, and a digital platform, thereby
facilitating NEETs' ingress into support programmes they mightotherwise eschew. With a targeted outreach encompassing
100 000 NEETs residing in five NWE metropolitan areas, theEYES initiative engaged more than 1000 individuals during
the project's stipulated timeframe. This endeavour anticipates
active involvement by 400 NEETs with conventional support
frameworks, while 25 are envisaged to undertake thecommendable role of early-stage entrepreneurs.

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The comprehensive EYES product package comprises anarray of digital tools and coaching materials. Four bilingual
training sites have been designated to equip 25 coaches withthe requisite competencies to execute pilot programmes indistinct locales, including the Ruhr area, Greater London, theFlemish Triangle, the European Metropolis of Lille, and Tilburg.
A central helpdesk resource will complement these initiatives.
The project has also proposed new measures to address legal
issues arising from social innovation projects. In the context
of our research project, which primarily centres aroundvulnerable populations, it becomes imperative to accord
special attention to legal aspects such as personal dataprotection (GDPR) and liability. However, our project teamoften lacks the specific expertise required to integrate legal
considerations into the research design process seamlessly.
This poses a fundamental question: should we initiate theresearch design phase first and address legal issues at a laterstage, or should we establish the legal framework as a priority
before commencing the research? The choice made in thisregard will significantly impact the outcome of our researchendeavour. On the one hand, pursuing highly innovative
approaches may lead to subsequent legal challenges, whileon the other hand, establishing a predefined legal framework
upfront could potentially hinder the development of disruptive
solutions right from the project's inception (EYES 2022).

Image 1: Diversity and inclusivity by design, methodological design outputs to reflect on methodologies amalgamating the SDGs practice and participation (London 2023).

Image 2: Co-design participants showcasing their findings as part of the international workshops (London 2022).

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Design Beyond / Design for Humanity: Exploring the Power of Co-design to Empower Young Population for Social Impact

The Potency of Co-design:
The stewardship of this initiative is poised to transition
under the aegis of the EYES innovation network, which is
charged with the iterative refinement of the approach and its
subsequent expansion into additional municipalities within the
NWE region. This expansion foresees an eventual extensionof the initiative’s scope to encompass the broader European
Union. The envisaged permanence of the training sites
ensures a sustained capability to conduct training sessions for
successive cohorts of coaches. Furthermore, the integrationof the EYES digital platform into existing digital ecosystems,
particularly within Smart Cities, serves as a testament to theenduring pertinence and resonance of this transformative
endeavour.
Additionally, the potency of co-design holds immediate
and enduring implications. For instance, within a related
context, this research project explores the intricacies ofaesthetics and personalization in wearable technologies.
The undertaking seeks to attain a profound understandingof how these devices impact specific communities, with aparticular emphasis on empowering individuals across diverse
contextual backgrounds and enhancing their overall quality oflife. By amalgamating practice-based research with contextual
resources, the project delves into the subtleties of women’s
concerns and preferences concerning wearable technologies.
It underscores the critical importance of acknowledging the
profound social and cultural connotations associated withthese devices, especially regarding the representation of
women.

This collaborative endeavour among scholars, designers, andprominent organizations has engendered a dynamic exchangeof ideas that transcends cultural and disciplinary boundaries.
It has effectively engrossed industry experts, scholars,
designers, and the general populace in a productive andenlightening discourse, contributing substantively to a morenuanced comprehension of the intersections between design,culture, and society.
The d+iD project has garnered global recognition and acclaim
for its substantial contributions to the field of design. It boasts
prestigious accolades, including the International Institute ofInformation Design Award from a UNESCO-affiliated partnerorganization. This recognition serves as a testament to theproject’s profound influence in advancing the domain of design,
particularly in its pursuit of human betterment. Furthermore,
the project has been distinguished with the esteemed IMPACT
award from Interreg Northwest Europe, prevailing overrigorous competition from more than 90 entries from otherEU-funded projects. This recognition further underscores the
project’s significant contributions to the advancement of theethos of design for the betterment of humanity.

Conclusion
In conclusion, the adoption of co-design and co-production
frameworks emerges as a transformative approach withthe capacity to empower marginalized youth, addressing
the limitations often associated with conventional topdown methodologies. Implementing these strategies on atransnational scale necessitates considerable time investment
and the establishment of specialized communication
protocols. Such measures are indispensable for harnessing
the multifaceted array of values, cultures, traditions, andcontextual nuances present across diverse regions andcommunities.
The establishment of a unified European framework represents
a crucial step in advancing this cause. This framework should
actively endorse and embed the principles of co-design andco-production within European Union policies and funding
initiatives. In doing so, the European Union not only champions
a cohesive approach to policymaking but also engages in acollaborative partnership with its citizens.
This collective endeavour underscores a deep commitment
to inclusive governance, where the voices and contributionsof citizens, particularly vulnerable youth, are acknowledged
and incorporated into the processes of policymaking andinnovation. It signifies a momentous shift towards thecreation of a more cohesive and responsive Europe, one thatcollaborates with its citizens as genuine co-creators of theirshared destiny.

In summary, the d+iD research project stands as a collaborativeand interdisciplinary endeavour dedicated to unlocking
the profound potential of co-design in driving meaningfulsocial transformations and positive impact. Through active
engagement with marginalized and vulnerable communities,
this project has emerged as a catalyst for amplifying their
voices, enhancing diversity within design practices, andfostering a culture of inclusivity.
Over the course of its implementation, the d+iD research
project has not only made significant contributions to theexisting body of knowledge on co-design but has also
generated tangible benefits extending beyond the realm of
academia. It has played a pivotal role in shaping diversity andinclusion policies within governmental and non-governmentalorganizations alike, thereby empowering marginalized youth
with the creative skills and self-assurance necessary for
navigating a complex world.
Through its pioneering work, this project has demonstrated
the immense potential of co-design in bridging societal divides,
dismantling barriers, and effecting lasting positive change. Its
impact transcends mere research findings, actively enrichingand shaping the social fabric by promoting inclusivity, diversity,and empowerment among the most vulnerable segments ofour society.

Design Beyond / Design for Humanity: Exploring the Power of Co-design to Empower Young Population for Social Impact

Page 35References
Adams, Robert. 2017. “Empowerment, Participation and Social Maragiannis, Anastasios, and Rain Ashford. 2019. "Diversity
Work”. 4th ed. Red Globe Press, Bloomsbury Publishing.
and Inclusivity in the Age of Wearables: A Buzzword, a Myth,an Uncertain Reality." Body, Space & Technology 18 (1): 198Brown, Tim. 2009. “Change by Design: How Design Thinking 214. https://doi.org/10.16995/bst.320.
Can Transform Organizations and Inspire Innovation”. Harper
Business.
Maragiannis, Anastasios, Stephen Kennedy, Kamalveer Rehal,and Catherine Maffioletti. 2019. "Co-design Methods Towards
Brown, Tim. 2008. "Design Thinking." Harvard Business Review. Inclusive Design in Diverse Communities: Empowering Youth
Accessed October 2023. https://www.hbr.org.
Through Entrepreneurial Skills." In Design Research for Change
2019, 118-119. Lancaster University. ISBN 978-1862203631.
Council of Europe. n.d. "Social Inclusion." Accessed October
2023. https://pjp-eu.coe.int/en/web/youth-partnership/social- Manzini, Ezio, and Franca Rizzo. 2011. "Small Projects/Large
inclusion.
Changes: Participatory Design as an Open Participated
Process." CoDesign 7 (3-4): 199-215.
Eyes - Empowering Youth Through Entrepreneurial Skills.
URL:
https://vb.nweurope.eu/projects/project-search/eyes- Microsoft. n.d. "Inclusive Design Toolkit." Accessed Octoberempowering-youth-through-entrepreneurial-skills/#tab-2. 2023. https://www.microsoft.com.
Accessed October 2023.
Papanek, Victor. 1971. “Design for the Real World: Human
Kimbell, Lucy. 2012. "Rethinking Design Thinking: Part II." Ecology and Social Change”. London: Thames & Hudson.
Design and Culture 4 (2): 129-148.
Sanders, Elizabeth B.-N., and Pieter J. Stappers. 2012.
Joel-Gijsbers, G., and C. Vrooman. 2007. "Explaining Social “Convivial Toolbox: Generative Research for the Front End of
Exclusion; A Theoretical Model Tested in The Netherlands." Design”. BIS Publishers.
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from the original on May 25, 2019. Accessed September 10, Sjöberg, Jonas, and Alessandro D’Onofrio. 2020. "Moving
2019. https://web.archive.org/web/20190525085023/https:// Global Horizons: Imagining Selfhood, Mobility and Futurities
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Vrooman, C. J., and S.J.M. Hoff. June 2013. "The Disadvantaged
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Smith, John, and Alice Johnson. 2018. "Co-design Methods:
Designing with and for Users." Design Studies 57: 160-180.
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Impact Case Study Database. 2021. Retrieved fromhttps://results2021.ref.ac.uk/impact/d2866bc8-70f8-4edcb8b3-30c9ced4fdb2?page=1. Accessed October 2023.

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Design Beyond / Design for Humanity: Exploring the Power of Co-design to Empower Young Population for Social Impact

Design Beyond Politics:
Socio-political Obstacles inIndia’s Healthcare

Author:Mary Reisel

Institutions:Rikkyo University (Japan)
The Ceruleans (Japan)

Abstract
During the COVID-19 pandemic, India faced a devastatingly
high mortality rate, ranking second globally after the USA.
Officially surpassing half a million deaths, subsequent studies
suggested the toll could be three to four million, making India
the worst-hit. Factors contributing to this included recurring
waves of Corona virus variants, insufficient medical resources,
patient overload, and a lack of hygiene awareness whereby
mask-wearing and limiting contact or travel were not widelyadopted. This study delves into a critical aspect of thehealthcare system obstructed by social and political norms
during the crisis: the ASHA system. Accredited Social Health
Activists (ASHA) act as vital links between urban healthcare
centers and rural populations. Despite their potential, theASHA themselves belong to the same lower classes of the
population they serve, and this fact created a conflict of values
that disabled the urgent response and didn’t allow a fluent
and fast work of these activists to mitigate immediate issues.
This report outlines challenges in developing a healthcare
app to support the ASHA during the pandemic, revealing
the deep-rooted impact of India’s caste system dating back3500 years. The findings emphasize the need for innovative
research methodologies, redefining user experiences beyond
traditional personas, and addressing sociopolitical conflicts
for more effective healthcare solutions.
Keywords: UX, UI, India, ASHA, healthcare, socio-politicaldesign.

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Introduction and Background: Why the ASHA Matter
The ASHA members are a major component of the healthcare
system in India and they form an important part of the larger
CHM (Community Health Workers) providers nationwide.
With the meaningful word ASHA – which means “hope” – asa symbol, the programme was launched in 2005 with the aimof creating a support system that will provide supervisionand health education in rural villages and urban suburbs thathave less (or no) access to medical care facilities and/or toprofessional doctors. By 2019, before the COVID-19 pandemic
erupted, the ASHA members included about one million
individuals who were spread all over India covering most of
the rural areas and providing meaningful and valuable help andhealthcare knowledge to a large section of the disadvantaged
and marginalized population. However, the ASHA themselves
are part of the same population they support, and that factproved to be the biggest challenge and obstacle of the goal
we were trying to accomplish.

and familiar with the nature of the population. The activists
go through a short training programme of 23 days which
also provides a certificate that qualifies them to work. Their
activities are conducted in pairs (or more, depending on thedangers of the specific area) and the national plan designates
one ASHA per 1000 people.

Over the years, the ASHA provided indispensable help inissues of maternal health, family welfare, and child healthincluding social problems such as school and studying
difficulties. India was facing an extreme high death rate of
women and newborn babies among developing countries, andthe support of the ASHA proved highly valuable in changing
the situation (Khanna et al. 2019, 31:4, UNICEF reports). ASHA
were expected to perform regular home visits, participate incommunity meetings, keep steady connections and deliver
reports to the health centres that assign their tasks, and keep
the records of the community and its people in order to be able
The ASHA work requirements include only female workers, to follow up regularly (Ved et al. 2019, 17:3). In return for theirmarried, with eight years of education, and living in the local activity, they receive basic, low remuneration (mostly paid per
area where they would be working in order to be available number of tasks performed).

The ASHA During COVID-19
As India was facing unusual health challenges and highmortality rates during the COVID-19 pandemic, there was no
doubt the contribution of the ASHA was crucial and therefore
was constantly mentioned and praised in different media tools
in order to promote their activities and their value to India
in times of all-national distress (UNICEF reports, NPR, NYT,
Science). Being the only connection between rural areas andcentral health facilities, and due to the urgency of the pandemic
situation, their responsibility expanded significantly. They werein charge of delivering vaccines, educating the population
about COVID-19, teaching new life-saving hygiene behaviour,delivering masks, gloves, and transferring people to hospitals
when necessary. Above all, they were the only ones allowed
to cross the roads and report on problems when India banned

movement within the country in order to stop the spread of thevirus. The workload was tremendous and posed considerable
danger to their own health. Thus, it became vital to keep up
their motivation that started declining under the overload ofurgent tasks and the actual fear of the pandemic they faced
daily. For the first time, the ASHA had higher value, which
provided agency to control their own work conditions, change
the low stereotype of their social class, and demonstrate theextreme importance of their contribution to the nation.
This was the opportunity we had to support their work andhelp them gain respect, higher awareness, and status.

Credit: Asha Project India.

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Design Beyond / Design Beyond Politics: Socio-political Obstacles in India’s HealthcareProject Objectives and Methodology
The goal of the design was to develop an app that would caterto the unique needs of the ASHA during the pandemic. The
initiative was led by an Indian NGO, Aaroogya, and Priyanjali
Datta, a doctor who was leading the project and the team inIndia. Aaroogya was in need of an applied anthropologist inorder to better understand the particular needs of the target
users – the ASHA – as well as the type of assistance that would
furnish them with the connection and knowledge demanded tomeet the unique challenges that the pandemic created. The
initial problems assumed several major issues that were on thepractical level:

methods that could be done quickly and result in meaningful
insights of UX for the design of the UI and the prototype.

Qualitative interviews: with the support of my Indiancolleagues, seven interviews were conducted with different
women who were living in villages in the north part of Delhi andaround Hindon area in the east. We used mobile phones toconnect in real time, and later Zoom when it became available(it was impossible to work face-to-face). Sharing was done via
Slack for longer messages and WhatsApp for shorter ones
and for Q&A. Facebook was another major tool to connect
with participants in India since it is popular, and most people
1) Absence of a communication tool and a closed network know how to use it.
system to help activists support each other in emergency
Participant-observation: I succeeded to conduct one live
situations during work.
observation with two ASHA who were traveling together from2) Lack of fast connection with hospitals and healthcare Delhi up north on their daily work. We used a simple mobile
facilities that could provide immediate and qualified phone video recording with short movies of the road they weretraveling in, the people they met, and the work throughout the
professional advice.
day. One sample size is indeed small and usually insufficient,3) No transportation for many of the target areas (the roads however, this was the only thing we could have in the time
were blocked and later movement was completely banned). we had and luckily it exposed many issues that later wereconfirmed and supported by insights from the interviews and4) Protection and safety on the roads (due to reports of by academic studies.
attacks on traveling ASHA).
Desk research: a lot of data and background information
Due to the pressure of time and the ban on flying, the about the ASHA project and its history were gathered frommethodology had to be modified and adapted in many creative desk research that included newspapers, academic researchways in order to meet the requirements and the deadline articles, surveys, and previously conducted interviews.
(which was obviously ‘yesterday’). On the technical side, alarge network of Internet spots and Wi-Fi connections were Questionnaires and one survey: both were designed andalready developed by the Indian government, and they provided executed by the team in India, and then translated into English
constant connection between Japan (where I was located) with quotes.
and the Indian team. We decided to assign a few key research

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Results and Design Challenges, or, How to Deal with Non-design Issues
in Design
The results revealed an array of pain points and dissatisfactionthat surfaced during the pandemic due to the high risk the
ASHA were facing at work and the pressure of their own
families to be better supported, appreciated, and paid. The
media provided higher coverage of the ASHA and the activists
had the courage to complain, demonstrate, and demand
approval, respect, and better conditions of work or elsethey would stop working. Many NGSs, healthcare personnel,
academics, and institutions supported their struggles andpromoted the agenda all over India.
The research discovered that our users had more complicatedproblems and needs than originally expected, and in otherareas than assumed. Therefore, the solutions became a bigger
challenge, even more so when determining we had to find avisual answer in the design of the actual UI prototype.
The key insights from the UX studies showed the following
issues:1) Lack of remunerations and proper payments: ASHA were
paid extremely small fees – about $40 USD per month – and eventhose were not regularly paid nor officially delivered throughan organized banking system. In 2022, the middle period of thepandemic, the ASHA won a prestigious award from the WHO,but it didn’t include any financial prize, and was therefore
immediately undermined. “Awards don’t fill stomachs” (NPR,2022). The fee for ASHA tasks per month during the pandemic
was raised only to $60 USD, and the women refused to work
for such low sums of money. In addition, there was a demand
to organize proper transfer of fees through a controlled banksystem on a consistent monthly basis.
The interviews revealed the money was indeed a major, and nota minor issue of stress and disappointment (as was originallyassumed): “my husband fights with me all the time and wants
me to leave because he says it is an insult the way they treat
us, so I am constantly thinking if to stay or continue. But weare poor, even this (amount) is helpful. I don’t know what todo.” The lack of financial remuneration was a key factor in the
declining motivation of the ASHA.
The desk study and academic research exposed acomplicated Pandora’s box related to payments to the ASHA.
If the underprivileged social classes would be paid properly,
and through formal salary channels, they would gain a different
status over the one they had, something that could shakesociety hard after many years of stable social status quo(Bidner & Eswaran, 2015). This was the first circle of casteboundaries that became a major block in promoting motivation,and no UI could solve a traditional issue established for so long.

Page 402) Respect vs. career aspirations: the observation of the pairof ASHA revealed a big gap in their motivation to become ASHA.
The different reasons led to conflicts and lack of harmony inthe pair’s work, and they should have been separated rather
than together.
One activist, Leela, was in her early thirties, married with nochildren, and with a strong desire to become a professional
nurse in an urban hospital. Her husband supported her
aspirations and her continuing education that was originallystopped at the age of 11. Having the required level of literacy
as well as proper medical knowledge, work was for her a
stepping stone on the way to a better position, and her attitude
was practical, logical, and professionally-oriented. The people
she met were “patients, and I have to learn how to be withpatients in different stages of disease so this period is goodfor my training.” She maintained a professional distance andfocused on the practical issues and medical advice. Despite arelatively poor financial background, she owned a small old car
and was driving to the local village.
The second activist, Rajni, was much older, in her mid-fifties,
married with children who had already left home, traditionalin her way of thinking and with no level of literacy at all. She
couldn’t even read basic sentences. Her aspirations were
to gain “special respect in the community because I haveexperience, and life. I had eight children, that’s eight childbirths
myself and growing a big family. This is more than others, I
know and understand family”. She was looking for what theJapanese call ikigai – a meaning of life that could be foundthrough meaningful work for others followed by respect andsocial status from the community. She wanted to have a senseof accomplishment that would mean her existence was still
meaningful even after her own children left. She was friendly,
loved to talk with the people, remembered each individual,
and was careful to follow up with daily questions about lifeand family issues. For her, people always came before theirdiseases and they were all her friends and her personal
responsibility – her new expanded family. Rajni made me
wonder how she could have gone through the training and therecruitment demands without having the basic level of literacy
demanded. However, studies revealed that ignoring demands
and providing inadequate training were common, and many of
the ASHA weren’t even clear on what they were supposed to
do and what kind of help they need to provide.

Design Beyond / Design Beyond Politics: Socio-political Obstacles in India’s Healthcare

Figure 1: The most important questions about a new product are: how will it become part of an individual's daily practices and habits? How will it be used in real life, beyond the plan and thedesigner's intentions?
A detailed map of user journey is the key to provide valuable insights of the daily lives of the people we support, and how/when they will need our product.

In terms of the required design, we were facing completely
new demands that some could have indeed been absorbed
and implemented through a better developed visual. Creating a
prototype for such different personalities, different aspirations,and above all a lack of literacy of some of the important
users, required a much bigger emphasis on images, colours,
and shapes. It also required we limit the amount of written
information and texts we could add, and make a software that
could support a voice (and recording) system. As a result, theentire basic software and its deadline had to be readjusted. In
addition, we needed to conduct quick new research in order
to discover trendy shapes and images that would deliver
information to all ASHA and would encourage the use of theapp.

Designing an emergency button was easy, but how to connect
it to police or military centers that would be willing to provide
immediate response? For this purpose, one needs connection
to politicians and institutions but those were again boundby the caste system: “if we help them, we have to help somany others in similar situations, this is not possible,” onemunicipality supervisor, who was sympathetic to the cause but
unable to help, told me.

Safety was also expressed in the lack of medical equipment: “Inever find gloves in the places where I work, never! And we ask
every day, but nothing! We do vaccines just like that (showed
exposed hands with no gloves)”. Surprisingly, this issue wasmuch easier to solve and healthcare supervisors could takecare of supply much faster than expected. It didn’t involve any3) Lack of support and safety: The final major issue was change of social structure and traditional value.
the abundance of connectivity problems, which was a majordemand due to many dangers ASHA could face while on the And so, we found ourselves with a good design but with a wallroads to their destination: “There is always news about rape stronger than the any other that could have endangered theand even murder, it is so dangerous to be ASHA on the roads entire project – the caste system.
now. This is impossible. How can we work that way?”

Design Beyond / Design Beyond Politics: Socio-political Obstacles in India’s Healthcare

Page 41

Crossing the Indian Caste Wallon hereditary factors, with a pattern of internal marriages
within the castes and specific professions that have also
been transferred through generations (Bidner & Eswaran,2014). Women are expected to complement their husbands’
occupations and skills, and as a result, their own productivity
outside of the home is low and with no opportunities to reacheven slightly higher positions and independence. Dumont’s
classical caste theory provides a good explanation of the typeof work done by the ASHA, and why workers in marginalized
communities are called “activists” and are not paid steadysalaries. It also explains why only women can be ASHA andwhy attempts to improve their conditions were in vain over
Nobody had seen it coming with this force. I was sure the the years (Dumont, 1981, Bouglé, 1971 quoted in Bidner et al).
caste system had lost its stronghold and importance in India, Young Leela belongs to a new generation that is fighting toespecially during a period of such grave emergency. What change the status quo but it is still early to predict the amountof success this generation will have.
could be done?... Back to research and learning.
Once we were ready with the findings, the analysis, several
different personas we developed for the ASHA users, and an
outline of the prototype pages after many different designs,
I suddenly faced a devastating and demotivating statement:“But you’re working in vain,” a colleague of mine from a
university in New Delhi said in a determined voice. “It’s all about
the caste here, this is the lowest caste and nobody will help
you develop something meaningful for them. Even if you haveit done, it won’t work. You’re an anthropologist, you know you
can’t fight tradition, right? You have better chances financing
a design of a spaceship.”I returned to my research desk slightly depressed and started
investigating. One obstacle was already discovered during theinterviews with officials of the government: had we succeeded
to elevate the ASHA and provide them better conditions, it
could have elevated the entire caste they belonged to, andthat could never happen due to a chain reaction that would
shake the entire society.

However, the caste system also provides social benefits
that cannot be ignored, especially in a country with a large
and diverse population like India. For one, it maintains social
stability and it is an important political tool that enables
control and supervision of the population. Another positive
aspect is the internal network of connections that holds theclosed community together and with mutual help, loyalties andobligations.

The caste system in India has over 3,500 years of history and,as Bidner & Eswaran study shows, it “has proven to be oneof the most enduring of Indian institutions” since it is based

Conclusions and Future Contribution
Political issues and social traditions are a much bigger
obstacles of future design than them seem, and there is notenough discussion on this theme. There are ways to facesuch issues, or to detour them, which was my attempt insolving the case of the ASHA. During the pandemic period, I
had several opportunities to mentor M.I.T. Hackathons, where
I met colleagues from Africa and South America. Together,
we brainstormed ideas on how to promote rural populations
with low literacy levels and lack of basic education. Using
this experience, I designed a plan for online fashion shows,adapted fun videos of comedians in Japan, and tried to reachyoung students from India in order to have influencers thatcan change the way young people think. The goal was torebrand the social and political perception of ASHA by using acompletely new image that would appeal to the future rather
than the past.

Page 42The ASHA case study is of the utmost importance since thesituation exists in many other countries, and the future of theworld depends on joining all of humanity together. Those whoare left behind will always be frustrated and creates obstacles,
which in a moment when unity is highly needed to tackle themany challenges we all face on planet Earth. Design should
be more open and courageous not only in openly discussing
social and political conflicts, but also in brainstorming together
more creative solutions and ideas to solve them. Only by facing
the issues we can indeed go ‘beyond’.

Design Beyond / Design Beyond Politics: Socio-political Obstacles in India’s HealthcareReferences
Bouglé, Ceelestin. Essays on the Caste System. Cambridge Internet sources
University Press, 1971 (English edition).
https://www.worldometers.info/coronavirus/
Bidner, Chris, and Mukash Eswaran. “A gender-based theory of https://www.science.org/content/article/covid-19-may-havethe origin of the caste system in India”. Journal of Development killed-nearly-3-million-india-far-more-official-counts-show
Economics 114 (May 2015). 142-158. Accessed November 11,
https://www.nytimes.com/2021/04/24/world/asia/india2023.
coronavirus-deaths.html
Dumont, Louis. Homo Hierarchicus: The Caste System and Its https://www.npr.org/sections/
Implications. University of Chicago Press, 1981 (first edition, goatsandsoda/2021/07/20/1018438334/indias-pandemic1966).
death-toll-estimated-at-about-4-million-10-times-the-officialco
Khanna, Rajat, Nirupama Prakash, Alka Sharma. “Framework
to improve coordination among ministries to strengthen ASHA https://www.npr.org/sections/program in India: Based on the assessment of ASHA program goatsandsoda/2022/06/02/1102212364/these-femalein rural Rajasthan.” Indian Journal of Community Health 31:4 health-care-workers-won-a-huge-who-honor-theyd-like-araise-too(Oct-Dec 2019). 442-449.
https://data.unicef.org/resources/levels-and-trends-in-childVed, R., K. Scott, G. Gupta, O. Ummer, S. Singh, A. Srivastava, mortality/
A.S. George. “How are gender inequalities facing India’s
one million ASHAs being addressed? Policy origins andadaptations for the world’s largest all-female community
health worker programme”. Human Resources for health 17:3
(2019). Doi:10.1186/s12960-018-0338-0

Design Beyond / Design Beyond Politics: Socio-political Obstacles in India’s Healthcare

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Evolutional Creativity
Evolutionary Principles for
Creative Learning

Author:
Eisuke Tachikawa

Institutions:
NOSIGNER (Japan)
Japanese Industrial designers
Association, Kanazawa
College of Art (Japan)

Abstract
Evolutional Creativity is a method that captures and trains
human creativity through biological evolution. Invented by
Eisuke Tachikawa in 2016, it has been adopted as an innovation
method by various companies. In 2021, a book further detailingthis philosophy was published by a small publisher foundedon an island with a population of about 2,000. Despite theseemingly humble production, it ranked first in Japan’s Amazon
Business Book Rankings.
Furthermore, it won the Yamamoto Shichihei Prize, one ofJapan’s most prestigious awards in the humanities field, andmany other accolades. Evolutional Creativity applies thetheory of natural selection, which has been handed down from
Darwin and others, as a new method of creative education. In
an age where societal sustainability is emphasized, we must
awaken our inherent creativity. We cannot resign ourselves
to viewing creativity as individual talent; we must learn fromnature to structure the methods of nurturing creativity.
Keywords: Mutative thinking, evolutional crativity, selective
thinking

Page 44

Design Beyond / Evolutional Creativity Evolutionary Principles for Creative Learning

Introduction: Is Creativity Something Limited to Those with Talent?
supporting evolution have been proven to date. Interestingly,
the introduction of this evolutionary theory also functions asa counterargument to Intelligent Design, which posits that
God designed every creature in a perfect form. Even without
a transcendent designer, adaptive biological designs canemerge. The thought that only talented humans can performthe creative act of bringing forth natural forms is structurally
the same as thinking only geniuses can conceive creative ideas.
Biology has already progressed beyond this misconception.
To objectively describe the phenomena of creativity and What about our understanding of creativity?
design, Eisuke turned his attention to the theory of evolution by
natural selection, as posited by Darwin and others. Biological Suppose we can point out the similarities between the structure
adaptive evolution is a phenomenon that closely resembles of evolution and creativity. In that case, it may be possible tohuman creativity within the history of life. Hence, learning from create an educational system where one can systematicallybiological evolution might be effective in comprehending it as acquire creativity from its structure, and we may be able toprovide an adequate explanation for the phenomenon ofa natural phenomenon.
human creativity in the history of life. At that time, everyone
Creativity is often spoken of as an innate talent or ability. It might be able to challenge themselves to hone their creativity.
is sometimes discussed as something one cannot learn,something intrinsic. However, a phenomenon similar to it, Therefore, grounded in the structure of evolution, Evolutional
the evolution of species, has been logically explained since Creativity aims to show the structure of an essentially creative
the advent of Darwin’s theory of natural selection through education.
On the Origin of Species in 1859, which has become thefoundation of biology. Furthermore, various pieces of evidence
In the 3.8 billion-year history of life, among the tens of millionsof species said to exist, no creature seems to have acquired
the overwhelming ability to create an endless array of tools
as humans have. So, is human creativity an unexplainable
miracle of nature? Yet, Eisuke is convinced that this enigmatic
phenomenon called creativity is, in fact, a natural phenomenon.
And if creativity is a natural phenomenon, its nature and why it
manifests in humans should also be explainable.

Image 1: Evolutional Creativity written by Eisuke Tachikawa, published in 2021; Source: Eisuke Tachikawa, NOSIGNER

We cannot resign ourselves to viewing creativity
as individual talent; we must learn from nature to
structure the methods of nurturing creativity.

Design Beyond / Evolutional Creativity Evolutionary Principles for Creative Learning

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Literature Review
This thesis is based on the first and second editions of Eisuke
Tachikawa’s book Evolutional Creativity (Tachikawa 2021
& 2023), published in Japan. It aims to create a curriculumthat allows students to unravel the structure of creativity by
studying the mechanisms of adaptive evolution from livingorganisms. Specifically, this thesis seeks to structure theprocess of creative expression through the mechanism ofrepeated mutation and selection that can be found in the theoryof natural selection. The pursuit of creativity has been debatedacross various fields, not only in design but also in sociology,
psychology, medicine, artificial intelligence, and so on. This
thesis delves into why humans possess unparalleled creativity
compared to other primates. Regarding the difference increativity between humans and other primates, this paperdraws insights from Henrich, J.’s publication, which discusses
various perspectives, including physical adaptive evolution andcultural evolution (Henrich 2015). All civilizations and artifacts
are rooted in human creativity; thus, a closer analysis of humancreativity is meaningful and essential for humanity.

There are outstanding prior research studies that treat natural
phenomena and creativity as similar phenomena, such as
biomimicry (Benyus 1997) and biomimetics (Vincent et al.
2006), which pursue more functional designs inspired bybiological traits. As a designer, Eisuke profoundly sympathizedwith the stance of studying natural mechanisms and was greatly
influenced by these studies; however, they fundamentallydiffer from the theme of unraveling creativity discussed in thispaper. In a sense, the Evolutional Creativity thesis itself may be
a metaphysical form of biomimetics that redesigns creativity
from the process of adaptive evolution.
There is a growing body of research in evolutionary psychology(Buss 2005), which analyzes the development of human
psychology with the basis of evolutionary theory and is also
growing increasingly popular as a way of deciphering thenature of humanity based on evolutionary processes. Then,
there is also the field of cultural evolution, which looks into theevolution of tools and culture. Lead and Disrupt (O’Reilly et
al. 2016) is an example of interpreting business managementfrom the reciprocal phenomena of evolution. Psychologist
Simonton, D.K., describes creativity as an evolutionary process
in which variations are created and selections are maderepeatedly (Simonton 2013). This direction aligns closely withthe theme of this paper. While inspired by these precedents,
as a designer, Eisuke Tachikawa felt the need for specificcreativity methods.
Although it is inevitable since the purpose of the research
is different, there is no example of practical methods ofconception and education that manage to channel theevolutionary process. From a practical thinking method
perspective, the Double Diamond model (Design Council
2003), commonly used in design thinking, proposed by the
UK’s Design Council, has a structure of iterating divergenceand convergence twice. Eisuke’s thesis explores why
repeating divergence and convergence leads to creative
results and what divergence and convergence entail explicitly
in terms of cognitive processes. The diversity created bymutations and adaptations through selection in adaptive
evolution form an analogous structure, potentially providing ascientific background to the experimental theory of Evolutional
Creativity.

Image 2: Evolutional Creativity written by Eisuke Tachikawa, published in 2021; Source:
Eisuke Tachikawa, NOSIGNER

Similarities between adaptive evolution and creativity havebeen noted in various ways since Darwin’s On the Origin ofSpecies (Darwin 1859). For example, Dawkins’ book The Blind
Watchmaker explains why the designs of complex organisms
developed due to unintentional natural selection (Dawkins
1986). Evolutionary science has maintained the thesis thatthe seemingly creative evolution of organisms is not due
to the design of someone in particular. In this thesis, wereinterpret the act of creation and design that we engage in
as a phenomenon guided by chance and necessity rather thanwill. Although creativity and evolution differ in subjects andobjectives, we can find a shared approach based on the theoryof natural selection. Furthermore, in terms of the knowledge ofevolutionary science and adaptive evolution, much gratitude
and acknowledgment is to be given to Dr. Masakado Kawata
at Tohoku University— who also serves as the vice presidentof the Japan Society of Evolutionary Studies, for supervising
the second edition of Evolutional Creativity, the book on which
this paper is based.

Page 46

Regarding the emphasis on contingency in patterns ofmutation discussed in this paper, there is a connection to theconcept of Disruptive Innovation by Christensen, Raynor, andMcDonald (Christensen et al. 2015). Disruptive errors can also
lead to creativity. There are instances in creative techniques
where patterns are presented, such as TRIZ (Altshuller
1984) and patterns pointed out by A. Osborn in his writings(Osborn 1957). These are convenient for ideation when known.
However, they are empirical and do not delve into why such
patterns occur in creativity or why humanity can cause them.
The Evolutional Creativity thesis interprets the emergence of
these patterns through the commonalities between DNA andlanguage.

Design Beyond / Evolutional Creativity Evolutionary Principles for Creative Learning

Tinbergen’s four questions (Tinbergen, 1963) helped interpret
inevitable selective pressures, initially a method to understandanimal adaptation. However, when integrating temporal pastfuture and spatial internal-external axes with this method, wemight find that the science of future prediction is missing, as
the original method bases itself on animal behavior and only
delves into current adaptations. Addressing the future isessential in both creativity and science. Hence, the Evolutional
Creativity thesis structures four spatio-temporal observations,adding future predictions and integrating developmental
and anatomical perspectives. Various predecessors havecontinued to research the similarities between evolution andcreation. This thesis aims to connect these dots and decipher

evolution to create a fundamentally simple methodology oflearning creativity intrinsically.
There are two main points that Eisuke would like to addressin this paper. The first point is a detailed presentation of
the structure of creativity based on adaptive evolution. The
second point is proposing fundamental and concrete methods
for learning creativity, based on the first point, and have itapplicable to both children and adults. Achieving these goals
could refresh our perception of our creativity and transform
design and all forms of education into more creative endeavors.
Eisuke believes that a great movement could emerge byinheriting the quest for creativity of our predecessors.

Method:The Emergence of Evolution and Creation through Mutation and Selection

Image 3: Eisuke Tachikawa, NOSIGNER, 2021

Let’s visually abstract the phenomenon of adaptive evolution,
as described by the theory of natural selection. Imagine agraph where the x-axis represents the process of evolution,and the y-axis showcases its outcomes.
On the left end of the x-axis, we encounter mutations —spontaneous changes in DNA sequences. Much like how
siblings differ in appearance and temperament, these variations
emerge randomly, bringing forth diversity within populations.
On the right end, there’s the mechanism of selection. Also
known as natural selection, it is a process where individuals
suited to their environment have a better chance of surviving
and reproducing. Over generations, these adaptive traits
become prevalent. This mechanism leads to what we recognize
as adaptation, where extant species are fitted to their specificecosystems. In summary, random mutations generate diversity,and deterministic selection pressures craft adaptations. This
process of adaptive evolution is awe-inspiring, especiallyconsidering the intricate biological designs it produces without
any conscious design or intent — the brilliance of the natural
selection theory.

our creative endeavors might also oscillate between Mutative
Thinking, where random errors birth novel ideas, and Selective
Thinking, where we decipher the inevitable relationships torefine the direction of those ideas. Perhaps this ingrained
evolutionary cognitive process is why humans can exhibit
such creativity. Recalling Darwin’s theory that evolution
doesn’t reflect individual intentions, we should consider that
we oscillate between contingency and inevitability and can’t
intentionally create an ideal thing from scratch.
However, this doesn’t render us powerless in our creative
pursuits. While we might not control the final creative outcome,we can engage in the process. We are still creatively free
to challenge the process of inducing accidental errors andobserving the selection pressures that refine them. While we
can slightly mutate what already exists or observe and adapt
to selection pressures, it is challenging to create somethingfrom nothing.

In other words, instead of creativity, the process of making
something from scratch, we might be capable of Evolutivity,
the process of thinking in a way that stimulates the evolution
Within Evolutional Creativity, it’s proposed that the structure of of things.
biological evolution and human creativity fundamentally sharethe same mechanisms. Evolutional Creativity suggests that
Design Beyond / Evolutional Creativity Evolutionary Principles for Creative Learning

Page 47

Because we tend to attribute creativity to individual will, it
creates an inferiority complex in many. We may find the clue
to letting go of will and achieving a selfless creative process inbiological evolution.

If we can practice this, then the premise of every idea would
be based on something other than will. That is because boththe contingency of Mutative Thinking and the inevitability of
Selective Thinking transcend the will of the individual.

When designing or brainstorming, Mutative Thinking helps
increase the unintended contingency of ideas. At the sametime, Selective Thinking revolves around observing theselection pressure of a situation and making choices according
to the inevitability of the situation.

In Evolutional Creativity, this perspective reimagines ourcreativity not as a mere act of will but as a reciprocal
phenomenon. Let’s engage with this framework, groundedin the principles of natural selection, and let mutation andselection guide our creative endeavors.

Image 4: Eisuke Tachikawa, NOSIGNER, 2021

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Design Beyond / Evolutional Creativity Evolutionary Principles for Creative Learning

Patterns of Mutation
How can we reinforce Mutative Thinking, which emerges bygenerating diverse ideas through errors? Biological evolution
offers a parallel. In evolution, mutations arise from errors in
DNA replication, similar to misspellings and misunderstandings
in languages. This suggests that the foundation of mutation
resides in coincidental errors. As Eisuke Tachikawa practiced
creative ideation throughout his journey as a designer, henoticed the existence of specific patterns. Osborn and otherresearchers have also highlighted these patterns (Osborn1957). Notably, these patterns occur not only in art, design, andinventions but also in the natural world.

to mispronunciations and misunderstandings in language.
Eisuke suggests that evolutionary mutation patterns mightecho patterns of language errors; these share similarities withthe patterns found in various ideas.

Leveraging linguistic aspects by deliberately inducing random
errors, breaking preconceived notions, and spawning diverse
ideas is pivotal in creativity. Recognizing and employing
these patterns in our thinking can heighten the chances of
unexpected ideation. Evolutional Creativity identifies ninedistinct patterns that are common to evolution and creation.
They provide suggestions to stimulate spontaneous ideas that
What is the source of these parallels? Eisuke hypothesized challenge existing stereotypes.
that the similarities between DNA and language might
generate similar patterns. DNA, which passes on the traits These nine patterns are the following: variate, assimilate,of organisms to the subsequent generation, has a structure disappear, proliferate, transit, substitute, separate, reverse
similar to that of language for humans. This indicates that DNA and integrate.
replication errors and the resulting mutations can be paralleled

Image 5: Eisuke Tachikawa, NOSIGNER, 2023

Design Beyond / Evolutional Creativity Evolutionary Principles for Creative Learning

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Variate is a mutation that hyperbolically amplifies aspects of Separate is a mutation that separates an object into
an object, helping us imagine radical states by shaking the different elements. Some species use physical separation tosurvive, and similarly, properly separating something during
constraints of simple parameters.
the creative process can be valuable. Inventions related to
Assimilate is a mutation that operates based on imitation and separation include tools used as barriers, such as cans andmetaphorical thinking. Imitation can capture and replicate bottles, but also business models that conceptually separate
specific features. Drawing from another’s shape and adopting their members in various ways, such as differentiating paid
its properties can shatter our visual biases and unveil fresh members from free members.
perspectives.
Reverse is a mutation that creates antithetical situations.
Disappear is a mutation in which parts of something Physical reversals, such as elevators and escalators, derive
disappear. At times, eliminating what’s considered vital can from the idea of moving structures rather than people. Therefoster innovation. Removing elements deemed essential and are also semantic reversals, such as black light or submarines,
reducing as much as possible the number of things that cannot and relational reversals, which result from the inversion of
positions and timelines.
function without these parts makes optimization possible.
Proliferate is a mutation in which the number of elements isincreased because it is crucial to develop the habit of imagining
what things might look like in large quantities. Does somethinginteresting happen when we increase the number of internal
parts or the number of people or organizational structuresconnected to the outside? What if we imagine them as partof a larger group? Interesting things might happen if we break
down the stereotypes associated with numbers.

Integrate is a mutation that merges different objects.
Experimenting with random integration and striving for beauty
can open the door to new possibilities. Integration is a powerfulsource of innovation and a form of evolution that reminds us toalways strive to achieve the unprecedented.

These nine patterns are common to many inventions
and organisms’ biological evolution. They can serve as amethodology for generating a wide variety of ideas. Armed
Transit is a mutation that involves moving an element from one with these patterns, we can break stereotypes while quickly
place to another. Through transit, it is possible to accidentally generating countless mutations and creating radical ideas bycreate things that could not otherwise be if they stay where increasing contingency.
they are organically.
Substitute is a mutation in which one element is replaced byanother. There are several variations of this mutation, suchas physical substitution, like a replaceable battery; semantic
substitution, like replacing a candle with something that
performs the same function (a gas lamp, an incandescent bulb,
or even an LED light); and conceptual substitution, formulated
for the sole purpose of exchange, such as money or tickets.

Selection through Space and Time Observations
Let’s transition to another way of thinking: Selective Thinking.
How can we better understand things and make inevitablechoices? Which are the most adaptable to the situation among
the multiple ideas produced by variation?

aren’t that many major methodologies. Furthermore, he thinksthat these fundamental types of observations can be largely
categorized into four based on space and time. That’s because
we can only observe space and time.

The design of objects, much like the adaptive evolution ofliving organisms, approaches adaptation through repeatednecessary choices. The selective process of evolution
emerges during the necessity of certain situations. In otherwords, Selective Thinking is akin to the ability to analyze andunderstand the pressure of choices imposed by circumstances
to select adaptive ideas. As biology has been systematizing
for a very long time, we can learn to observe these selection
pressures by watching the adaptation of animals.

Spatially, we have internal and external observations;
temporarily, we have past and future observations. Overcenturies, these four types have been systematized anddivided into disciplines, influencing observation in all areas ofnatural science.

From a spatial perspective, Anatomical Observation allows us
to observe the internal structure, while Ecological Observation
enables us to imagine the relationships to the external world.
From a temporal perspective, Historical Observation helps
How can we comprehensively and accurately observe the us understand the influences and context of the past, while
inevitable selection pressures? There are numerous types of Predictive Observation helps us comprehend data and issues
natural scientific observations, but the author believes there about our future and draw hope for it.

Page 50

Design Beyond / Evolutional Creativity Evolutionary Principles for Creative LearningEcological Observation involves methods for observing
complex ecological relationships. We can learn these methods
through the study of ecology, which seeks to understand therelationships between humans and nature, and the mathematics
of complex systems, which helps us understand the laws behindthese relationships. The first method is to observe users andstakeholders, as in the study of animal behavior; it can also befound in behavioral economics (Ethology). Another common
method is experimenting with small, replicated ecosystemmodels, as in experimental science (Experimentation).
Observing from a broader perspective is a method found ingeography and various fields such as geopolitics (Geography).
Finally, observing to extract and analyze the connections ofa complex whole is akin to network science (Network), whileobserving interactions and dynamic system connections
within the overall network is akin to the science of system
dynamics (System). We live in relationships with various people
and things without being aware of them; forgetting these
relationships puts our civilization in a predicament. Creativity
in the future will be nothing more than seeking adaptation byconsidering a wide range of relationships, including ecologicalones. Ecological and complex systems perspectives arehelpful for such considerations.
Image 6: Eisuke Tachikawa, NOSIGNER, 2023

Anatomical Observation can be approached from mainly three
types of observation methods extracted from biology. Theseobservation methods are to look at the form (morphology); tolook at the function and meaning of the elements (physiology);
and observing the process by which the elements are formed(embryology). Historical accounts suggest that anatomical
observations date back to Imhotep, who built the firstpyramid, and even Leonardo da Vinci, who was an anatomist.
Understanding the shape, meaning, and construction methodof elements and selecting the adapted situation connects tothe essence of design. Hence, it’s inferred that design andarchitecture have been deeply intertwined with anatomical
observations.
Anatomical Observation
Morphology: observing the details of elements
Physiology: observing the meaning of elements
Embryology: observing the process of formation
Historical Observation is based on natural history. Modern
natural history developed biologically from the study ofclassification (taxonomy) by Carl Linnaeus. On the other
hand, the study of comparative anatomy (comparison), started
by Buffon’s work, compares minor differences between
organisms and helped the development of taxonomy. After
Darwin proposed his theory of natural selection, phylogenetics
developed to understand temporal relationships and organize
them into an evolutionary tree (phylogeny). In most fields,
experts are well-versed in the history of their discipline; byobserving the past, we can understand the historical context
of a subject and look back at the reasons for its adaptation.

Ecological Observation
Ethology: observing to seek the meaning behind actions
Experimentation: observing to reconfirm situations
Geography: observing to understand broader environmental
contexts
Network: observing to understand complex connections
System: observing to decipher dynamic systems
Predictive Observation can be categorized in two ways.
Forecasting attempts to predict the future by looking at theflow from the past to the present, while backcasting helps set
goals in the future and bring them closer to reality. Forecastingis an observation that can be derived from statistical data
(Forecast). At the same time, backcasting is a scenario
planning method in which one can imagine a tangible future
based either on wishes and hopes or, conversely, on negative
scenarios of tomorrow (Backcast). Developing the ability to
dream unabashedly is essential to bring the future closer toour ideals.
Predictive Observation
Forecast: observing to predict from data
Backcast: observing to work backward from a goal
Each of these observation methods has already beensystematized in the natural sciences, which has a long historyof its own. Therefore, learning about adaptive observations
from these scientific methods not only refines creativity but
also nurtures the ability to recognize relationships between
objects.
By learning these four analytical methods based on space &time observations, we can deepen our understanding of things.

Historical Observation
Taxonomy: observing to determine and divide into types
Comparison: observing to compare every detailPhylogeny: understanding the flow of evolution

Design Beyond / Evolutional Creativity Evolutionary Principles for Creative Learning

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Results: The Impact Created by Evolutional Creativity So Far
The concept of Evolutional Creativity, on which this paper isbased, has been published as a book in Japan. The first edition
was released in April 2021 and promptly topped the businesscategory on Amazon Japan, which could be considered as themost extensive online bookstore in Japan.
Additionally, the Evolutional Creativity book has been
distinguished with the 30th Yamamoto Shichihei Prize, anacademic honour representing Japan’s humanities, marking
the first time this award has been bestowed upon work in thefield of design and creativity. Its content has been incorporated
into entrance examination questions at various educational
institutions, including Doshisha University (Kyogakusha
Editing Division 2023) and public high schools in Nagano
Prefecture (Kyogakusha Editing Division 2023), among others.
The NHK broadcasting corporation has produced television
programmes around Evolutional Creativity, such as ‘SWITCHINTERVIEW’ and ‘Night of the Makaizo Society’.
A revised edition of Evolutional Creativity, scientificallysupervised by Professor Masakado Kawata from Tohoku
University, who also serves as the vice president of the Japan
Society of Evolutionary Studies, will be published in 2023. This
thesis is based on the forthcoming revised edition. Following
the book’s publication in Taiwan in 2023, Evolutional Creativity
was featured in an exhibition at the Taiwan Design Museum.
The book was also published in South Korea in 2023, withfurther international releases anticipated.
Over sixty companies, including Panasonic, MUJI, Kansai
Electric Power, NSK, and PPIH, have adopted Evolutional
Creativity as an innovative method, conducting workshops tofoster sustainable innovation. Most notably, Panasonic has
been conducting residential workshops for selected members
based on Evolutional Creativity for more than five years andhas even produced video materials to implement the method
within the company. This impact is evident from the title oftheir 2020 Future Forum, ‘NEW EVOLUTION (SHIN SHINKA)’,
where Eisuke Tachikawa delivered a keynote speech. MUJI
conducted several months-long workshops for all designers
and product planners, approximately 50 individuals, generating
numerous product ideas under the endorsement of Chairman
Masao Kanai. In addition, club-like communities have emerged
within companies such as DNP and DOCOMO, where

Page 52

enthusiasts of Evolutional Creativity create educational videos,
as seen in DOCOMO-related services, DOCOMO GACCO.
Asahi Kasei commemorated its centennial by organizing a
dialogue between Eisuke Tachikawa and Dr. Akira Yoshino,
Nobel laureate and the inventor of the fundamental technology
for lithium-ion batteries, delivering a lecture deciphering
the evolution that led to lithium-ion batteries to employees
worldwide. Masaya Kinou, director of Fujitsu Learning Media,
Japan’s largest training company, and Shusei Watari, former
vice president of CELM, a company known for its leading
market share in executive training, have acclaimed Evolutional
Creativity as “The world’s most powerful innovation method.”
Evolutional Creativity has been taught at many institutions
throughout Japan, from elementary schools to universities.
Eisuke Tachikawa has lectured at over twenty educational
institutions, including Keio University and Anan KOSEN(National Institute of Technology), and abroad at the Bandung
Institute of Technology in Indonesia. Comparative studies
conducted at the Anan KOSEN by Dr. Yutaka Tada and hiscolleagues have shown that Evolutional Creativity is more
effective than other existing Design Thinking programmes,with their findings published in scholarly articles (Tada et al.
2022). Furthermore, Benesse, Japan’s biggest educational
company, appointed Eisuke Tachikawa as chairperson for
their committee formed to consider the future of higher
education and published GROWING AMBITION, a compilationof recommendations for higher education based on Evolutional
Creativity.
Eisuke also had the honour of speaking at the UNESCO MGIEP
forum ‘Generation AI’ in India, a milestone conference basedon Sustainable Flourishing Goals, heralding applications forcreative education in the future. Lastly, Evolutional Creativity
was selected to be presented at the World Design AssemblyTokyo 2023, held in Japan for the first time in 34 years.
While Evolutional Creativity has seen significant adoption
within Japan, as highlighted above, its international recognition
is still just beginning, with its publications currently being
limited to a few countries. Consequently, its full potential is yet
to be realized on a global scale. We hope this thesis will lead tofurther expansion and innovation in creative education.

Design Beyond / Evolutional Creativity Evolutionary Principles for Creative Learning

Conclusion: Updating the Concept of Creativity for the Future
Evolutional Creativity is a concept similar to the structure of
biological evolution, which is repeated genetically, where
accidental errors lead to Mutative Thinking, and the observationof inevitability leads to Selective Thinking.

Evolutional Creativity can be seen as a means to achieve aform of creativity that goes beyond our intentions. Our current
world is reaching its limits in many ways, and the planet,
including the climate, will change dramatically. We must adapt
to these coming changes.

Evolutional Creativity captures this entire process as a creative
thinking method. When expressing creativity, whether we’re Updating the way we learn about creativity helped increaseaware of it or not, all of us might be engaged in this Mutative the number of individuals who solve problems with innovative
solutions; the future landscape will undoubtedly change. The
Thinking and Selective Thinking.
power to recreate a sustainable civilization that coexists
Just as species have evolved, this constant iteration allows us with the ecosystem, surpassing a human-centric worldview,to naturally express our creativity and may also explain the is demanded of all of us from every angle; by learning about
reasons behind our creativity. Designs that survive for long Evolutional Creativity we can strive to change the present.
periods result from the constant back and forth between
mutation and adaptation, progressing into adaptability to Hopefully, Evolutional Creativity will be useful for a morecreative you and for realizing a sustainable future.
various relationships.

Image 7: Exhibition "NOSIGNER Reason behind forms" by Eisuke Tachikawa, 2016 (Photo: Kunihiko Sato)

Design Beyond / Evolutional Creativity Evolutionary Principles for Creative Learning

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雙囍出版 [Grand Four Happiness Publishing]. 2023. 讀書共和Tinbergen, Nikolaas. 1963. On the aims and methods of 國網路書店[Book Republic website] (進化思考：引導創造力的「變異與選擇」 [Evolutional Creativity - Creating concepts
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Design Beyond / Evolutional Creativity Evolutionary Principles for Creative Learning給未來百年的設計 [DESIGNS FOR THE NEXT 100 YEARS]. 旭化成 Talk [Asahi Kasei Talk]. 2023. Youtube website (AK2023.
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next100years> (Accessed 31 October 2023)
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Creativity - Creating concepts that survive: “Mutation & Tada, Yutaka, Takashi Matsumoto, Ryuusaburou Sugino,
Selection”]), <http://www.nwmedia.co.kr/%EC%A7%84%ED% Eisuke Tachikawa. September 2022. Educational Practices
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shinka_shiko/> (Accessed 31 October 2023)(Accessed 31 October 2023)

Design Beyond / Evolutional Creativity Evolutionary Principles for Creative Learning

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Mapping Everyday Solutions
to Foster Social Cohesion andCommunity Resilience

Authors:
Raditya Ardianto Taepoer1, 3
Kenta Ono2
Prananda Luffiansyah
Malasan3, 4Meirina Triharini

4

Arianti Ayu Puspita4

Institutions:
1
Graduate School of Scienceand Engineering, Chiba
University (Japan)
Chiba University (Japan)

2

Research Center for Culturaland Environmental Products,
Institut Teknologi Bandung(Indonesia)

3

Faculty of Art and Design,
Institut Teknologi Bandung(Indonesia)

4

Abstract
Confronted with multifaceted global challenges ranging
from climate change and pandemics to geopolitical tensions
and social issues, a design-centric approach emerges asa contextual and effective response. Social innovation,
fueled by social purpose and utilizing local assets, gains
prominence in addressing unmet needs. This paper explores
the transformative potential of a design approach to social
complexity, emphasizing its role in identifying context-specificsolutions and participatory processes. The authors present
the Solution Mapping Tools as instruments for uncovering
everyday solutions within communities. Two case studies indistinct environments and actors demonstrate the adaptabilityof the approach and unveil the resourcefulness of grassrootscommunities. The results show that mapping everyday
solutions not only identifies unmet development challenges
but also fosters social cohesion and community resilience.
This comprehensive approach, grounded in understanding
community dynamics, offers valuable insights for informed
decision-making and policy design in addressing global
challenges.
Keywords: Everyday solutions, solution mapping tools,
bottom-up social innovation, social cohesion, community
resilience

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Design Beyond / Mapping Everyday Solutions to Foster Social Cohesion and Community ResilienceIntroduction
The world is entangled in complex challenges, from climatechange and pandemics to geopolitical tensions, economic
disparities, and social issues. Climate change threatens
our very existence with rising temperatures and ecologicaldisruptions. The COVID-19 pandemic exposed healthcare
vulnerabilities and the need for collaboration on a global scale.
Geopolitical tensions and regional conflicts persist, economic
disparities widen, and social issues such as discriminationand inequality demand attention. These complex challenges
encompass interrelated factors that mutually influence eachother, leading to uncertain outcomes, ever-changing dynamics,
and engaging various stakeholders with differing viewpoints(Norman and Stappers 2015).
Social innovation is a contextualized and effective response
to unmet needs and challenges motivated by social purpose,
utilizing social assets and capabilities (Baglioni and Sinclair2014). The acknowledgement of the design approach continues
to flourish (Cross 2023), especially in addressing social issues(Manzini 2014; Friedman 2016). Design can also unravel social
complexity (Tromp and Vial 2023). In this context, design
becomes a means of problem-solving, understanding, andaddressing our society’s multifaceted issues. By adopting adesign approach to social complexity, we acquire the tools to
identify root causes, leverage creativity to propose innovative
solutions and navigate the evolving dynamics of our everchanging world.
At least two arguments make the design approach suitable foraddressing social issues. Firstly, design transforms abstract
concepts into tangible entities that can serve as a medium fordiscussion. There is a need to make the invisible aspects ofthe system more tangible and intentional to address hiddensocial structures. Making norms, rules, roles, and beliefs more
visible will make reflecting on and analyzing them easier (Vink
et al. 2021). Secondly, design encourages iterative prototypingthat can adapt to complexity (Karpen et al. 2021) and dynamicchange (Smith and Iversen 2018). Built design artefacts or
mediums that serve as a common language for discussion,
capable of being both input and output in an evolving design
process (Teal et al. 2022).
Design is a non-linear and iterative process that can adapt
to complexities and dynamic changes. Design for social
innovation moves away from generalized design approaches
to develop solutions according to social, political, and culturalcontexts (von Busch and Palmås 2016). Multiple endeavours
have aimed to depict the evolving nature of design for social
innovation practice, offering a plural definition of design forsocial innovation (Amatullo et al. 2021). The involvement of
stakeholders from various backgrounds who reside in thespecific context is necessary to ensure the embrace of diverse
perspectives in a participatory-based approach. Participatory
design involves a constellation of design initiatives focusedon constructing socio-material assemblies that foster social
innovation and open, participatory processes (Manzini andRizzo 2011). In participatory design processes, designers andnon-designers frequently lack a comprehensive understandingof the community’s potential—a shared learning medium isneeded to address this issue by exploring how communities
utilise available assets such as materials, skills, production
techniques, tacit knowledge, and local culture to meet their
daily needs.

Solution Mapping Tools

Figure 1: Solution Mapping Tools consist of guides and notes, cards, and canvas.
Design Beyond / Mapping Everyday Solutions to Foster Social Cohesion and Community Resilience

Page 57

Understanding everyday solutions involves delving into
the manifestations of needs deeply rooted in experiential
knowledge, necessitating an in-depth exploration of the daily
contexts, interactions, routines, and sociocultural influencesthat shape them. By mapping these everyday solutions, wegain valuable insights into how communities exhibit remarkable
resourcefulness and creativity while navigating various
constraints and challenges. Moreover, this mapping process
fosters relationships and empathy with the communities. It
provides a unique opportunity to profoundly understand their
day-to-day lives, personal experiences, and the distinctive
contexts that influence them. Through immersion in thesecontexts, we gain a comprehensive perspective on how social
reality is constructed from an insider’s viewpoint, shedding lighton the motivations and factors behind people’s behaviours andactions. This approach plays a pivotal role in elucidating the
intricate relationship between available resources and existingneeds, and it strongly aligns with the fundamental principles ofbottom-up social innovation, often called grassroots innovation(Gupta 2012).
Our approach engages community participation as learners
and leverages local knowledge to map out everyday
solutions. This is accomplished by facilitating Solutions
Mapping Workshops conducted in various locations, where
we collaborate closely with communities to organize solution
safaris in the field. Throughout these safaris, we take a handson approach to actively observe and document the everyday
solutions initiated by the communities using our Solutions
Mapping Tools. These tools foster relationships and empathy
with individuals and communities in the given location, allowing
for a profound understanding of their daily lives, experiential
knowledge, and contextual factors (Taepoer et al. 2023). The

Solution Mapping Tools are the result of collaborative efforts
between the Design Ethnography Lab at Institut Teknologi
Bandung and UNDP Accelerator Lab Indonesia and consist ofvarious components, including guides and notes to accompany
learners during their immersion in everyday life, a canvas thatserves as a medium for reflecting on everyday solutions within
systems, and cards designed to trigger conversations about
the thought processes and attributes involved in mappingthese everyday solutions (Figure 1).
In our two distinct case studies, we ventured into diverseand unique environments to uncover and document the
everyday solutions that communities had devised (Figure2). The first case study unfolded in Riangkotek Village, East
Flores Regency, a region recognized as one of Indonesia’s
underdeveloped rural areas. In partnership with the SimpaSio
Institute, a community dedicated to sociocultural studies andarchiving, and the Lewolema Subdistrict government, weembarked on a collaborative journey to map the resourcefulsolutions crafted and employed by the village’s residents. In
contrast, our second case study unfolded in the urban setting of
BCCF/ICCN Simpul Space in Bandung City. Here, we engaged
with the Teman Tuli, a non-profit deaf community focused ondeaf culture and sign language education. Our objective wasto map the everyday solutions ingeniously devised by street
vendors who operate in the vibrant ambience of Bandung’scity square. In this endeavour, we were aided by sign language
interpreters who served as co-facilitators, ensuring effective
communication and understanding within the community.
Both case studies endeavour to explore diverse contexts andengage with communities to uncover and discuss the everyday
solutions that communities create to cope with everyday
challenges.

Figure 2: Solution Mapping Workshops in East Flores Regency and Bandung City

Page 58

Design Beyond / Mapping Everyday Solutions to Foster Social Cohesion and Community ResilienceMapping Everyday Solutions
Mapping Everyday Solutions is divided into three phases: preworkshop, solution safari, and solution mapping workshop(Figure 3). Firstly, the research team conducted a preworkshop meeting introducing the Solution Mapping Tool
differently for each case study a week before the workshop.
The introduction was conducted online in the first study,
using platforms like Zoom and Miro to provide learners with asynchronised and interactive experience. This session allowed
them to engage with the tools directly, try them out in real time,and seek clarification by posing questions. In contrast, theteam opted for a different approach for the second case study.
We provided a video-on-demand featuring the introduction
to the Solutions Mapping Tools, complete with captions andsign language assistance. This approach aimed to enhanceaccessibility and convenience, enabling learners to access thetool introduction at their own pace and convenience before
embarking on the workshop. This customized approachdemonstrates adaptability and a commitment to ensuring
learners can easily engage with the Solution Mapping Tools ina way that best suits their needs and circumstances.
Then, we held a Solution Mapping Workshop that started withreflections using cards, then canvassing based on notes andgroup work and ended with presentations and discussions.
The Solution Mapping Cards session was conducted by linking
the keywords from the card to the Safari Solution experience.
In the first case study, the cards were randomly distributed to
the learners, while in the second case study, the learners wereallowed to choose the card with the most attractive illustration.
The learners were allowed to guess the keywords according
to the visual illustrations and describe their experiences while
completing the Solution Safari. This stage intends to recall
the events and details in the field and become a medium
of dialogue between the learners. Afterwards, a Solution
Mapping Canvas session was conducted where each group
discussed each learner’s notes, wrote them on sticky notes,
and arranged them on the canvas according to the group’s
consensus.
Finally, the Solution Mapping Workshop concluded with apresentation and discussion session, leaving learners fromdiverse case studies surprised by the capacity of grassrootscommunities to develop tailored solutions to their needs fromtheir inherent assets and capabilities. The Solution Mapping
Tools allowed them to observe everyday things, unveiled
the hidden potential within everyday surroundings, andencouraged learners to recognize the previously unnoticed
strengths of their communities. The Solution Mapping Tools
triggered dialogues among learners in the workshop session
and between learners, creators, and users in their context.
Ultimately, the workshop was a transformative experience,
facilitating participants to immerse themselves in theircommunities with a more profound viewpoint and fostering acollective sense of proactive problem-solving at the grassroots
level.

Figure 3: The Journey of Mapping Everyday Solutions

Design Beyond / Mapping Everyday Solutions to Foster Social Cohesion and Community Resilience

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Figure 4: Everyday Solutions in East Flores Regency (left) and Bandung City (right)

Reflection
Both fieldworks generated many insights into using the
Solution Mapping Tool to facilitate community members inmapping and identifying everyday solutions in their context.
This approach raised the awareness of the designer andnon-designer participants and emphasized the importance of
positioning design in a way that priorities community interestsand contextualized development. By mapping everyday
solutions, learners engage in discussions covering tangible
and intangible aspects, explaining the intricacies of materials,
production techniques, functions, benefits, current challenges
and future possibilities associated with these solutions. This
process significantly deepened our understanding of how
solutions and needs are paired, with everyday solutions as
an essential starting point to identify unmet development
challenges. Engaging communities in identifying their needs
and assets has shown to be a robust way to cultivate a positivemindset and instil confidence in the potential of natural, humanand cultural resources to drive the future development of theirenvironment, resources, and challenges. Mapping everyday
solutions marks a shift from ‘empowering’ to ‘activating’ acommunity’s power and agency, where individuals and groups
become active agents in decision-making and take a proactiverole in their development, fostering a sense of autonomy andself-reliance.

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Further analysis of the findings led to the recognition of thepivotal roles of social cohesion and community resilience incommunity dynamics. Social cohesion focuses on the internal
dynamics of a community, emphasizing the importanceof nurturing relationships and unity within the community.
This cohesion creates a strong sense of community identityand belonging, encouraging cooperation and collective
action. In contrast, community resilience centres on thecommunity’s ability to navigate and recover from external
challenges, disruptions, and crises. It entails building thecapacity to adapt and withstand unforeseen shocks, be theyeconomic, environmental, or social. Resilient communities
can effectively deal with disasters and emerge stronger,
learning from their experiences. Prioritizing social cohesion
and community resilience ensures long-term sustainability
and overall well-being. These principles enhance adaptability
to evolving member needs and challenges when integrated
into development strategies. This holistic approach prioritizes
community fabric and preparedness for the future. The datacollected during these mapping exercises offer a nuanced
understanding of the specific needs and challenges facedby the community, enabling informed, tailored solutions. The
insights gleaned from mapping everyday solutions serve as avaluable.

Design Beyond / Mapping Everyday Solutions to Foster Social Cohesion and Community ResilienceReferences
Amatullo, Mariana, Bryan Boyer, Jennifer May, and Andrew Manzini, Ezio, and Francesca Rizzo. 2011. ‘Small Projects/
Shea. 2021. Design for Social Innovation. New York: Routledge. Large Changes: Participatory Design as an Open Participatedhttps://doi.org/10.4324/9781003021360.
Process’. CoDesign 7 (3–4): 199–215. https://doi.org/10.1080/1
5710882.2011.630472.
Baglioni, Simone, and Stephen Sinclair. 2014. ‘Introduction:
Social Innovation and Social Policy’. Social Policy and Society. Norman, Donald A., and Pieter Jan Stappers. 2015. ‘DesignX:
https://doi.org/10.1017/S1474746414000177.
Complex Sociotechnical Systems’. She Ji: The Journal of
Design, Economics, and Innovation 1 (2): 83–106. https://doi.
Busch, Otto von, and Karl Palmås. 2016. ‘Social Means Do org/10.1016/J.SHEJI.2016.01.002.
Not Justify Corruptible Ends: A Realist Perspective of Social
Innovation and Design’. She Ji 2 (4). https://doi.org/10.1016/j. Smith, Rachel Charlotte, and Ole Sejer Iversen. 2018.
sheji.2017.07.002.
‘Participatory Design for Sustainable Social Change’. Design
Studies 59. https://doi.org/10.1016/j.destud.2018.05.005.
Cross, Nigel. 2023. ‘Design Thinking: What Just Happened?’
Design Studies 86 (May): 101187. https://doi.org/10.1016/J. Taepoer, Raditya Ardianto, Kenta Ono, Prananda Luffiansyah
DESTUD.2023.101187.
Malasan, Meirina Triharini, Arianti Ayu Puspita, Intan
Prameswari, and Yulia Sugandi. 2023. ‘Solution Mapping
Friedman, Ken. 2016. ‘New Challenges for Design’. She Ji: The Tools: Identifying a Bottom-Up Approach to Social Innovation’.
Journal of Design, Economics, and Innovation 2 (4): 271–74. Jurnal Sosioteknologi 22 (2). https://doi.org/10.5614/sostek.
https://doi.org/10.1016/J.SHEJI.2017.07.001.
itbj.2023.22.2.8.
Gupta, Anil K. 2012. ‘Innovations for the Poor by the Poor’.
International Journal of Technological Learning, Innovation
and Development 5 (1–2): 28–39. https://doi.org/10.1504/
IJTLID.2012.044875.

Teal, Gemma, Marianne McAra, Julie Riddell, Paul Flowers,
Nicky Coia, and Lisa McDaid. 2022. ‘Integrating and Producing
Evidence through Participatory Design’. CoDesign. https://doi.
org/10.1080/15710882.2022.2096906.

Karpen, Ingo O., Stefan Holmlid, and Eun Yu. 2021. ‘Service
Design in the Context of Complexity: Moving between Plurality
and Tension towards a Future Research Agenda’. International
Journal of Design.

Tromp, Nynke, and Stéphane Vial. 2023. ‘Five Components ofSocial Design: A Unified Framework to Support Research andPractice’. The Design Journal 26 (2): 210–28. https://doi.org/10.1080/14606925.2022.2088098.

Manzini, Ezio. 2014. ‘Making Things Happen: Social Innovation Vink, Josina, Katarina Wetter-Edman, and Kaisa Koskelaand Design’. Design Issues 30 (1): 57–66. https://doi.org/10.1162/ Huotari. 2021. ‘Designerly Approaches for Catalyzing Change
DESI_a_00248.
in Social Systems: A Social Structures Approach’. She Ji 7 (2).
https://doi.org/10.1016/j.sheji.2020.12.004.

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Theme 2

Page 62

Design for
Human-centred
Technology

WDO Research and Education Forum 2023 Proceedings / Design Beyond

Page 63

Smart Display Developmentwith Services and Supporting
Tools to Tackle Elderly Care
Problems

Authors:
Ara Cho¹
Inho Lee¹
Youngjin Chung¹
Hoyeong Song²
Seonhee Jung³
Kenny Ryu⁴
Yuwon Jeong¹
Jihyun Lee²

Institutions:¹Korea Institute of Design
Promotion, Gyeonggi-do(South Korea)²Neofect, Gyeonggi-do (South
Korea)³Scube Design Lab, Busan(South Korea)
⁴Blessing Eco Design, Busan(South Korea)

Abstract
This study aims to enhance the quality of life and independenceof the growing elderly population through the development of
personalized care appliances and services. Facing an aging
society by 2025 (Statistics Korea 2022), Korea grapples
with social and economic issues like healthcare costs andinsufficient caregiving services. Through literature reviews andinterviews, we identified the needs, desires, and pain pointsof stakeholders such as the elderly, caregivers, and families.
Specifically, dependent elders often experience a diminisheddaily life, while caregivers face issues like varying patientneeds and burnout. Our research employs user-centric design
methods, including persona and scenario development andco-creation workshops. Ultimately, we propose a smart display
table that supports elderly self-care, content services, andintegrated products. These offerings promote physical andcognitive activities, monitoring, daily management, information
sharing with caregivers or family, and social interaction. The
study redefines the problem from a user perspective andenhances caregiving quality through design intervention andadvanced digital technology.
Keywords: Elderly care, self-care, intelligent display, Humancentred Design, integrated care services

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Design Beyond / Smart Display Development with Services and Supporting Tools to Tackle Elderly Care Problems

1. Introduction
1.1. Purpose

1.2. Methodology and Scope

As of 2022, South Korea’s total population is 51.69 million,
marking a declining trend since 2020 when it peaked at 51.83
million. The elderly population aged 65 and above makes
up 17.7% (9.15 million), showing a 5.1% increase from theprevious year. Predictions suggest that by 2025, the elderly
will constitute 20.3% of the population. Rapid demographic
changes and extended life expectancy have led to singleperson (34.9%) and couple households (34.7%) (Statistics
Korea 2022) becoming common among the elderly (Kim 2021).

This study was designed using the Double Diamond Processdeveloped by the Design Council (UK).

The onset of a super-aged society and the rise of single
elderly households are increasing healthcare costs and thedemand for caregiving services. While policy and technology
are advancing to address these issues, existing elderly
care technology and services are hard to apply universally
due to individual differences in the elderly’s needs and highdependency on caregivers.

First, in the Discover phase, we conducted a literature review
focused on trends in senior health care technology. To explore
the elderly care industry and identify core user types andstakeholder needs, we performed in-depth interviews and user
observations with seniors, domain experts, caregivers, anddesigners. Second, in the Define phase, we designed personas
for each user type and derived user experience scenarios.
Using the Mandtara method, we identified life values for eachuser type. Next, in the Develop phase, we advanced ideas for
products and services for elderly care through co-creation
workshops. Finally, in the Deliver phase, usability tests wereconducted in six actual care institutions. The final products
were presented after expert evaluations.

The scope of this study is as follows: to analyze stakeholders
This study aims to identify the current state of elderly care and identify opportunities in elderly care, to develop anservices and explore new opportunities by analyzing both intelligent care display, and to develop linked products andthe demand and supply sides. Unlike previous studies that content.
focus on caregivers, this research aims to develop services
centered around the elderly to support their independent
living. We intend to introduce a user-centered design thinking
process and methods, grounded in comprehensive analysis,
to propose smart display table products and services basedon deep learning image recognition and AI voice recognition
technology.

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2. Literature Review and Experimental Research
2.1. DiscoverWelfare technology for the elderly is defined as technology
directly applied to social services that assist in daily life, including
caregiving, safety, protection, daily activities and mobility, andhealth management (Ahn et al. 2017). These technologies
aim to help in everyday life support, entertainment, social andemotional support, stimulation, and enhancing physical activity.
Despite the growing societal issue of an aging populationand caregiving for the elderly, the commercialization ofthese technologies faces limitations due to the difficulties ofintegrating digital devices into the daily lives of the elderly (Yooet al. 2022). Although previous research has indicated that theuse of technology has a positive impact on life satisfaction,
there is a growing gap in information access and utilization,
revealing that ease of use and accessibility are crucial (Hwanget al. 2020).

After researching and analyzing over 80 documents related toseniors, healthcare, caregiving appliances, and services, fromboth domestic and international government policy documents,
public and private research materials, and future predictions,
10 focus trend keywords in smart caregiving were extracted,
linked with megatrends, healthcare, and lifestyle issues.
Furthermore, by mapping analyses of domestic andinternational market case studies, strengths and weaknessesof existing products and services were identified. For example,
it was found that the feature of existing smart tables lies innaturally inducing participation and emotional and cognitive
healing through game elements. Directions for the developmentof caregiving welfare technology that can be actively utilized indaily life were established.

Figure 1: Trend keywords for smart care.

Figure 2: Mapping of smart home appliances and services.

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Design Beyond / Smart Display Development with Services and Supporting Tools to Tackle Elderly Care Problems

To determine the direction for the table and display design,
research was conducted on the physical and cognitive
characteristics of the elderly, furniture and appliancedesign, and CMF trends. For instance, age-related maculardegeneration, a representative visual disorder in the elderly,
causes perception degradation due to difficulty recognizing
blue hues (E. Kim and Kim 2020). From a cognitive perspective,
it is important to present visual materials with concise content,

as short-term and episodic memories weaken with age (S. Kim
2020). Based on this research, design considerations wereextracted in terms of perception, content, and understanding.
A 'Senior Experience Quality Assessment Indicator' wasproposed, categorizing the final 58 factors and measurement
methods to consider when designing products and services
for seniors into physical, design, and social-emotional (M. Kim
et al. 2022).

Category

Consideration Points

Perceptual

Font size and color- Age-related sight deterioration- Eye aging and macular degeneration

Perceptual

Present visual aid- Present consistent form

Content

Vocabulary level- Low vocabulary level (62.5% of the elderly in Korea have an education level below
elementary school, Ministry of Health Welfare 2014)

Content

Conciseness- Short attention spanComprehension

Show quantitative info
- Number interpretation is difficult

Comprehension categories

Present specific practical actions to prevent and mitigate- Clarify specific behavioral information

Table 1: Senior design considerations (Scube Design Lab and Korea Institute of Design Promotion 2022).

In order to understand seniors better and uncover opportunities
for caregiving services, we constructed a stakeholder map
around the smart tables. In-depth interviews and observations
were conducted for each target group. Stakeholder journeymaps were visualized for nursing caregivers, in-home carefamily members, and cognitive rehabilitation experts to identify
their caregiving pain points. We found not only experiential
knowledge about seniors but also valuable insights into thestakeholder value domains.

The biggest pain point for professional caregivers was the lackof customization in care programmes for seniors of different
abilities and temperaments, leading to reduced efficacy andengagement. For family caregivers, the challenges werechronic fatigue due to lack of sleep, boredom in daily routines
with seniors, and a lack of solutions. Home-visit caregivers
experienced dissatisfaction due to being treated similar todomestic helpers. Lastly, seniors themselves faced limitationsin activities and hesitated to express their needs due tofeelings of guilt.

Figure 3: Stakeholder map around the smart table for elderly care.

Design Beyond / Smart Display Development with Services and Supporting Tools to Tackle Elderly Care Problems

Page 672.2. Define
Based on the results from the Discover phase, interviews
were conducted with 13 seniors aged between 60 and 94.
The interview topics were designed around seniors' needs anddesires, focusing on hygiene, exercise, health, meals, sleep,
cleaning, entertainment, hobbies, and religious activities.
Responses were categorized based on personality traits,
behavior types, and physical and emotional states. These
insights, combined with literature analysis, allowed us to
identify nine senior types based on ADL (activities of dailyliving) and behavior patterns, ranging from 'disabled seniors'
who have low functional abilities and passive behavior to 'preaging seniors' who are active and preparing for a second life
after retirement.

Based on these senior types, the Mandala method, a designthinking tool, was employed to deduce the life values of eachsenior group. Also, 18 personas were developed considering
the user’s character, environment, stage-specific needs,
motivating factors, and preferred channels. Representative
stories were created for each persona.
Through interviews with actual users and stakeholders, weselected key scenarios to verify and type.
Subsequently, we synthesized the findings of the Define phaseto identify five strategic directions to help the elderly with selfcare.

Figure 4: Types of seniors.

Figure 5: Deriving senior life values based on Mandal art analysis.

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Design Beyond / Smart Display Development with Services and Supporting Tools to Tackle Elderly Care Problems

Figure 6: Example of senior persona.

Type
1. Disabled

Persona

Keywords

Need full assistance

Dependence on caregivers, Old-fashioned dramas, Visitation restrictions,
Walking aids

Financially struggling

Economic crisis, Basic pension for the elderly, Emergency, House chore support

Chronically ill

Chronic disease, Continuous care and management, Sensitive to health info, Diet
management

Want to be active at home

Willingness to overcome constraints, Physical limitations, Knowledge acquisition,
Smart technology friendly

Want to get outside

Willingness to overcome limitations, Physical limitations, Aspirations, Prosthetic
legs

Reliant on others

Trot (upbeat music), Lethargy, Dependence on others, Passive consumer

EmotionalPets, Depression, Emotional, Classical Music

Sense of self-efficacy

Housework, Extrovert, Leisure Activities, Socializing

Focus on home

Family, Active, Religious, Devoted

Pursue financial independence

Active, Extroverted, Health, Social

Pursue leisure activities

Housework, Extrovert, Leisure Activities, Socializing

Want to live without feeling lonely

Diligent, Active, Economic freedom, Wise with age

Want to live with good health

Lonely, Active, Financially Free, Wise with age

Have lost the meaning of life

Isolated, Depressed, Conflicted, Unwilling

IntrovertedPets, Depression, Emotional, Classical Music

Healthy but passive

Lonely, Passive, Free, Healthy

Enjoy consumption

Challenging, Proactive, Economic freedom, Active consumer

Want to stay relevant and popular

Challenging, Proactive, Economic freedom, Popularity

2. Help-me

3. Beyond

4. Slump

5. Basic

6. Proactive

7. Isolated

8. Conservative

9. Pre-Aging

Table 2: Senior persona and representative keywords.
Design Beyond / Smart Display Development with Services and Supporting Tools to Tackle Elderly Care Problems

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Category

Strategic Direction

Detail1Curing Play

Therapeutic protocol-based on gamification and physical activities

2

Healing Therapy

Emotional care content through emotional awareness

3

Life Data

Personalized management based on personal health data

4

Social Welfare

Collaborative services with stakeholders and outside institutions

5

Care Platform

Integrated care platform based on digital tech

Table 3: Strategic direction for senior self-care.

Figure 7: Co-creation design workshop.

2.3. Develop
To develop the care display table and content concept,
two collaborative workshops were held, involving over 20
stakeholders from manufacturing companies, UX/UI experts,
designers, welfare centers, and rehabilitation hospitals.
Product and service scenarios were used to ideate designconcepts, key features, and core technologies.
Theme

Eight themes that can be applied to different senior types were
presented, and a total of 18 solutions were proposed. These
solutions detailed the key features of the product and service,necessary technology specifications, and products that need
to be integrated.

Theme Details

Solution①Strengthening and correction exercises based on movement awareness➊ Therapeutic Play

Personalized prehab andrehab services to encourage
active physical activity④ Music therapy➋ Emotional Care

Restorative mindfulness forcalm emotions in depressed
and anxious elderly people⑦ Personalized user experience➌ Stronger Bonds

Chore support for seniors
with physical limitations
for a safe and pleasantenvironment➍ Deeper Daily

Boost activity andleisureliness of seniors in a
future-oriented way⑨ Home interiors using screen savers➎ Daily Care

Efficient daily management
support service to boost
convenience of active seniors⑪ Smart calendar service➏ A Second Life

Self-development growthpartners for retirement
readiness programmes
Boost emotional exchange
and social skills of seniors
who are conservative andisolated⑭ AI speaker➐ Good Company

Brighten perspective on life
through retrospection⑰ Time for retrospection➑ Life Complete② Brain-stimulating game
③ Physical age through pictures⑤ Art therapy⑥ Holistic art therapy game

⑧ Safety monitoring care services⑩ Personal virtual garden⑫ Daily care notification service⑬ Smart lifelong learning system⑮ Family communication support⑯ Community for the elderly⑱ Personal record-keeping service

Table 4: Identified themes and solutions.

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Design Beyond / Smart Display Development with Services and Supporting Tools to Tackle Elderly Care Problems

Figure 8: Examples of service concepts.

2.4. Deliver
In the Delivery phase, a comprehensive analysis of thecollected data was conducted to make design suggestions
for the elderly care smart table and key content. User testingand validation were carried out. The following offerings wereintended to be presented through the table and content, basedon deep learning and AI technology.
—
—
—
—
—

Health: physical and mental aging alleviation, personalized
prevention and treatment, emotional and mental care;Entertainment: IoT-based complex media display,interactive gaming, education, and personalization
services;
Monitoring: caregiver and communication, everyday caremanager;
Daily care: a physical space where everyday routines takeplace;
Communication: connect with others.

Considering the physical and cognitive characteristics andcapabilities of seniors, the products, display screens, andcontents were designed. For the content, key features foreach user were proposed to be included in a single content
service.
Six care facilities were supplied with the first developed
display products to validate the usability and applicability of
the content. Both in-person and remote expert evaluations
were conducted, using criteria such as aesthetics, usability,
expertise, comprehensibility, and marketability for the senior
care display appliances and content. To broaden the usabilityof the product and content, improvements were made todifferentiate content based on multiple and single users, andareas for improvement for integrated products were identified
to establish the direction for the final developed product.

Figure 9: User testing.

Figure 10: Expert evaluation.

Design Beyond / Smart Display Development with Services and Supporting Tools to Tackle Elderly Care Problems

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3. Results
Through this study, we proposed a plan for the development 3.2. Supporting Tools
of intelligent care smart tables, services, and compatible
Products compatible with the table were developed to make it
products.
easier for seniors to use the table and content. Smart wobbles
and grips have been developed and applied to content that
3.1. Smart Display Table
promotes physical activity, enabling seniors to measure and
The smart table, integrated with touch-based technology manage their lower body and overall balance, as well as grip
and a 42-inch touch monitor, was designed to be more strength. Furthermore, these integrated products collect healthuser-friendly for seniors. It features adjustable height, tilting data, providing care providers and medical professionals withmodes, and multi-touch functionalities. Seniors can tilt the health-related information about seniors.
table more than 90 degrees to draw digitally on the table's
surface. Additionally, an upright position and a built-in motion
detection camera are used to recognize seniors' movements,
enabling features ranging from gaming to data collection. The
multi-touch feature can recognize up to 10 simultaneous touch
inputs, allowing seniors to enjoy and interact with the content
collectively.

Figure 12: Supporting tools.

3.3. Service Contents
The flagship content developed through this study is a virtualfish tank featuring Care Fish. By displaying the fish tank on
the table, the design aims to make the smart display feel morefamiliar to seniors. The virtual fish can represent the user andthose around them. In essence, Care Fish serves as a mediatorconnecting seniors with technology and design. These virtualfish are designed to represent different personalities and havebeen certified, securing a trademark for Care Fish.

Figure 13: Service contents Care Fish (1).

Figure 11: Smart display table.

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Design Beyond / Smart Display Development with Services and Supporting Tools to Tackle Elderly Care Problems

Figure 14: Service contents ‘Care Fish’ (2).

4. Conclusion and Discussion
This study is the outcome of research aimed at developing
products and services based on smart technology for the selfcare of seniors. By applying various design research methods
targeted at seniors and stakeholders, we've employed Humancentred Design to address social issues arising from aging,using technologies like AI and deep-learning-based motion
recognition. This design study aims to provide solutions that
address the needs, desires, and pain points of both careproviders and receivers. We've also considered the specificelements of products and services that could encourage
active participation from seniors, presenting a display tableproduct and associated services.

The results of this study are designed for practicalimplementation in hospitals and long-term care facilities.
Through multiple user tests conducted in senior facilities,
we observed meaningful interactions between seniors andtechnology. Moving forward, the study intends to deeply
integrate the table, its content and compatible products
into the daily lives of seniors. To accomplish this, the study
suggests the need for further research to enhance and expand
integrated products and to design them in a way that seniors
can use them proactively and independently. (Capability
Enhancement Project 20015676).

Acknowledgement: We would like to express our sincere appreciation to the researchers affiliated with Korea Institute of
Design Promotion, Neofect, Scube Design Lab, and Blessing Eco Design for their invaluable contributions to this research.
Korea Institute of Design Promotion assumed a supervisory role, overseeing comprehensive research on product and service
development. Neofect took charge of core technological development. Scube Design Lab made significant contributions to thedevelopment of digital heath contents, and Blessing Eco Design played a pivotal role in the development of product.
Funding: This study was conducted with the support of the Korea Evaluation Institute of Industrial Technology, funded by the
Ministry of Trade, Industry and Energy (Project Identification Number: Korea Evaluation Institute of Industrial Technology Design
Innovation Capability Enhancement Project 20015676).
Design Beyond / Smart Display Development with Services and Supporting Tools to Tackle Elderly Care Problems

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Ahn, Sanghoon, Soowan Kim, and Jongyeon Park. 2017. “APreliminary Study on the Welfare Technology Ecosystem
Model Centered on Social Enterprises.” Social Value andBusiness Research 10 (2): 167–96. https://doi.org/10.32675/
ses.2017.10.2.006.

Kim, Minju, Yuwon Jeong, and Jaein Lee. 2022. “Developmentof Experience Quality Evaluation Index Related to
Display Products for Seniors.” Journal of the Ergonomics
Society of Korea 41 (6): 561–80. https://doi.org/10.5143/
JESK.2022.41.6.561.

Hwang, Namhui, Hyesoo Kim, Kyeongrae Kim, and Bohye Joo.
2020. “Older Adults and the Digital Divide: Current Conditions
and Policy Implications.” ISBN 9788968277672. Research@
KIHASA. Korea Institute for Health and Social Affairs. https://
repository.kihasa.re.kr/handle/201002/37360.

Kim, Soojin. 2020. “Mobile UX Design Tips for the Senior
Generation.” Digital Times. November 9, 2020. https://ditoday.
com/ux-tips/.

Scube Design Lab and Korea Institute of Design Promotion.
2022. “2022 UI/UX Guidelines for Senior Content
Kim, Eung-cheol, and Hoosung Kim. 2020. “A Color Application Development.” Korea Institute of Design Promotion.
Study of Teaching Aids Design to Prevent Dementia -Basedon the Change in Color Perception of the Elderly.” JOURNAL Statistics Korea. 2022. “Population Projections for
OF THE KOREAN SOCIETY DESIGN CULTURE 26 (1): 99–111. Provinces(2020~2050).”https://kostat.go.kr/board.
https://doi.org/10.18208/ksdc.2020.26.1.99.
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Kim, Kawon. 2021. “Self-Care: Paradigm Shift and Local
Community Responsibilities in Self and Aged Care.” Bokji Yoo, Byungseon, Jungkeun Kim, Jung, and Jooyeon Kim. 2022.
Times, March 24, 2021. https://www.bokjitimes.com/news/ “Current Status and Future Devekimlopment of the Application
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Integrating Intelligent Agentsand Service Design for 3H
Care: a Path to SDG 3 inSingapore

Authors:
Bo Gao1
Di Wang1
Robin Chan Chung Leung1
Zhiwei Zeng1
Benny Toh Hsiang Tan1
Yang Qiu

1

Huiguo Zhang1
Xinjia Yu

1

Jun Ji1
Bo Huang1
Eng Sing Lee2

Institutions:1
Joint NTU-UBC ResearchCentre of Excellence inActive Living for the Elderly(LILY) Nanyang Technological
University (Singapore)
National Healthcare Group
Polyclinics (Singapore)2

Tan Tock Seng Hospital(Singapore)3

Woodlands Health,National Healthcare Group(Singapore)4

Hui Hwang Teong3
Ray Tian Rui Lai3
Wai Han Hoi4
Chunyan Miao1

Abstract
This paper presents the development of the AI-assisted 3H
Care (A3C) System, an integration of intelligent agents andservice design methodologies aimed at enhancing primarycare regarding hyperglycemia (diabetes), hyperlipidemia, andhypertension (collectively known as 3H), promoting healthy
lifestyles, and contributing to the achievement of Sustainable
Development Goal 3 (SDG 3) - ensuring healthy lives andpromoting well-being for all in Singapore. While artificial
intelligence (AI) has the potential to address both group andindividual needs in healthcare, achieving Human-centred
Technology requires a fusion of design and technology
through interdisciplinary collaboration.
This paper discusses the methodological approach anddesign process employed in the development of A3C,
incorporating intelligent agents and service design principles.
Through prototyping and testing with 30 adults, the usability
and effectiveness of the integration of Intelligent Agents andService Design framework were asserted. Moreover, thisstudy serves as an exemplar of interdisciplinary collaborationin the design of health-related AI-driven solutions, prompting areflective analysis of the role and impact of design within thiscontext.
Keywords: Chronic diseases, intelligent agents, service
design, SDG 3

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Background
Singapore, situated in the tropical region, is characterized by afast-paced lifestyle and a diet high in calories among different
populations (Mair et al. 2023). These factors contribute tohyperglycemia, hypertension, and hyperlipidemia, collectively
known as the three chronic conditions (3H), which are among
the primary reasons for visits to polyclinics in Singapore (MOH2019). In 2021, approximately 6.9% of Singapore residents
aged 18 to 74 had diabetes mellitus, 15.7% had hypertension(high blood pressure), and 13.9% had hyperlipidemia (highblood cholesterol), all of whom were currently prescribed
medication (Ministry of Health, Singapore 2021). Furthermore,
the rates of obesity and metabolic disorders, including prediabetes, have been increasing (Lee et al. 2023). A forecast
study projected that by 2035, the prevalence of prediabetes
and diabetes among Singapore residents aged 21+ years is
expected to be one in four and one in five, respectively (Wong,Toh, and Tham 2017). Failure to manage these 3H chronic
conditions can result in long-term diseases with significant
costs and detrimental effects on the patients’ quality of life
(Pengpid and Peltzer 2018).
Prior studies have highlighted the importance of early detection
and intervention for 3H conditions. However, effectively
addressing these 3H issues pose three main challenges: early
detection of 3H conditions may not be feasible (Grant and Meigs
2006), interventions for 3H conditions may not be individually
optimized (Roach and Marrero 2005), and preventing 3H
conditions outside clinical settings is challenging.
Existing intervention methods often rely on the limited
information obtained from doctor-patient communication
during consultations. The efficacy of these interventions iscontingent upon patients’ self-management after leaving
the hospital. Nevertheless, public health, particularly in thecontext of preventive care, heavily depends on primarycare that extends beyond hospitals, encompassing primarycare facilities, family environments, and community healthcentres (Ofori and Unachukwu 2014). Hence, how to support
primary care teams to stop or slow disease progression
and complication development in 3H patients is an urgent
challenge.

Singapore’s commitment to the Sustainable Development
Goals (SDGs) is evident through its adoption of a Whole-ofGovernment approach. SDG 3, a pivotal component of theSDGs, emphasizes ensuring healthy lives and promoting wellbeing for individuals of all ages. To further this agenda, theMinistry of Health (MOH) of Singapore has introduced the
Healthier SG programme (Foo et al. 2023), which calls forcollaboration to nurture an ecosystem from a diverse rangeof stakeholders, including general practitioners, community
partners, healthcare clusters, employers, and residents. MOH
takes an integrated approach by overseeing acute care, publichealth, and aged care within a unified framework, reinforcing
the country’s dedication to enhancing the overall health andwell-being (Foo et al. 2023).
In Singapore, several mobile apps have been developed tofacilitate healthy lifestyle changes. For example, the Health
Promotion Board of Singapore has launched the ‘Healthy365’ mobile application, which integrates with fitness tracking
devices to enable users to log their daily step count and active
exercise duration. Another mobile application, ‘Health Buddy’,
developed by SingHealth, assists the public in managing clinic
visits and accessing health information and support services.
However, due to the absence of integrated solutions, users
often need to use multiple apps concurrently to meet theirfunctional requirements. Single app solutions which may limit
its effectiveness in addressing more complex health issues,
such as 3H chronic conditions (Evans 2017).
There remains a relative lack of holistic, integrated, all-in-one
system that provides professional healthcare support for 3H
conditions in Singapore. The system could encompass early
detection capabilities and cater to a wider range of age groups.
In the following sections, we present the method and design
process employed in the development of the Adaptive AIassisted 3H Care (A3C) system. Subsequently, we show theA3C care system framework and the Holistic Service System(HSS), comprised of Human-AI Interaction (HAI) touchpoints,
showcasing a number of implemented functionalities. Finally,
we delve into our preliminary study findings and present user
feedback, concluding this research paper.

Method and Design Process
While artificial intelligence (AI) has the potential to address
both group and individual needs in healthcare, achieving
Human-centred Technology requires a fusion of design andtechnology through seamless incorporation. In this paper, we
examine the collaboration between Human-AI interaction andthe Human-centered AI ecosystem through the application of
the service design methodology in developing the A3C system.

1. Method
Incorporating Human and HAI
We adopted a multidisciplinary approach to develop the
A3C system. Experts from diverse fields, including computerscience, service design, sociology, and medicine, collaborated
closely to ensure a comprehensive and holistic goal ofproviding effective 3H care. To gain a profound understandingof the experiences, motivations, and barriers faced by adults

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in managing their health, qualitative evaluation methods
were employed. These methods encompassed focus groupinterviews, surveys, and observations. The focus group involved
11 participants, representing diverse ethnic backgrounds in
Singapore and spanning ages from 20 to 75 (mean is 47.5).
This diverse representation covered individuals from young,middle-aged, and elderly demographics, and closely resembling
Singapore’s population distribution of 76.2% Chinese, 15%
Malay, 7.4% Indian, 1.4% from other ethnic backgrounds (Anget al. 2017). The focus group sessions, comprising four offline
semi-structured interviews and online surveys through Google
Forms, facilitated close collaboration between the end-users
and the research team. The semi-structured interviews aimed
to investigate participants’ attitudes towards lifestyle, healthrelated needs, and the challenges of adopting a healthierlifestyle. Each interview lasted approximately one hour. Then,
we analyzed the observations and coded the narratives from

Design Beyond / Integrating Intelligent Agents and Service Design for 3H Care: a Path to SDG 3 in Singapore

interview transcriptions and audio recordings. The analysis 2. A3C Care System Framework
led to the following three key findings in barriers of end-users
We developed the A3C care system framework (Figure 1),
managing their health:seamlessly integrating intelligent agents and service design
while capitalizing on their respective strengths. The system
1) Challenges in assessing dietary nutrition;
comprises four layers, progressing from the bottom up,2) Limited health knowledge; and
3) Low confidence in behaviour change. These findings including the user needs layer, data layer, intelligent agent
informed the subsequent stages of our research and layer, and persuasive user layer.
design processes.

The user needs layer serves as the foundation of the A3C
care system and is achieved through the incorporation ofboth human and HAI input, thereby establishing the basis for
specific AI applications in subsequent stages. The user needs
layer is dedicated to comprehending user requirements, whichhave been identified from focus group participants and isused to design initial prototypes. The user needs layer needs
encompass challenges related to evaluating dietary nutrition,
limited health knowledge, and low confidence in adopting
healthy behaviors.

In parallel to these findings, the HAI ecosystem wasconceptualized to revolutionize healthcare delivery. Thisecosystem comprises several key components designed
to enhance the healthcare experience. These components
include Persuasive AI, which influences user behaviour
through persuasive techniques (Dragoni et al., 2020), Curious
AI, recommending medical solutions based on individual
healthcare specifics (Esmaeilzadeh, 2020), Explainable AI,
enabling healthcare professionals to comprehend AI models’reasoning (Yang 2022), and Ethical AI, addressing ethicalWe hypothesized that the Data Management Subsystem
implications in healthcare (Yu et al. 2018).
(DMS) in the data layer serves as the backend database API,
Therefore, human and HAI constitute a comprehensive incorporating the Health Knowledge Base and User Behavior
approach. AI allows the real-time analysis of behavioral data & Health Data.

generated by focus groups when they use the prototypes andThen, we build the model to establish the AI Subsystemfacilitating rapid iterations of the prototype.
(AIS) in the intelligent agent layer as the third layer. This AIS
includes Explainable AI and Curious AI, with components
Incorporating Intelligent Agents and Service Design
such as the Assessment Engine Subsystem and Intervention
Intelligent agents are a key component of AI systems, enabling Engine Subsystem. The Assessment Engine encompasses
the synthesis and analysis of computational agents that act Health Profiling and Behavior Prediction Algorithms, while theintelligently. The Intelligent agents are software that can Intervention Engine consists of group-based and individualinteract with humans using Artificial intelligence techniques. based Intervention Algorithms.
Intelligent agents have played a vital role in providing highquality care by gathering patient data (Wang et al. 2014) and
improving user experiences (Sharma and Ahlawat 2022). The
introduction of Intelligent agents requires a service design
approach to ensure consistency and comprehensivenessthroughout the service process. Human-centred service design
approach is instrumental in harnessing technology’s potential
to advance healthcare systems toward people-centred care
(Zeng et al. 2016). Various service design methodologies,
such as “empathy design”(Gao and Shen 2019), “codesign”(Akama and Prendiville 2013) , “participatory design”(Oertzen et al. 2022), and “EBCD (experience-based codesign) (Piper et al. 2012) have been developed to incorporate
user process experiences and demands into the scope ofdesign considerations. These methodologies promote thedevelopment of more comprehensive health and medical
services (Mannonen et al., 2017) and deliver the socialized andpersonalized healthcare models.

Finally, the system utilizes the AI Subsystem (AIS) to gain
insights into user behaviour, resulting in the construction of
the top layer known as the Holistic Service System (HSS),
established upon what we term “HAI touchpoints.” The HSS
comprises the Akeso mobile App, the hospital dashboard,and the Health Screening Kiosk (introduced in the following
sub-section). Within this layer, Persuasive AI is harnessed toencourage users, while Ethical AI is employed to promote
inclusivity for a broader user base, facilitating personalizedchanges in health behaviour.
In the ultimate stage of the process, the A3C system capturescomprehensive daily behavioral data and detailed diet intake
history through the HSS, storing this valuable information
at the backend. These datasets are further enriched withclinical data to train health prediction models within the DataManagement Subsystem (DMS) specifically designed for 3H
assessments. This comprehensive approach ensures thatuser-generated data, clinical data, and AI insights work intandem to provide holistic health assessments for users.

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Figure 1: The framework of Adaptive AI-Assisted 3H Care (A3C) system.

3. The Holistic Service System
The Holistic Service System (HSS) (Figure 2) is composedof HAI touchpoints that align with the dynamic user journeyin the non-clinical setting. The HSS includes the Akeso
mobile app and the Health Screening Kiosk for end-users,
while the hospital dashboard is intended for use by medical
professionals.
We refer to the integration of different AI and service design
touchpoints as ‘HAI touchpoints’. Intelligent agents areseamlessly integrated into the dynamic user journey throughAI-driven touchpoints, interacting with users to track changes
in user behaviour and adapt the intervention accordingly, allwhile aligning with individual preferences. This integrationencompasses providing personalized food analysis, issuing
warnings, delivering encouragement messages, andtransmitting data to the hospital dashboard for doctors’reference.
There are five tabs in the Akeso mobile app, including Today
tab, Akeso tab, Game tab, History tab and Schedule tab.
Today tab matched with the direction and specific designcontent of ‘encouraging self-monitoring’, is to collect daily
data on diet, activities, and health-related measurements.
Akeso tab matched with the direction and specific designcontent of ‘providing personalized recommendations’, is to put
the positive affect to the users. Game tab is a farm-themedvirtual game matched with the direction and specific design
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content of “using social influence”. This tab translates users’
daily performance on achieving recommended lifestyle goals(exercise time) into elements of a farm game. Users canalso leave messages and send comments in the farm game,fostering a sense of community. This game is specificallydesigned to provide group-based adaptive, long-term
interventions through gamification. History tab matched withthe direction and specific design content of ‘setting clear
goals and providing feedback’, is to visualize user’s historicalperformance in terms of activity tracking, health- related
measurements, achievements, etc. Schedule tab is to showuser’s daily tasks (with complete or incomplete status) andreminders.
The Health Screening Kiosk, available in multiple community
centres, provides a user-friendly option for individuals toperform self-assessments, including measurements likeblood pressure, blood glucose, and weight. This is especiallybeneficial for users who do not have measuring equipment
at home. Participants are expected to interact with the kiosk
through (i) answering health-related questions, (ii) completing
five health quiz questions, and (iii) measuring health parameters(e.g. blood pressure). The kiosk also provides relevant healthtips based on user’s health status and interactions with thekiosk. Users are invited to interact with the kiosk minimallyonce a week, with an estimation of ten to twenty minutes perinteraction.

Design Beyond / Integrating Intelligent Agents and Service Design for 3H Care: a Path to SDG 3 in Singapore

Figure 2: The Holistic Service System.

The HAI touchpoints

Figure 3: The AI-assisted food recognition and digit recognition in the app.

The HAI touchpoints integrate AI-assisted recognition into
users’ daily activities. The Akeso app features an AI-assisted
food recognition function. We have collected and labelled over
130,000 images of local Singaporean food. Users can takephotoes of their meals and upload them to the Akeso app forautomatic recognition. The AI Subsystem (AIS) utilizes dietrecommendations based on food categorization, including
meat and other proteins, fruits and vegetables, whole grainsstaple goods, while adhering to the Health Promotion Board’s
recommendation. The Akeso app will send a food analysis
graph to the users based on yesterday’s diet and provide
personalized advice by assessing their diet’s nutritional
content.

Digit recognition is used in the Measurement tab, users canupload the readings from 3H related health measurement
devices, including blood pressure monitor, weight scale,
oximeter, etc. We have collected and labelled 20k+
measurement reading images to train this digit recognition AI
model.
Food and digit recognition (Figure 3) simplifies the processof assessing diet nutrition and recording measurements,
minimal manual inputs, make the Akeso app easy to use by alarge population, especially the elder group. These simplified
repetitive actions can easily transform to users’ daily habits,
fostering self-monitoring and the formation of healthy habits.

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Figure 4: Akeso persuades users in App and Health Screening Kiosk.

Virtual Health CoachResearch from the focus groups shows that users tend
to prefer interacting with a 'talking face' rather than a textonly interface. Intelligent agents need human likeness, selfrepresentation, and personality to deliver a positive effectto the users (Nicenboim et al. 2020). This perception ofcommunicating with a 'person' instead of a system fosters
higher levels of trust and believability. We designed intelligent
agent as the virtual health coach, a personified avatar named
Akeso. The name of Akeso is taken from the name of one of
the goddesses in Ancient Greece who is in charge of healing
and curing.

Usability and Inclusivity for Users
The HSS prioritizes usability and inclusivity through smartphoneand self-assessment kiosk solutions, ensuring inclusivity forusers with varying preferences and technological literacy
levels.
1) User-friendly guidance: To accommodate both novice
and elderly users, tutorials and HELP content have been
integrated into the Game tab. These resources enable
users to learn how to use the system independently.

2) Convenient self-assessment: Users can simply scan a
QR code generated by the app on the kiosk, which grants
The virtual health coach further enhances the touchpoints by them access to their personal account. Data collected
offering personalized interactions, reminders, and cues.
at the kiosk is automatically uploaded to the service
system for analysis, facilitating interaction with the app.
The system utilizes Akeso, the virtual health coach, to persuade
users by delivering personalized interactions, reminders, 3) Inclusive design: The kiosk interface has been designed withand encouragement at touchpoints, thereby adjusting and inclusivity to ensure convenience and safety for users who maysustaining users' health behaviours, such as:
require seating (Figure 5), such as individuals in wheelchairsor the elderly. The interface buttons are positioned for ease(1) Help the users keep the health goals in mind:of use, and specific guidelines have been established for the
Akeso sends notifications to users to remind them to upload placement and angles of seating with the kiosk.
food data at 8:00, 12:00, 18:00 every day.
(2) Encourage users engagement through personalizedrecommendations:Akeso has the capability to proactively send customized
warnings and suggestions to users. These recommendations
are formulated based on personalized insights and reminders
provided by the individual-based intervention algorithms,
which are seamlessly integrated into the chatbot with theconversational agents.
(3) Value the users’ contribution:
When users upload their behaviour data and health data in
the app and Health Screening Kiosk, Akeso promptly provides
feedback (Figure 4). The feedback is based on the National
Physical Activity Guidelines outlined by the Health Promotion
Board. By adopting this approach, Akeso not only provides
valuable user feedback but also enhances users' healthknowledge.

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Findings and Users’ Feedback

This paper only presents the results of prototype testing
conducted on young adults aged 20 to 35, who are a criticaldemographic for pre-diabetes. Ethics approval of the study
was obtained from Nanyang Technological University’s
IRBCO Administrative Review (Ref: IRB-2022-032). In total, 30
participants used the Akeso app for one month and completed
questionnaires assessing their satisfaction, and the app’s
impact on their lifestyle, psychosocial aspects, and physicalactivity. The average System Usability Scale score of 70.2
indicated above-average usability. Participants reported thatthey changed their diet, improved health awareness, increased
physical activity, and weight loss. They appreciated the app’s
features such as tips and food recognition and found thesuggestions helpful for learning health knowledge. The app
effectively increased the well-being awareness, even among
participants who are still in good health.

Design Beyond / Integrating Intelligent Agents and Service Design for 3H Care: a Path to SDG 3 in Singapore

Figure 5: The holistic service system prioritizes usability and inclusivity through smartphone and Health Screening Kiosk.

Conclusion
The AI-Assisted 3H Care (A3C) System integrates intelligent
agents and service design principles to enhance primarycare and promote healthy lifestyles. The interdisciplinary
collaboration in its development highlights the role of designin creating effective AI-driven solutions for health. The
positive user feedback and impact observed among young
adults through the prototype testing supporting the potential
scalability and applicability of A3C in other countries withsimilar healthcare challenges.

The pursuit of Sustainable Development Goal 3 (SDG 3),
which aims to ensure healthy lives and promote well-being for
all at all ages in Singapore, represents a visionary goal. It not
only necessitates innovative design but also requires diligent
and practical execution. We will revolve around the fusion ofhuman and human-AI collaboration, as well as the integrationof intelligent agents within the service design in the next step.

Acknowledgements: This research is supported, in part, by the National Research Foundation (Singapore) under its AI Singapore
Programme (AISG Award No: AISG-GC-2019-003). Any opinions, findings and conclusions or recommendations expressed inthis material are those of the authors and do not reflect the views of National Research Foundation (Singapore).

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Outer Space Technology:
Harnessing its Potential for
Sustainable Life on Earth
Through Human-centred,
Service, Policy, and ProductInnovation

Author:Abigail Hoover1, 2Institutions:
1
Royal College of Art, Facultyof Design (United Kingdom)
Imperial College London,
Faculty of Engineering(United Kingdom)

2

Abstract
This paper explores the collaborative potential of outerspace technology and Human-centred Design (HCD) toadvance sustainability on Earth in alignment with United
Nations Sustainable Development Goals (UN SDGs). HCD
methodologies can support space missions for inclusivity andenvironmental responsibility promoting economic growth andreducing consequences of overconsumption in Space 2.0,
notably in space debris and resource usage. HCD’s perceptionin space will be discussed in context of a research study
conducted by Imperial College London and the Royal Collegeof Art. Furthermore, this paper examines case studiesCanadian Northern SPIRIT satellite mission and World Design
Organization’s ‘Design in Space for Life on Earth’ challenge
discussing the HCD benefits in internal dynamics, problem
isolation, and risk mitigation. The paper asserts that designers
act as crucial links between scientific progress and usercentric applications, asserting their pivotal role in realizing UN
SDGs.
Keywords: Human-centred Design, Space 2.0, Design,
Engineering, United Nations Sustainable Development Goals(UN SDGs)

Design Beyond / Outer Space Technology: Harnessing its Potential for Sustainable Life on Earth Through Human-centred, Service, Policy, and Product Innovation

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1. Introduction
Outer space technology and design are crucial for advancing
sustainability and improving life on Earth, contributing tovarious United Nations Sustainable Development Goals(UN SDGs). Space assets and technologies can be used tosupport most, if not all, the SDGs, even if the role of space
is not specifically acknowledged. For the 2030 Agenda for
Sustainable Development to be successful, the use of space
services shall become the norm (European Global Navigation
Satellite System and Copernicus 2018). The United Nations
Office for Outer Space Affairs’ (UNOOSA) Space Solutions
Compendium (SSC) has collected information supporting each
SDG, their corresponding targets and how space resources,
applications, and tools play essential roles in their monitoringor fulfillment. Each of these complex problems involves
multiple unique user segments defined by location, language,age, beliefs, and values.
Traditionally, these missions and systems have been designed
and applied by the scientific and engineering community.
However, as the space industry progresses through largescale economic and systemic growth, individuals outsidethese fields are facilitating new perspectives and responses
to the utilization of space-based technology.
This is of particular interest to human-centered design (HCD).
In this paper, design is defined as the generation of products
and services from user or human-first design perspective. It
will include the services provided by industrial, experience(UX), product, and system HCD subfields. Designers havethe potential to bring new perspectives to aerospace throughoffering strengths in holistic thinking and problem-solving
for complex problems such as the UN SDG targets. The
inclusion of design thinking in mission creation, development,
and operations creates stronger applications for users,
broader public engagement, understanding of technology,
and strategies to tackle the overuse, misuse, and pollution ofcritical space environments and infrastructure.

Current space practices and actions are creating large-scale
implications for both the continuation of space exploration
as well as the fundamental infrastructure and technology
currently supporting the planet. The proliferation of spacedebris and the overutilization of critical space resources suchas orbits, highlight the urgent need for sustainable practices
in space activities. Design's capacity to facilitate strong policy
and behavioural changes through habits and habitats will be
critical in creating positive environmental and social practicein the industry.
This paper will examine keyways in which designers haveenhanced the space industry’s contribution to sustainability.
Firstly, it will provide an overview towards general space
infrastructure and emerging challenges that are arising fromlarge scale economic shifts. It will highlight designs perception
within the space industry gathered from an Imperial College
London and Royal College of Art research study. Finally,
key case studies will be examined and discussed in thecontext of the above-stated parameters. These include theCanadian AlbertaSat student satellite mission dedicated toforwarding Northern Canadian cultures, and the benefitsof international transdisciplinary collaboration in the World
Design Organization's (WDO) ‘Design in Space for Life on
Earth’ Design Challenge.
By embracing design principles in space missions andprojects, designers can contribute to the realisation of the
UN SDGs. Their unique skill set allows them to bridge the gap
between complex scientific advancements and user-centric
applications. Designers can help shape a more sustainable,
inclusive, and socially conscious space industry that benefits
humanity through collaboration with scientists, engineers,
policymakers, and local communities.

2. Space’s Contribution to Sustainability and Emerging Industry Trends
Space resources have provided critical infrastructure toadvance sustainable developments and monitorization for
Earth. Produced mission outcomes have evolved understandingin land and ocean health; global access to communications;and evolving advancements in medicine. However, current
space practices in mission design, mission management, andminimal policy have created large-scale negative implications
for the continuation of space exploration and technology
currently supporting the planet.

the 169 targets associated, 65 (almost 40 per cent) directly
benefit from using the EGNSS and Copernicus services.”(European Global Navigation Satellite System and Copernicus
2018)

These endeavours have facilitated critical infrastructure
required to sustain life on Earth. Furthermore, space agencies
continuously update and share open-source documentation of
the hundreds of projects and missions that play vital roles in
the pursuits of not only environmental sustainability but key
Scheduled to be retired in 2030, the International Space contributions to social and economic development.
Station’s Benefits for Humanity 2022 highlights thediversification of benefits stemming from microgravity In conjunction, the space industry is now entering an exciting
research towards society, science, exploration, the economy, era of innovation and accessibility known as Space 2.0. Thisas well as future technologies for the exploration of the Moon paradigm shift, driven by a younger generation and new
and Mars (National Aeronautics and Space Administration technological, cultural, and economic realities, has reduced2022). The ‘European Global Navigation Satellite System and costs and expanded opportunities beyond traditional scientific
Copernicus: Supporting the Sustainable Development Goals and engineering domains (Madry 2019). Launches to orbit arebecoming cheaper, and more frequent (Harris 1986). The space
analysis’ shows:
sector has experienced massive growth in investment activity,“Shows that all the SDGs are positively impacted by the benefits with a total annual investment growing of more than $10 billion
stemming from the use of European Global Navigation Satellite from 2012 to 2021 (Bland et al. 2022). Finally, Lunar/Martian
Systems (EGNSS) and Copernicus applications and, out of space exploration will continue to develop human space

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Design Beyond / Outer Space Technology: Harnessing its Potential for Sustainable Life on Earth Through Human-centred, Service, Policy, and Product Innovation

flight technology and life beyond Earth’s atmosphere. This is enough for us to track (“ARES | Orbital Debris Program Office”
creating new demands for business and design expertise as n.d.). This is expected to grow exponentially as launches
increase and more space object collisions occur. New sectors
stated by McKinsey & Company:
such as space traffic control and collision diversion are realities“Given the rapid growth in funding, which has accelerated for space-based activities. Space law, policy and governanceinnovation and led to more competition, winning business are also becoming a paramount discussion for countries andstrategies are also changing fast. Players looking to build or companies as new standards are developed to ensure safety,
maintain market leadership in the space sector may benefit efficiency, and protection of the space environment and thefrom embracing a disruptor’s mindset—identifying creative resources it provides.
ways to access and deploy capital while delivering value
to core customers by staying ahead of the curve on both For designers, Space 2.0 offers a wealth of possibilities
capabilities and business models. This mindset will become to explore, refine, and protect space technologies while
even more important as macro conditions shift and investors connecting services to a larger user base. Designers develop
concepts and solutions that seek to optimise function,raise the bar for deploying capital into higher-risk ventures.”production, value, and appearance simultaneously and(Bland et al. 2022)
synergistically (Burns et al. 2006). The question can be raised:
As accessibility, production of technology, and frequency are space efforts really reaching diverse communities in anof launches increase, there is now an overconsumption and environmental, cultural, social, and economically viable way?
utilisation of space (United Nation’s Office for Outer Space The inclusion of design in space is an emerging industry that
Affairs 2022). UNOOSA have stated space debris is a global will create new desirable and aspirational solutions, disrupting
concern threatening our continued use of near-Earth space current practices and enabling more individuals to access theactivity. There have been less than 6500 successful rocket benefits the industry provides.
launches globally yet 25 000 space debris objects large

3. Human Centred Design’s Perception in Aerospace
Conducted under Imperial College London and the Royal
College of Art, the goal of this study was to investigate andanalyse the perception of HCD in the space sector and its
envisioned role in addressing trends and challenges presentedby Space 2.0.

3.1 Methodology
Seven interviews were conducted with space experts, focusing
on the following topics:

Participant
Number

Discipline

Located Country

1

Military & Policy

United Kingdom

2

Business - CEO Startup

USA

3

Research & Academia

CanadaIdentifying emerging trends and advancements in design
methodologies that could enhance space products,
services, and systems.

4

Business - CEO Startup

Canada—Understanding the framework, restraints, and scope ofspace user design endeavours.

—

Gaining cultural insights into how various agencies
and countries envision changes in this ecosystem astechnology and policy develop.

5

Law & Policy

Japan

6

Service Design

Spain

—

Isolating how design parameters differ from conventional
considerations for products and services on Earth.

7

Architecture and Project
USA
Design—Experts were selected based on their experience of more than
three years in space-related disciplines such as space policy,
law, design, business (company management), academia or ifthey had practical experience in real or analog space missions.
To meet programme requirements, experts needed to beresidents of Canada, Japan, the United States of America
or participating in the European Space Agency. English
proficiency was a prerequisite due to the unavailability oflanguage translation services. Table 1 illustrates the dispersion
of expert locations and disciplines.

Table 1: Expert interviewees locations and associated disciplines.

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3.2 Generated Insights
Interviews were time-limited to 60 minutes and subsequently
transcribed from audio recordings. The discussions covered a
range of topics, addressing notable concerns such as spacedebris and the absence of clear policies and governance.
A significant discussion point was the concept of dual use
products and services utilized for both military and scientificpurposes. More specifically the implications of nationalistic
Insight Numbera.

b.

agendas in contrast to private commercialism. Despite
frequent mentions of potential violence in space, there was acontrasting emphasis on the increasing interest in engaging
diverse communities through various open-source platforms
and educational tools. Table 2 highlights key insights from thestudy, with an asterisk (*) denoting insights specifically related
to HCD.

Title

Description

Policy and GovernanceSpace will remain a location of little policy, law and governance. Currently it
is a balance of peace consensus between countries. There are few regulating
factors nor do space experts expect new ‘rules’ to be evolved and put in place.
Many experts believe regulation won’t occur until large disasters or attempts ofaggression occur.

‘Dual Use’ Government
versus Military versus
PublicMany space products and resources are simultaneously used for government,
military, and public purposes. This will not change in the near future. Government
projects still hold high due diligence, carrying longer project time frames,
and dictate many space-based activities. Although the agile private sector ischallenging this operational method, collaboration with large scale government
agencies is still required.

c.

Space ViolenceSpace agencies are creating strong ties to space superpowers of China andUSA. Many believe there will be acts of aggression in the future.

d.

General and Public
Education

There is a large gap between the general public and resources produced by theouter space industry. This results in small pockets of knowledge making large
scale decisions towards the utilisation of space.

e.

Environmental
Sustainability

The protection of the outer space environment is of serious concern. The
overutilization and misuse of space environments and orbits will have serious
consequences for near-future space activities and the emergence of new spaceindustries in traffic control and debris regulation.

f.

A need for human first
focus*As new parties and competition enter space there is an increasing demand forskill diversification. This is focused on understanding end user, internal strategic
management, economic and commercial viability, and the standardisation andsharing of practices and resources across domains.

g.

Although there is a larger demand for these business/design approaches,
entering human centred designers face high barriers of technical and scientific
Upfront barriers inknowledge needed to effectively contribute to space products, services, andtechnical understanding
offerings. This is due to isolated pockets of knowledge developed in individualand mission dynamics*
space missions, lack of practice and content sharing across space missions due
to privacy, and the long duration of current space projects.

h.

Perception of HumanCentred Design*

Design holds many titles in aerospace that refer to engineering roles. Aerospaceexperts do not associate ‘design’ with human-centred intervention or userinteractions.

Table 2: Condensed insights gathered from interview series. * Denotes insights related to HCD.

3.3 Discussion
Three key themes emerged regarding the influence of human- typically neglecting the individual interacting with the product.
centred design within the space industry. These themes were The changing landscape, with increased commercial interests,
emphasizes the necessity to re-evaluate business models andnearly unanimous among the experts:
consider end-user interactions.
1. higher need for end-user focus;
3.3.2 Clarification and definition of human-centred design &2. clarification and definition of human-centred design; andneed for technical expertise
3. tangible validation of human-centred design in space.
3.3.1 Higher need for end-user focus

There is a consensus on the need for a clearer definition of
HCD and its associated benefits within the space industry.
In the competitive and commercial space markets, there is a Despite recognizing the need for a user-focused approach,growing demand for designers with a strong focus on end- many experts indicated that engineers and scientists stillusers. This contrasts with original space user targets where predominantly manage corresponding project aspects.
a user is perceived as a company, organisation, or university,
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Many space missions’ objectives are still set by extremely
small user groups, research questions, or niched scientificgoals. Commercial or broader applications of space missions
fall out of scope or are not considered until later stages of
product design. While design thinking offers strengths invisualization, unique idea generation, and creating stronger
comprehensibility within products, experts noted a lackof belief in its potential within space missions due to thedemanding, rigorous, and highly technical environment.

results may manifest through intangible creative touchpoints,
correction of biases, or facilitation of strong communication(Mars and Kohlstedt 2020). To bridge the gap between design
and the space industry, experts felt designers needed topresent a strong understanding in current industry practices,terminology alongside previous case studies in direct
improvements made by design efforts.

3.4 Future Steps

This study stands as a preliminary analysis into the various
barriers faced by designers when entering the space industry.
To maximize design impacts, efforts should be made towards
stronger quantification of benefits in science, technology,
engineering, and math (STEM) projects to develop trust;clearer design positions mapped within space projects; and3.3.3 Tangigle validation of human-centred design in space the encouragement of user-focused design intervention at theinitial stages of project planning.
and associated challenges
This is further enhanced by the challenges faced whendefining the differences between design subfields such as
product, industrial, service or experience design. Space
experts needed to know where and quantified results design
would bring to their projects.

The experts highlighted a strong need for tangible validationand promised results of design within the space sector.
Validating design practice benefits is notoriously difficult as

4. Supporting Case Studies
Section 4 will discuss two case studies of space missions/projects driven by sustainable initiatives. Each study will
highlight its benefits towards UN SDGs and the impacts design
thinking had within internal management and project outcome.
Finally, it will highlight the limitations faced by designers
in respect to the isolated design parameters discussed in
Section 3.3.

The inclusion of humanity-specializing students provided
new best practices increasing public awareness, stakeholder
engagement, funding and speaking opportunities as well
improved internal team efficiency, trust, progress tracking,workflows, and communication.

The Northern Space Program for Innovative Researchand Integrated Training (Northern SPIRIT) is a Canadian
initiative focused on the design, build, test, and operation of
three CubeSats in Low Earth Orbit. In collaboration with theCanadian Space Agency’s (CSA) Canadian CubeSat Project(CCP), Northern SPIRIT includes Yukon University, Aurora
College, and the University of Alberta (UofA). Launched in
March 2023, the constellation is dedicated to sustainable
technological development and education across Canada.
Its objectives are fostering student-led innovation, amplifying
Northern Canadian voices, creating and developing opensource technology, and engaging in multispectral imaging of
Canadian wildfires.

In the final two years, project management comprised oftwo senior students specializing in electrical engineering,and human-centered industrial design. This interdisciplinary
leadership facilitated integration of technical expertise andhuman-centric design principles throughout mission activities.
The collaboration across design, engineering, and businessbackgrounds facilitated a systemic design approach reducing
risk from turbulent student schedules, stress, and high member
turnover. Students worked collaboratively combining skillsets,
creating effective human-based research and resulting
project changes. Examples can be seen in incorporating
terminologies from sources such as the IDEO Design Kit,
business model mapping, and consistent in-person workshops
to gather and incorporate feedback. Numerous user studies
were also conducted, focusing on member onboarding,conflict resolution, student health, and equality, inclusivity, anddiversity.

The University of Alberta AlbertaSat student team was
responsible for the construction of all satellite bus structuresand payloads of the Ex-Alta 2 satellite. The seven-year project
exemplifies the nuanced advantages of design thinking inspace missions. Beyond imparting students with handson experience in spacecraft design and construction, theinitiative introduces crucial skillsets encompassing project
and knowledge management, research and development
protocols, and interdisciplinary design (Hoover and Ganley2021).

The impacts of design in this context may not always betangible, requiring years of trial and error to understand how
design strategies seamlessly integrate into the project. Beyond
occasional tasks like mission patch design and presentation
formatting, the real value of design thinking emerged inaccurate problem isolation and internal group structuring. Thiscase exemplifies how having design expertise and leadershipin a STEM-based group can offer substantial benefits beyond
product intervention, underscoring the holistic value of design
thinking in complex interdisciplinary projects.

4.1 AlbertaSat, Northern Spirit Constellation

Initial stages of team composition consisted of STEM
specialized students who facilitated project aspects related
to team dynamics, public engagement, and K-12 educational
outreach. As the project scaled due to increased scope andreputation; business, education, and design disciplines joined.

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4.2 World Design Organization’s Design inSpace for Life on Earth Design Challenge

However, the benefits of having an environment based indesign thinking were seen in concept generation and uniqueexploration of space resources. The condensed sprint timeline
pushed feasibility and technical requirements to later planningstages. This resulted in fostering a more liberated explorationof concepts, with a heightened emphasis on end-user
wants, needs, and limitations rather than being restricted bytechnical constraints. Furthermore, team composition ensured
equal leadership between design, science, and engineering
backgrounds. Design leaders educated and established lowrisk environments to explore design thinking strategies within
the mission concept phases.

The 2020 WDO Design in Space for Life on Earth initiative
was a two-week effort fostering collaboration, education,and design leadership for the sustainable utilisation anddevelopment of the International Space Station (ISS). In
partnership with the Center for the Advancement of Science inSpace (CASIS), and the manager of the ISS National Lab, eachof the three categories (Figure 1) was dedicated to advancing
UN SDGs. This project provides a comprehensive study on thechallenges and benefits of transdisciplinary space projects
when a significant representation of design expertise is
The 2020 WDO Design in Space for Life on Earth initiative
present.
stands as a significant exploration into the challenges
The initial 2-week phase utilized Jake Knapp design sprint and advantages of transdisciplinary space projects. The
methodologies. Comprised of participation from 71 space project faced challenges in team relationship development
industry leaders, researchers, and designers from 26 countries, and communication strategy formulation, prompting ateams were divided and assigned a specific question. High recommendation for pre-established team dynamics in futurelevels of confusion and self-bias towards individual expertise endeavours. Despite these challenges, the transdisciplinary
were observed due to complex problem1 structure and environment generated unique questions, particularly
broadness of the 3 topics. Initial days were lost to developing concerning education and borderless learning. In conclusion,team relationships and communication strategies. The while the initiative faced significant challenges, it provided
difficulties arising from international synchronicity, time zones, valuable insights into the potential benefits of design thinking
internet, and language barriers also led to constraints on in space missions and highlighting areas for improvement in
future collaborative and transdisciplinary projects within theparticipation and potential contributions.
space industry.

Figure 1: The 3 Categories of the Design in Space for Life on Earth project. Credit: World Design Organization.

1
Complex problems are messier and more ambiguous in nature; they are more connected to other problems; more likely to react in unpredictable non-linear ways; and more likely to produce
unintended consequences. (Burns et al. 2006)

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5. Conclusion
In conclusion, space infrastructure, research, and technology
are critical in ensuring the health and wellbeing of human,planet, and near space environments. The integration of designprinciples within space missions can advance sustainable
impact and enhance societal usability. As highlighted inthis paper, the complex challenges associated with space
exploration, such as the overutilization of critical spaceresources, and increased commercial and competitive interest
necessitates a shift towards stronger business and project
practices. Design, with its holistic thinking and problem-solving
capabilities can address these challenges. This paper has
underscored the transformative potential of design in shaping

the future of space activities by examining the intersection ofdesign and space infrastructure, as revealed in the Imperial
College London and Royal College of Art research study,
the AlbertaSat student satellite mission and WDO’s “Designin Space for Life on Earth” Design Challenge. Throughcollaborative efforts with diverse stakeholders, designers cancontribute to the realization of United Nations Sustainable
Development Goals, bridging the gap between scientificadvancements and user-centric applications for a moresustainable and socially conscious space industry.

Special thanks to supporting professors, project PI’s, and organizations listed: Sebastian Deterding, Imperial College
London; Paula Zuccotti, Royal College of Art; Micheal Lipsett, University of Alberta; Steven Knudsen, University of Alberta; Ian
Mann, University of Alberta; Thomas Ganley, AlbertaSat; World Design Organization; International Space Station National Lab;
Center for the Advancement of Science in Space (CASIS).

Design Beyond / Outer Space Technology: Harnessing its Potential for Sustainable Life on Earth Through Human-centred, Service, Policy, and Product Innovation

Page 89References“ARES | Orbital Debris Program Office.” n.d. ARES | Orbital
Debris Program Office. Accessed November 10, 2023. https://orbitaldebris.jsc.nasa.gov/faq/#:~:text=More%20than%20
25%2C000%20objects%20larger,Earth%20exceeded%20
9%2C000%20metric%20tons.

Madry, Scott. 2019. Disruptive Space Technologies andInnovations. Springer.

Bland, Rob, Ryan Brukardt, Will Gangware, and Dale
Swartz. 2022. “A Different Space Race: Raising Capital andAccelerating Space Investment | McKinsey.” McKinsey &Company. November 16, 2022. https://www.mckinsey.com/
industries/aerospace-and-defense/our-insights/a-differentspace-race-raising-capital-and-accelerating-growth-in-space.

National Aeronautics and Space Administration. 2022.
International Space Station Benefits for Humanity Np-201501-001-Jsc. Createspace Independent Publishing Platform.

Mars, Roman, and Kurt Kohlstedt. 2020. The 99% Invisible
City. Houghton Mifflin.

“Space Debris Mitigation Guidelines of the Committee
on the Peaceful Uses of Outer Spaces.” 2010. In. United
Nations Office for Outer Space Affairs. http://dx.doi.
Burns, Colin, Hilary Cottam, Chris Vanstone, and Jennie org/10.1163/9789004411029_015.
Winhall. 2006. “Red Paper 02- Transformation Design.” Design
Council. February 2006.
“Space4SDGs: How Space Can Be Used in Support of the2030 Agenda for Sustainable Development.” n.d. UNOOSA.
Contribution to the “Space2030” Agenda EU Space Supporting Accessed November 10, 2023. https://www.unoosa.org/oosa/
A World of 8 Billion People. 2021. United Nations Office for en/ourwork/space4sdgs/index.html.
Outer Space Affairs.
United Nation’s Office for Outer Space Affairs. 2022. Guidelines“European Global Navigation Satellite System and for the Long-Term Sustainability of Outer Space Activities ofCopernicus: supporting the Sustainable Development Goals the Committee on the Peaceful Uses of Outer Space. United- building blocks towards the 2030 Agenda.” 2018. United Nations.
Nations Digital Library System. 2018. https://digitallibrary.
un.org/record/3833375?ln=en#:~:text=The%20analysis%20 “WDO | World Design Challenge | Design in Space for Lifeshows%20that%20all,EGNSS%20and%20Copernicus%20 on Earth Design Challenge.” 2020. WDO. 2020. https://wdo.
services%2C%20either.
org/programmes/interdesign-through-the-years/interdesigndesign-challenge/design-in-space-for-life-on-earthHarris, Philip R. 1986. “The Influence of Culture on Space challenge/.
Developments.” Behavioral Science, no. 1 (January): 12–28.
https://doi.org/10.1002/bs.3830310103.
Hoover, Abigail, and Thomas Ganley. 2021. “ Northern SPIRIT
Consortium - Canadian Collaboration through Student-Led
CubeSat Constellation.” DigitalCommons@USU. 2021. https://digitalcommons.usu.edu/smallsat/2021/all2021/119/.

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Design Beyond / Outer Space Technology: Harnessing its Potential for Sustainable Life on Earth Through Human-centred, Service, Policy, and Product Innovation

Co-speculation for Future
Personal Data Use—Toward
Shared Authorship of Future
Technology Use Scenarios
Among Multi-stakeholders

Authors:
Masako Kitazaki1
Fumiya Akasaka2

Institutions:1
Musashino Art University,
Tokyo (Japan)
National Institute ofAdvanced Industrial Scienceand Technology, Ibaraki(Japan)2

Riichiro Take3
Ryoko Koborita

4

Kazushi Ishigaki5

Fujitsu, Tokyo (Japan)

3

NTT Communications, Tokyo(Japan)4

LDAT Research & Consulting,Yamagata (Japan)
5

Abstract
This paper describes the project CoDa, which envisions adesirable data-driven society that is inclusive and collaborative
among multi-stakeholders, from citizens to service providers
to policymakers. The initial two phases of the co-speculation
methodology, which this paper details, focused on citizens
unfamiliar with the data-driven technology to empower them
to become co-authors in shaping future technology usage
scenarios. We developed the workshop employing a sharedauthorship level of participatory speculative design, which
motivated participants to express their desires for the future.
The workshop also transformed the participants into active
players in the collective decision-making process.
A shared-authorship level of participatory speculative design
benefited mindset changes in participants and could be thesteppingstones to the next level, initiation, or ownership ofspeculative design. We highlight that designing appropriate
tools and their distribution is crucial for designers to delegate
the facilitator role to others, which is required to scale up
citizen-led speculative design.
Keywords: Speculative design, participatory design, personaldata, co-design, use scenario

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1. Introduction
In alignment with the Society 5.0 vision, the Japanese
government and companies power AI-powered services
using personal data, which includes biological and behavioral
data. They assume that a data-driven society will benefit
citizens through customized services, promote economic
growth, and solve social problems, such as an aging society
and depopulation. However, citizens are anxious about thesescenarios. Research (Hitachi, Ltd. 2020) has shown thattwice as many people are afraid of giving their data to thegovernment and platformers as those who are not botheredby it. Worldwide, smart city projects tend to stall because of
citizen opposition movements. Unsurprisingly, there is tension
between data takers (service providers and governments) anddata givers (citizens).
The gap between data takers and givers has emerged becauseof citizens’ disinterest and a small group of technology elites
and policymakers dictating technology use scenarios. They are
typically formulated by elite technologists, primarily located on
the West Coast of the United States of America (Manski 2017).
Once endorsement is gained from profit-driven neoliberals at
the core of the capitalist economy (Feltwell et al. 2018, Tuters
and Varnelis 2006), the use scenarios are regarded as selfevident futures by the top government and business leadersin Japan and are promoted in a top-down manner. Conversely,
citizens who are hesitant about data utilization harbor a ‘fear of

the unknown’, along with concerns about information leakage
and data sharing with third parties (Kitazaki et al. 2023).
Invisible information and communication technology, including
data and AI, are challenging for non-technical citizens tograsp, leaving them unable to form informed opinions or raisequestions relevant to their lives (Pschetz, Pothong, and Speed2019). Consequently, this leads to a lack of motivation forengaging in creating a technologyuse vision together.
We, a group of designers, co-creation experts, technologists,
educators, and nonprofit organization members, initiatedthe Co-speculation for Future Data Use (CoDa) project. Our
goal is to foster an inclusive sense-making process in which
everyone, from citizens to service providers and policymakers,
collaboratively shape future technology use scenarios. To
make this new collaboration a reality, it is crucial that people
with different perspectives and opinions share their thoughtson the desired future on an equal footing, acknowledge eachother’s diversity, and try to understand one another. We believethat creativity is the key to realizing this collaboration andcreated an initial methodology as a starting point by carefully
choosing and combining various design methodologies. This
paper describes the initial two phases of the methodology.

2. Methodology and Previous Studies
We hypothesized a co-speculation methodology consisting of
three phases. In the first phase, we understand people’s newtechnology usage by capturing their experiences, emotions,and emerging practices. The second phase involves designinga workshop programme in which citizens engage in speculative
design to envision diverse future scenarios, fostering a senseof ownership over preferable technology use scenarios.
In the third phase, we invite multi-stakeholders, such asservice providers and policymakers, in addition to citizens,
to exchange each other’s views about desirable futures andfacilitate discussions on potential action plans through roleplays and theatre methods.
We focused on citizens in the first two phases of this project
because the power dynamics in data use were asymmetricalbetween those who provided data and the service providers
and governments that acquired data. We often see visionsof personal data use services from governments and data
platformers, but the experiences and emotions of the citizens
who use these services and provide data are veiled, and little
previous research has attempted to qualitatively clarify them
(Kitazaki et al. 2023), so the first step was to understandthem. Furthermore, it takes a certain kind of coaching forordinary citizens to envision desirable futures for themselves
and act toward them in the face of major data platformers,
corporations, and government control structures. Therefore,
we decided that citizen empowerment was needed first before
the multi-stakeholder collaboration in the third phase.
To break it down further, the first phase involves understanding
the experiences and emotions of citizens as they use
personal data services, which provides valuable insights tofuel the speculative design of the second phase. We utilized
speculative design for co-speculation to explore alternative

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future perspectives of dominant frameworks (Dunne andRaby 2013). In recent years, design research and practicecommunities have employed various approaches to investigate
diverse futures, including critical design, speculative design,
adversarial design, discursive design, and design fiction(Kozubæv et al. 2020). The common emphasis in these studies
is that speculative design should be rooted in scientific andsocietal facts. A critical aspect involves building a perceptual
bridge that allows designers to engage their audiences andevoke an emotional response. This requires careful craftingand management of speculative elements (Auger 2013).
The ethnographic study conducted in the first phase helped
establish this perceptual bridge.
In the second phase, we actively involved citizens, motivatingthem to become co-authors in shaping future technology
usage scenarios. To enhance this approach, we incorporated
participatory elements into speculative design. While
speculative design was originally intended to provoke
discussion, it has drawn criticism for its one-sided presentationin showrooms, primarily driven by artist–designers without
involving the audience (Kozubæv 2016, Gerber 2018, Kozubæv
et al. 2020). Consequently, recent research has underscoredthe importance of inviting people to participate in speculative
design, not merely as spectators but as active contributors
and owners of the process (Stals, Smyth, and Mival 2019).
We believe that the deeper the level of participation, the more
drastic the change people experience, as delegating initiatives
empowers citizens to be more proactive. Farias, Bendor, andVan Eekelen (2022) carefully divided the level of engagement
and participation that we aimed to study: shared authorship,
for which non-designers would produce speculative designs
with designers’ support. We created a three-step workshop forthe second phase: brainstorming, speculating, and critiquing.

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3. Context
crisis management monitoring the safety of employees basedon temperature, humidity, worker location, and biometric
data; work monitoring to understand employees’ work
statuses using PC and smartphone data; health managementmonitoring mental and physical statuses through pulse surveys,
health checkups, and biometric data; and human resources
Examples of data-driven management applications in technicians evaluating work efficiency, making training plans,
workplaces include communication and facility management and recruiting through behavioral data, pulse surveys, andsharing employee location data in and outside companies; competence assessments.
We chose workplaces as the research context because 1)
the number of services using personal data in workplaces
is dramatically increasing, and 2) more people have alreadyencountered data-driven services in workplaces than in othercontexts.

4. The First Phase
4.1 Study
We recruited and interviewed fifteen participants using datadriven services from their workplace mentioned in the previous
section. To gain insights into their experiences, we asked theparticipants to show their typical work processes using theservices and explain why they worked that way. We analyzed
their remarks after the interviews and found emerging
practices and personas in data-driven work.

4.2 Insights
The participants managed their communications throughpersonal data services. However, we found three emerging
communication practices that may lead to future datadriven miscommunications. The first involves falsification inreporting. The participants’ companies had adopted healthservices for routine employee mental health checks and daily
biometrics. However, some participants input false data into
the health applications due to fear of judgment by managers
or human resources. The second involves ‘peeping’; that is,subordinates’ data are viewed for management purposes.
Although viewing data helps visualize unseen conditions, theparticipants anticipated that this could be used as a new form ofharassment. The last emerging practice is a collision between
data takers and givers. Higher-ups seek more employee data,
while employees feel excessively anxious about providing it orwaive their rights to refuse. However, there are no discussions
between the two parties to resolve the issue.

After categorizing the participants’ experiences and remarks,
we identified nine distinct personas. Initially, we observed two
main categories: those who underestimate the potential ofdata and those who overestimate it, believing that data canreveal everything. Additionally, there were two types of data
providers: those who were suspicious of data recipients,
fearing misuse or sharing without their consent, and those
who placed trust in data recipients. Among the data recipients,
which included managers and human resources personnel,
we identified two management styles. The first style showedattentiveness to employees’ feelings, offering flexible guidance
tailored to individual abilities and circumstances. The second
style prioritized overall control and efficiency over individual
employee considerations.
As a result of our findings, we developed two matrices. The
first matrix is for data providers, the vertical axis of which
represents their trust in data recipients, and the horizontal
axis reflects their estimation of the potential of the data. The
second matrix is for data recipients, with the vertical axis
indicating their management style and the horizontal axis
representing their estimation of the potential of the data, thesame as the givers’ horizontal axis. Figure 1 displays the nine
personas that were determined after plotting the participants’experiences and thoughts.

Figure 1: The nine personas identified from the ethnographic interview.
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5. The Second Phase
5.1 Workshop Development
We created a workshop for those who assumed that they
did not have the power to be involved in creating a visionof what future personal data use should be. To increase
their confidence and inspire co-authorship in shaping futuretechnology use scenarios, we used a participatory speculative
design that enabled them to engage in exploring the unknown
future (Stals et al. 2019), liberate their potential imagination(Farias, et al. 2022), and foster infrastructures of democratic
imagination (Baumann et al. 2017).
We created tools for the workshop: a newspaper, persona
cards, what-if cards, and an online platform (Figure 2). These
items were created based on facts for perceptual bridges(Auger 2013). The newspaper described data technology
and world trends of data-driven societies. We created it forcommunicating the facts of what is happening worldwide
from a neutral standpoint, neither for nor against, so as not to
influence the participants’ ideas about data-driven societies.
The persona cards detailed the nine-character personas andexperiences from the first phase. The names and pictures on
the cards were fictional, but their experiences were describedas inspired by the interviews. The what-if cards depicted
future fictitious situations and asked the provocative question,“What if this happens in the future?” (Dunne and Raby 2013)
We created the cards by learning the latest phenomena aboutdata-driven societies worldwide. For example, one asks, “Whatif credit ratings calculated from behavioral and purchasingdata were introduced into the workplace?” Finally, the online
platform allowed participants to upload their speculative
future stories created during the workshop, which elegantly
transformed the texts into web fictions.

Figure 2: The tools created for the workshop.

5.2 Workshop Procedure
The workshop was divided into three steps: brainstorming,
speculating, and critiquing so that participants become active
contributors not just spectators (Stals, et al. 2019). During
brainstorming, the participants first read the newspapers
to increase their knowledge. Then, they chose one persona
with which they sympathized, randomly picked one what-if
card, and imagined what would happen or how the persona
would react to the prompt. They jotted down their ideas on
paper and shared them with the other participants during
several rounds of ideation. The next step was speculating, inwhich the participants wrote an 800-word fictional scenario
using the ideas they had brainstormed. We chose novels as
the medium of speculative design because they allowed
participants to express their imagination without any design
techniques, such as movies and objects, which speculative

design usually employs. After uploading the text to the online
platform, the critiquing session began. The participants werefirst divided into pairs and selected their favourite story fromthe two they wrote. Then, as pairs, they shared their thoughts
on whether they agreed or disagreed with the story and why(Voss, et al. 2015). After that, they discussed how they andsociety must change for the story’s realization or prevention.
Finally, the pairs shared what they discussed with the rest of
the participants.
The brainstorming workshop spanned two and a half hours.
The speculation phase lasted one week following thebrainstorming session, during which the participants workedon their scenarios as homework. Finally, the critiquing
session lasted two hours and took place one week after thebrainstorming session (Figure 3).

Figure 3: An overview of theworkshop process.

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5.3 Participantsb. Implement mechanisms that enable users to consider
their data-sharing preferences while using data-driven
management apps and opt out at any point.

We aimed to include a diverse mix of participants, including
those with and without work experience. Our rationale wasc. Create interactions that display data-driven AI decisions
that individuals with work experience might have more realistic
as one possible solution, rather than the sole correct
imaginations, while those without might have more flexible
answer.
perspectives. Thus, we sent invitations to universities and coworking offices, ultimately recruiting fourteen participants: fived. Provide functionality to customize the frequency anduniversity students and nine working professionals. According
granularity of data utilization recommendations.
to the pre-workshop questionnaire, all the students and sevenof the nine professionals were not in the data platformer or 3. Educational Shiftpolicymaker domains and had no prior experience managing
a. Education is needed on how to receive the results ofdata-driven management services. We divided the participants
data utilization and how to use them safely and reliably.
into two groups and conducted the workshop twice.
4. Legal Shifta. Supervisors and personnel currently determine data
The results from the workshop involved three parts: theusage, but a licensed service, legal oversight, or astories, the participants’ ideas to create a better data-driven
professional third-party organization to audit the datasociety, and the participants’ observed changes.
handling process is required.

5.4 Results

5.4.1 Stories

b. Laws should compel data collectors to transparently
demonstrate their data usage intentions and refrainfrom collecting data that they will not use.

All the participants created speculative stories, except two, who
faced time constraints caused by unexpected work situations.
c. When individuals in positions of authority control data,
In the fourteen stories (some participants uploaded more thanthere is a risk of manipulating data and AI outcomes
one story), five were dystopian, seven were neutral, and two
as evidence to exert control. This underscores thewere utopian. Regardless of being dystopian or utopian, all thenecessity of specific laws governing data access andstories had unique details and exemplified rich imaginations
management.
yet were based in science and social facts. Interestingly,
nine stories related to the theme of deceiving someone 5. Sociological Shiftthrough data, including stories of data providers deceiving
a. Evaluating the outcome of data utilization is crucial. This
management and their organizations, data providers deceiving
means not merely praising data for being above average
AI, and data takers deceiving data providers (employees).
but examining its diversity.
Despite most participants’ having no prior experience as data
b. A social culture is needed that acknowledges that datacollectors or managers, the protagonists of the stories were
utilization results and evaluations are not everything,
diverse. Among them were executives advocating for data
and that there are limits to what data can achieve.
utilization, employees of service providers responsible forc.
A social culture is needed that acknowledges thatmanaging acquired data, and middle managers in companies
emergence and response to new modes of behavior
embracing data-driven management practices, in addition to(data jokes, ‘made-up’ data, return to philosophy, andthe employees serving as data contributors.
religion)

5.4.2 Participants’ Ideas to Create a Better
Data-Driven Society

6. Economic Shifta. A new business to audit the data-handling process inIn the critique sessions, the participants actively discussed theorganizations need to be flourished.
future shifts necessary to realize or prevent the speculativeb. When using data-driven management applications, it isstories. By categorizing their statements according to theimportant to have a service within the organization that
PESTLE (Policy, Economy, Society, Technology, Law, andfacilitates discussions about the boundaries of data
Education) analysis, which Royal Dutch Shell used to conduct
usage and the extent of data utilization efforts.
as strategic analysis for the unknown future, we can summarize
the participants’ demands for future change as follows.
1. Political Shifta. When constructing a data utilization model for thecomplex human decision-making process, there is a riskthat those in charge might develop biases. Therefore,a policy is needed to encourage a multifaceted
examination of the process and to avoid relying solely
on data for decision-making.

5.4.3 Participants’ Observed Changes

To observe the participants’ changes, we distributed aquestionnaire before and after the workshop. Of the fourteen
participants, eleven responded. When comparing participants’
self-assessments on a seven-point Likert scale, theirknowledge of personal data utilization improved (from 2.6 to4.5), as did their interests (from 4.6 to 5.6) and their confidence
in co-authoring data use scenarios within their communityb. Once data evaluation indicators are defined, people (from 3.5 to 5.2). In the open-ended questions that asked
may focus solely on them, potentially stifling creativity about their thoughts after the workshop, some participants
and innovation outside of these indicators. Therefore, a mentioned that describing potential futures transformed
data-driven evaluation policy is essential.
their vague negative perceptions of a data-driven society into
concrete fears and coping strategies.
2. Technological Shifta. Develop technology that presents AI algorithms in a way Most participants were unfamiliar with data utilization and werethat is understandable to humans for decision-making passive in developing a desired scenario for the future before
the workshop. In contrast, some participants had knowledge
based on data.

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and experience in data utilization and had a proactive attitude
about it before the workshop experience. Although they were
not the workshop’s primary target participants, the workshop
promoted empathy and respect for different types of people.
One participant who initially described the data utilization
supremacy manager persona (T1 in figure 1) as similar tohimself switched to the balanced type manager persona (T4)
after the workshop and wrote, “I used to prioritize rationality
and efficiency, but after hearing how other participants felt
during the workshop, I began to see the potential issues that
can arise from a purely rational approach.”

When we compared which personas participants identified
with before and after the workshop, we discovered a trend.
There was a decrease in sympathy with excessive fear (G1,
G5 in figure 1) and data supremacy (T1), and an increase insympathy with the balanced type (G4, T4), which considers
both the advantages and disadvantages of data utilization.
Interestingly, votes also went to G3 in figure 1, who waive theirrights to refuse providing data. According to the questionnaire,
the participants admitted that they were less interested in datautilization and vulnerable to peer pressure. Some participantsalso chose G3 after the workshop; they may have discoveredG3 in themselves while writing their future scenarios.

6. Discussion
Our project aimed to flatten the current asymmetrical power
dynamic regarding personal data usage so that everyone,from citizens to service providers and policymakers, canparticipate in discussions. In Phases one and two, we intended
to empower citizens to confidently express their opinions on
future desirable data-driven societies. The uniqueness of theempowerment approach is to employ the shared authorshiplevel of the participatory speculative design (Farias et al.
2022), in which non-designer participants produce speculative
designs alongside designers. We chose this level anticipatingthat it would improve not only the participants’ belief thata data-driven society is relevant to them but also theirconfidence to take part in creating its future vision. As a resultof the workshop we developed, we observed changes in theparticipants. Most participants, unfamiliar with personal data
usage, created imaginary future stories and articulated shifts
necessary for a desirable data-driven society. The comparison
between pre- and post-workshop questionnaires also indicatedtheir change in mindset on the potential of co-authoring adesired future data-driven society. In this section, we reflect
on the first and second phases and discuss the benefits andlimitations of conducting this participatory speculative study.

not need such designer involvement during our design process
because we chose novels as a medium of speculative design.
Text allows people without design experience to express their
imaginations and makes designers and non-designers equal,
which makes the critique sessions lively. Different degrees
of involvement could be designed depending on the numberof designers in the project and whether or not there is anobjective to train designers.

Regarding benefits, the shared authorship offered positivechanges in participants. They were more motivated to get
involved in making a desirable future vision together than
before the workshop. They also developed vocabulary
about the topic and manifested the shifts necessary for abetter future data-driven society using PESTLE analysis,
even though they were not very interested in a data-driven
society before the workshop. This change is a crucial stepin moving to the next level—the initiative or ownership of
the participatory speculative design—which is necessary forlong-term cultural change (Baumann et al. 2017). These levels
require self-mobilization (Cornwall 2008, Farias et al. 2022),
the sense of which that has grown in our participants during
the workshop. Some of them even mentioned in the freetext section of the questionnaire that they would like to be
facilitators of conducting the workshop in their communities.
Practicing the shared-authorship speculative design createsthe steppingstones needed to jump to the next levels.

The other tool that was essential to fuel participant-led
shared-authorship speculative design was the online platform.
It played the role of a designer, which beautifully laid out the
texts in a vertical writing style familiar to the Japanese. The
fact that the novel was officially published online, and that
other participants could see the novel, created good peerpressure. As a result, good quality can be maintained without
any help from designers or facilitators.

To achieve the participant-led shared-authorship speculative
design, we carefully crafted tools as scaffolding so that nonexpert designers could find and express their desirability (Tealand French 2020). For example, designing the appropriate
vagueness of the illustration representing a persona on the
persona cards was crucial. We first used concrete pictures;
however, during the test runs, these representations prevented
the participants from projecting themselves onto the personas
and creating unique scenarios of what actions the personas
would take. Because an artifact with a certain level of openness
and closedness stimulates people’s imagination (Kitazaki
2018, Kitazaki et al. 2019), careful adjustment is essential tothe designer’s work.

In terms of limitations, scaling up practices of the sharedauthorship level of the speculative design takes time if
designer involvement is needed. To create a situation inwhich this workshop can take place in local communities, thefollowing two efforts are necessary. First, the tools created by
the designers would need to be made available for worldwide
distribution. Second, as our participants mentioned, facilitators
are needed. There is also a need to design facilitator
guidebooks and online training courses. If the designers
delegate the role of facilitator to others, we can empower
The other benefit is that the shared authorship level of them to reach the next level of initiation and ownership of the
speculative design allows for various designer involvements. participatory speculative design.
For example, ‘Sankofa City’ project was conducted at thesame level at which residents produced speculative designs
with design students (Baumann et al. 2018, (Baumann et al.
2017). While the project required design students to makemovies and objects during the entire design process, we did

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7. Future Work
The third phase involves engaging a broader range ofstakeholders, including data processors, data utilizers, andthose in positions of leadership, in addition to data providers.
Facilitating open dialogue and fostering empathy among thesestakeholders are crucial to achieving our goals. Concurrently,
we are actively expanding the citizen empowerment workshop
from the second phase by motivating community leaders andenhancing the distribution system. As a result of practicing thethree phases of co-speculation, we are looking forward to ahealthy civil society where multiple stakeholders from different
positions can talk to each other, respect different opinions,and decide things together.

Additionally, as Baumann et al. (2017) highlighted, we mustalso identify the components of an infrastructure for cospeculation because it has the potential to become part ofthe infrastructure of a future democracy where citizens arepart of the policymaking process. Upon completing all threephases, we will conduct a comprehensive reflection on ourwork to gain insights that will contribute to long-term socialand cultural innovation.

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Auger, James. 2013. “Speculative Design: Crafting the Kitazaki, Masako, Iohanna Nicenboim, Elisa Giaccardi, andSpeculation.” Digital Creativity 24 (1): 11–35. https://doi.org/10 Benjamin Lopez. 2019. “Connected Resources - A Research.1080/14626268.2013.767276.
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Kozubæv, Sandjar, Chris Elsden, Noura Howell, Marie Louise
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Cornwall, Andréa. 2008. “Unpacking ‘Participation’: Models,
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Two Approaches to Humandecentred Design: Between
Life and Matter

Authors:
Nobuhiro Masuda1
Yosaku Matsutani2
Yasuharu Akiyoshi3
Juppo Yokokawa

4

Kazuhiro Jo1, 5Institutions:
1
Kyushu University, Fukuoka(Japan)Otemon Gakuin University,
Osaka (Japan)
2

Kyoto Seika University, Kyoto(Japan)3

Tokyo University of the Arts,
Tokyo (Japan)

4

YCAM, Yamaguchi (Japan)

5

Abstract
This paper aims to present the significance of decentring thehuman being in design practice through an approach called
Human-decentred Design (HDD) for overcoming ecologicaland economic problems mainly caused by Human-centred
Design (HCD). We argue that the fundamental cause of
these problems lies in the preservation of anthropocentric
standardizations at the core of technology under capitalist
imperatives. From this critical perspective, this paper
introduces two projects, A Record without Prior Acoustic
Information by Kazuhiro Jo and Chromatophony by Juppo
Yokokawa, which are designed respectively corresponding
with alternative materials or living tissues for challenging theestablished standards of audiovisual media, such as high/low-fidelity sound, frame rate, and resolution. In doing so,
we demonstrate that HDD, which aims to be entangled withbrute and living materials, serves as a means of repositioning
technology within an ecology of life and matter, an energy flow
beyond the human realm.
Keywords: Human-(de)centred design, ecology, materiality,
biodesign, nonhuman

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Introduction
The purpose of this paper is to present two examples of what
we call Human-decentred Design in order to overcome theindustrial and ecological predicaments caused by Humancentred Design. Human-decentred Design refers to an attempt
to problematize the anthropocentrism behind current design
through our projects corresponding with nonhuman materials
and life. Although this is currently only a tentative definition,
we would like to introduce two specific attempts to embody
and show the effectiveness of this approach, referring to thepreceding discussions related to it.

linked to the need to fundamentally rethink the concept oftechnology itself, which deals with various materials including
plastics.
There is no doubt that one of the factors accelerating theabuse of plastic derives from capitalist imperatives. The
relentless pursuit of innovation will put issues such as declining
biodegradability and overmining energy resources on asecondary or background level. Why does this happen? Oneof the main reasons, we believe, is that the value and meaningof technology are standardized according to the criterion ofhuman scales.

A prime example of the problems caused by Human-centred
Design is the excessive use of plastic. Especially in Japan, we
can see over-wrapping even for individual vegetables for aclean and hygienic image. An article reporting on this also points
to the deception about the recycling system in this country(Denyer 2019). According to government reports, Japan is an
excellent country recycling 86% of its plastic waste. However,
58% of it is used as fuel for ‘thermal recycling’ and another 14%
is exported to other Asian countries without regard to its end.
Needless to say, these deceptions are causing environmental
problems such as greenhouse gasses and economic disparity.

In the case of audiovisual media, for example, advanced
reproducibility of sound and images has been refinedcontinually, while their specifications, such as fidelity andresolution, remain untouched and unreviewed. As the numbers
and values indicating high reproducibility, such as 8K and 60
fps, have risen to obsessive levels, what is more surprising isthat the standards themselves have hardly changed. This iswhere the significance of Human-decentred Design becomesapparent because it allows us to revisit and challenge thestandardization from the sides of the materials and theorganisms, not just humans. Two examples of this are the
Our goal, however, is not to solve these problems directly. following projects on which we are working.
Because they are not limited to over-packaging but are relevantto the Human-centred Design that has relied on this material
for a century. Furthermore, we believe that this problem is

1. A Record without Prior Acoustic Information: Designing with Brute Materials
a cutting plotter with the paper to carve the groove. The
metal for reproducing the tune on a gramophone, a device
contemporary with Moholy-Nagy’s provocative idea, wasexamined for a material that could withstand high needle
pressure. Ultimately, an anodized aluminum plate coated withlacquer was selected, which closely resembles the material“I have suggested to change the gramophone from a used for the master recordings of traditional vinyl. With thereproductive instrument to a productive one, so that on porcelain, in collaboration with a potter, the grooves werea record without prior acoustic information, the acoustic carved into the clay before it was glazed and baked.
information, the acoustic phenomenon itself originates byengraving the necessary Ritchriftreihen (etched grooves)” Although these grooves with diverse materials produce
vibrations that are based on the same digital data (i.e.,(Moholy-Nagy [1923] 1989, pp.54-56).
an Adobe Illustrator file), their actual sounds are not only
After nine decades, we realized this idea by using several different but also change over time due to the difference inmaterials including wood, paper, metal, and porcelain, with the materiality. This makes us reconsider the temporal durability
help of current do-it-yourself (DIY) digital tools such as laser and sustainability of each media. Wood and paper records
cutters or cutting plotters. We could not only play some music decompose more easily than vinyl, and the grooves are morewith these records but also discern the texture of sounds prone to deterioration. Metal records last longer than vinyl, but
the grooves deteriorate more quickly. Porcelain records areaccording to the differences of each material. [Figure 1]
the longest lasting and the grooves can probably be preserved
The work features a motif from a French folk song “Au Clair for thousands of years. These possible facts encourage us tode la Lune,” engraved on a sooted paper by French inventor reevaluate the meaning and value of sound media around the
Édouard-Léon Scott de Martinville (1817-1879) in 1860, which material reality of duration and transformation rather than theis believed to be the earliest recording of the human voice at standardized idea of fidelity.
that time (Feaster 2012). Jo first determined the frequencies ofthe melody from the score. Next, he drew the sine waveforms From this perspective, each of Jo’s works stands in contrast
corresponding to the melody in Adobe Illustrator. Finally, to the social demands of the mass production market for
he used the laser cutter or cutting plotter to engrave those vinyl records due to their inherent limitations in terms ofscalability in creation. The works also suggest the possibility
waveforms into the chosen materials in horizontal grooves.
of escaping the characteristics associated with vinyl records,
However, the employed method varies somewhat depending such as audiophilic and nostalgic attachments, as well as theon the material such as a laser cutter with the wood, and dependence on the oil economy in their format.
The first example is A Record without Prior Acoustic
Information designed by Kazuhiro Jo, who attempts to reinvent
the record through materials other than vinyl used in ordinary
analog records. The title was inspired by the visionary wordsof designer László Moholy-Nagy (1895-1946) a century ago.

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Design Beyond / Two Approaches to Human-decentred Design: Between Life and MatterFigure 1: Kazuhiro Jo, A Record without Prior Acoustic Information (2013) Clockwise from top left, wood, metal, porcelain and paper.

2. Chromatophony: Designing with Living Materials
The second example is Chromatophony by Juppo Yokokawa.
Composed of the excised portion of a squid's skin, this worktransforms its colour-changing ability into an audio-visualizer.
It is well known that cephalopods, including squid and octopus,
can change their skin colours and patterns. These visual signals
serve various purposes, such as camouflage, intimidation,and communication (Hanlon 2007). This unique biologicalphenomenon is enabled by the tissue called chromatophores,
small pigment-filled sacs surrounded by muscles and nerves(Messenger 2001).

and blinking light presented at a certain rate were explored.
The appropriate ratios were designed to create images withstable motion without flicker, such as 16 frames and blinking
lights per second, 24 frames and 48 blinking lights per second,and so on. It is clear from this fact that the standardization offrame rate is derived from the relationship with the human eye:whether it is ‘natural’ is based on human perception.
This history of technology since the cinema allows us toreinterpret the images presented by Chromatophony ina different way. As mentioned above, the appearance ofvarious colours and patterns on a white surface, caused by
the contraction and expansion of chromatophores, looks
like a digital pixelated screen or, in earlier examples, as if apointillism of an impressionist painting is moved (Yokokawa et
al. 2022). However, in contrast to these examples, which werealso realized based on human perception, squid and othercephalopods had realized colour variations that surpassed
them in an evolutionary span. Because they do not assume
human vision, we are fascinated by the vibrancy and diversityof their colours.

Using this biological mechanism, although there have been
attempts to induce changes in the body colour of squid byusing existing music as electrical stimulation (Backyard
Brains 2012), Yokokawa designed proper sound signals for
Chromatophony, that are more likely to elicit a response fromthe chromatophores. As a result, it realizes the vivid appearance
and disappearance of vibrant mosaics transforming andchanging rhythmically as moving images. This work presents
dynamic changes under an optical microscope in a magnifiedstate and is currently available on YouTube. It should be noted,
however, that the changes in the chromatophores are visible
to the naked eye, and the results are markedly different from What makes this point even more enigmatic is that squid has
those observed through the display. Because there are no been found to be dichromatopsia, or so-called colour blindness
in the human sense, although it is unclear why the squid isframe rates and resolutions in the usual sense. [Figure 2]
able to achieve such rich body colour variation. Furthermore,
From a historical perspective, moving images have been it has been suggested that cephalopods may change theirstandardized with reference to the human eye. It is not possible body colour through the mode of distributed control by skin
to represent motion well if a film strip of frames simply passes cells and nerves, not necessarily by the brain alone (Godfrey
in front of the lens of a projector (Mannoni 2000). To solve this Smith 2017), which is contrasted to the central control just as
problem, the early developers first made each frame image digital displays. Thus, the abstracted and dynamic images bystand still temporarily in front of the lens and then sent it out, colour change of the squid body lead us to rethink designs
while at the same time placing the blade shutter in front of and technologies that have been standardized to suit humanthe lens to create a steady rhythm of blinking light. However, values and meanings.
this alone would cause a flicker, so the number of frames
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Figure 2: Juppo Yokokawa, Chromatophony (2019, Screen Capture)

3. Discussions
material and aesthetic value (Cox, 2018). Therefore, we could
hear the accidental sounds in Jo’s records as the ‘voices’ of
their materials rather than unexpected or meaningless noises.
In addition, when we contrast the distinct sounds of wood,
paper, metal, and porcelain with the familiar resonance of vinyl,
it becomes apparent that our works exhibit a delicate material
nature due to their susceptibility to burning, cutting, shaving,
and breaking. These characteristics contrast with the toughcharacter of vinyl, as Devine (2019) has pointed out, bothmaterially (strong but supple, bending but rarely breaking, andTo cite a striking example, the book opens by noting that the potentially emitting toxic smoke) and socially (LPs circulating
recent vinyl revival in North America has unfairly relied on a almost endlessly in second-hand economies).
single company in Thailand to manufacture PVC, reproducing
the environmental pollution and health problems that once Reflecting on this situation, some scholars have recently begun
occurred in the USA. These facts suggest that no matter how to criticize the anthropocentric view of technology and design
technology appears to advance, the nature of an industry that that regards nonhuman beings – both living and non-living – ashas accelerated resource mining and energy consumption mere economic resources, questioning the better relationshipremains unchanged. “[E]very time a needle glides through a with them. In particular, nonhuman organisms remind us thatgroove,” as Devine (2019) argues, “people suffer, communities they are not always completely controlled by humans as
scatter, oils spill, environments suffocate, wars storm, empires objects of design. In the case of Chromatophony, the imagesoar” under the regime of fuel economy (p.7). The ideal of that emerges is not only different for individual squid but also
endless improvements in fidelity and resolution has served as changes over time after the skin is sliced, making it impossible
to reproduce the same image. Even if this impossibility ofan ideology to disguise these material realities.
reproduction appears inappropriate for design products, weReturning to Jo's work in the light of these discussions, can draw from it the critical considerations about technology.
this work not only indicates an alternative genealogy to theorthodox history of audio media but also foregrounds its From a new perspective of ‘ecomusicology’, Dawe (2016) draws
materiality with their noises prior to the meaning and value attention to the fact that the tradition of musical instrumentassigned by the human ideal of fidelity. Although such noises making has intrinsically intertwined with the material world.
are generally characterized as unwanted sounds, the humming, For them, “the wood, bone, skin, metals, and clay” are “agentshissing, or crackling noise of different media (radio, magnetic of a material reality that affects the construction of musicaltape, vinyl, etc.) can also be seen as elements with their own cultures at the most fundamental level” (Dawe 2016, p.109).
What insights can be gained by these audiovisual media
designs? As a useful reference, Devine (2019) reconsiders thematerial history of the music industry from a political ecology
perspective. His work is divided into three parts, each of whichmainly focuses on three raw materials used for recorded
media: shellac (1900-1950), plastic (1950-2000), and data
(2000-). The author then carefully traces the history of both
ecological and economic exploitation caused by the musicindustry in the United States of America.

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Design Beyond / Two Approaches to Human-decentred Design: Between Life and Matter

For them, materials are not just an inanimate resource.
Since materials fundamentally determine the tone quality of
an instrument, caring for forests and mountains is essential
to both the economy and aesthetics of acoustic instrument
makers. Of course, this focus on traditional practice might
be seen as a kind of nostalgic return from highly developed
technology. However, there is no doubt that such arguments
are fundamentally related to the practice of technologicaldesign, leading to a critical reassessment of the very conceptof technology itself. What is important here is that when we
think of design as entangled with non-humans, it opens up
the possibility of transformation not only of objects, tools, andtechniques but also of us humans ourselves (Masuda et al.
2023).
From this point, we could go further on a more fundamental
level on this issue with the help of anthropologist's thought.
Ingold (2011) criticizes the classical concept of technology
because this concept has traditionally been associated withanthropocentric ideas, "that things are constituted in therational and rule-governed transposition of preconceived
form onto inert substance" (p. 212). According to him, thisis a variation of hylomorphism that has governed Westernthoughts, including the practice of design. This is because

it is precisely in the realm of design that the stereotype has
prevailed that “[f]orm came to be seen as imposed by an agent
with a particular design in mind, while matter, thus renderedpassive and inert, became that which was imposed upon”(Ingold 2011, p.210).
Here we can see the fundamental reason why thestandardization of technology has been fixed and maintainedin the anthropocentric realm. Criteria such as fidelity andresolution are not merely indicators of enhanced attractivenessto the consumer but also serve as the basis on which designers,
whether consciously or unconsciously, impose their ideas asform into inert matter. In sum, fixing anthropocentric criteria
was the axis for the effective advancement of human-centred
design. On the contrary, Ingold (2011) proposes the designer
as a practitioner who "is intervening in the fields of force andcurrents of material wherein forms are generated" (p.211).
What such a designer can do is nothing other than follow andbend its course to their evolving purpose. Developing this
proposal through the two projects examined above, we candefine the human-decentred design as a practice that unfolds
in a dynamic flow of meshwork that continues to change withnonhumans and the environment, rather than aims to control
them.

Conclusion
From the discussion so far, we suggest again the significanceof decentring the human in design practices for overcoming
anthropogenic problems. In the impasse of Human-centred
Design, its relentless pursuit of innovation has preserved theanthropocentric standardization at the core of technology. In
contrast, our project challenges the established standards
or criteria such as hi/lo-fi sound, frame rate, and resolution,and is oriented toward the design corresponding with bruteor living materials (Ingold 2012). Although these attempts
could not immediately solve the problem of plastic waste or
e-waste and energy consumption, they could be a step toenvision a designer who would effectively follow and bend
the flows of material for the transformations of design undercapitalism. Then, Human-decentred Design should be a meansof relocating technology within an ecology of life and matter, aflow of energy beyond the human realm.

Acknowledgement: This paper was supported by JSPS KAKENHI 21H00495, 23H00579, 23H00591.

Design Beyond / Two Approaches to Human-decentred Design: Between Life and Matter

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Ingold, Tim. 2012. Toward an Ecology of Materials. Annual(Accessed on 9 November 2023)
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in (What was Formerly Known as) the Record in the Age ofDawe, Kevin. 2016. Materials Matter: Towards a Political Personal Fabrication. Leonardo Music Journal 24: 65-67.
Ecology of Musical Instrument Making. In Current Directionsin Ecomusicology: Music, Culture, Nature. Edited by Aaron Jo, Kazuhiro. 2023. Wood, Paper, Metal, and Porcelain - A
S. Allen and Kevin Dawe. New York and London: Routledge, Record Without Prior Acoustic Information – [Exhibition].
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japan-wraps-everything-in-plastic-now-it-wants-to-fightagainst-plastic-pollution/2019/06/18/463fa73c-7298-11e99331-30bc5836f48e_story.html (Accessed on 9 November
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Crangle. Exeter: University of Exeter Press.

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Masuda, Nobuhiro, Matsutani, Yosaku, Akiyoshi, Yasuharu,
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Science Fiction and Design
Fiction to Learn About AI

Author:Luisa Mok

Institution:
Division of Emerging
Interdisciplinary Areas,
Academy of Interdisciplinary
Studies, The Hong Kong
University of Science andTechnology (Hong Kong SAR)

Abstract
Artificial intelligence (AI) has been thriving fast and is reshaping
the world. Alongside technology advances are ongoing
concerns that the AI boom will have a pervasive influenceon society and the environment. Amid such massive sociotechnical transformation, an alternative approach is required
to envision desirable AI futures. Surrounding disciplines
studying technology futures, science fiction (sci-fi) in literatureand design fiction in artefacts provide creative and inquisitive
approaches to inquire futures. This case study researchdevelops a new theoretical proposition integrating sci-fi anddesign fiction aiming to enhance students to learn about AI inwider socio-technical context and accept their accountability
for technology futures. The proposition is applied to a design
course on AI to explore the reasoning in advancing design
education through integrating the two fields of knowledge.
The research result demonstrates a new approach to learn
about AI and proposes a new interdisciplinary research area
in design research.
Keywords: Design fiction, speculative design, science fiction,
artificial intelligence, socio-technical transformations

Design Beyond / Science Fiction and Design Fiction to Learn About AI

Page 105

Introduction
Artificial intelligence (AI) has been thriving, consequently
reshaping the world. Such technological advances havebrought concerns that the AI boom will have a pervasive
influence on society and the environment. Even AI experts havemade public their concerns about the unforeseen effects of AI’s
future development (Crawford 2021; Mitchell 2019). An equally
critical issue is algorithmic bias due to constructed humanstereotypes, creating new social problems (Heaven 2020).
In the context of education, most science and technology
students are competent in innovating AI systems. However,they may not take the critical view of this technologicaladvancement that is necessary to understand AI in a wider
context and accept their accountability for technology futures.
Amid such massive socio-technical transformation and theensuing unforeseen consequences, an alternative approach is
required to envision desirable AI futures. This study proposessuch an alternative approach, specifically comprising an
integrated knowledge of science fiction (sci-fi) and design
fiction and explores the reasoning underlying this advance indesign education.
Surrounding disciplines studying technology futures, both
sci-fi and design fiction adopt similar inquisitive approaches.
However, the driving theories behind their approaches andmethods are distinct. Such similarities and differences arelikely to indicate a complementary relationship between the
two. Yet an interdisciplinary approach that integrates sci-fi
and design fiction to address technology transformations hasremained unaddressed in the design discipline. Therefore, topush the knowledge frontier, this research integrates sci-fi anddesign fiction. The research aims are defined as to explore a
new approach to learn about and discuss AI and to propose anew pedagogical framework to enhance design education. To
fulfil the research aims, three research questions are set,of such changes for society and humans (Gerlach and
Hamilton 2003). From classical novels by renowned writers
including Philip K. Dick, Isaac Asimov and Ray Bradbury tocontemporary works by Kazuo Ishiguro and Ted Chiang,
sci-fi stories have extrapolated possible yet undesirable AI
futures impacting humans and the environment. While sci-fi isfuturistic and fictional, it does present truths about how people
negotiate a futuristic world.
Design fiction is a field of design that takes a tangible approach
to visualizing and inquiring into socio-technology futures. In
this paper, the concept of speculative design is specificallyadopted for its focus on probing into advancing science andtechnology. Anthony Dunne and Fiona Raby (2013) haveconducted socio-technical explorations through speculative
design. The word ‘speculative’ in this context stresses theuse of solid scientific support when conjecturing about futurescenarios, to avoid a work of complete fantasy. When defining
preferrable futures, a path from where we stand today to our
future is visualized in the speculative scenario (Dunne andRaby 2013).

Above all, design fiction does not tell stories as sci-fi does;
rather, it materializes and illustrates technology’s impact onsociety to provoke people to think forward and explore making
changes to achieve preferrable futures.
In summary, the aim of both sci-fi and design fiction is
exploring technology futures. However, the former produces
knowledge in the form of literature, and the latter produces it
in a tangible form. The difference between the two disciplines
in the forms of knowledge produced may be explained bytheir respective distinctive modes of thinking: writing andprototyping, respectively. Using the two thinking modes
together constitutes a new, integrated approach to learning AI.
The following section analyzes the two bodies of disciplinary
1. How can sci-fi and design fiction complement each other knowledge to derive theoretical insights.
to enhance the study of technology futures?
2. What form of approach can be provided to study
technology futures?
3. How does this new pedagogical framework enhance
design education?

The exploration is conducted in a new design course runningin Spring 2023, titled ‘AI, Design and Sci-Fi: Coding 2053’.
The research plan involves, first, developing a conceptual
proposition by drawing theoretical insights from sci-fi anddesign fiction literature. Next, this proposition is used tostructure a new pedagogical framework for the design course.
Applying a case study research method, the adequacy ofintegrating sci-fi and design fiction to enhance learning of AI
is assessed. Finally, this paper concludes with the case study
results and an analysis, as well as student feedback.

Literature Review“It has become axiomatic to say that the world is becoming likescience fiction” (Vint 2021, 1). Sci-fi extrapolates possible futureways of living from actual science and emerging technologies
and may present either a world perfected by technologies ora dystopia caused by the societal impact of technology (Vint
2021). ‘Social’ sci-fi furthermore conceptualizes widespreadsocio-technical changes and explores the social implications
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Figure 1: As illustrated in the PPPP diagram, Speculative design focuses on defining
Preferrable futures. Adapted by Dunne and Raby from the futurologist Stuart Candy and rerepresented by Dunne and Raby (Dunne and Raby, 2013:4, 5).
Design Beyond / Science Fiction and Design Fiction to Learn About AI

Initial Theoretical Proposition: Integrating Science Fiction and Design Fiction
This section draws theoretical insights from the review of the I studied the literature further to yield theoretical insights fromsci-fi and design fiction bodies of literature. The integration the fields and four major theoretical insights are drawn:of these two bodies of knowledge into an initial proposition is
explained below.
Scientific extrapolation: sci-fi extrapolates technology trends
from actual science and emerging technologies.
Sci-fi is text-based, in that it articulates futures in text form.
Worldbuilding: sci-fi clarifies socio-technical dynamics
The driving theory behind this form of expression is analyzed
through writing narrative that interplays between sci-fi novum,
in terms of complex cognitive processes, to comprehend andworldbuilding, plot and characters.
pursue new ideas (Flower and Hayes 1981). The foundational
elements of writing sci-fi are the sci-fi novum, worldbuilding, Prototyping fictional futures in everyday reality: design
plot and characters. ‘Sci-fi novum’ describes scientifical fiction prototypes tangible fictional artefacts and poses whatinnovations that are futuristic but scientifically plausible (Suvin if future technology scenarios in everyday reality to conjecture1972). Worldbuilding, as defined by Nora Keita Jemisin (2019), possibilities and examine emerging problems through linking
is the context of a story that constructs a possible future preferrable future to the present.
world. This context includes both the physical environment
where the story takes place, such as the planet and ecology
as well as the cultural and societal conditions developing fromthe physical environment. Jemisin called the former context
as macro-worldbuilding and the latter micro-worldbuilding.
Plot refers to what happens in a story, specifically a seriesof events in a timeline, with each event affecting each other.
Character is informed by both macro- and micro-worldbuilding
wherein the behaviours and the inner worlds of each characteras well as the conversations between characters introduce
experiences of the futures. The novum, worldbuilding, plot,
and characters interplay in an exploration of socio-technicalimplications in a sci-fi story (Zaidi 2019). Vint (2021) describes
sci-fi as a tool for us to speculate a vision of the world andnegotiate technological changes.

Experiencing technology futures: enables and concretizes
experiences with future technologies in a changed world
through interacting with the fictional product and scenario
setups.

In addition to the theoretical insights, their implications forenhancing the learning of AI are analyzed, as these arealso significant. The writing mode of sci-fi enhances thecomprehension of technology trends and clarifies sociotechnical dynamics of rich sci-fi narration. Thus, sci-fi canbe used as research as well as inspiration to support design
fiction for the purpose of learning AI. Moreover, the prototyping
mode of design fiction can operationalize the sci-fi narrative
as a tool to study AI by posing ‘what if’ scenarios, as well as
concretize the experience of futures in the changed world.
In this respect, design fiction can be used as an explorative
Different from sci-fi, design fiction is artefact-based, in that tool to complement sci-fi for experiential learning of AI. The
it articulates futures in tangible forms. The driving theory implications of AI learning are listed as below:
behind prototyping in tangible forms is studied as a cognitivemodelling process to organize new concepts and solve Research: To learn AI needs to understand technology trends
problems through reasoning aloud (Archer 1979). Furthermore, based on actual science. In this view, sci-fi narrative is used as
the concept of prototyping in design fiction is closely research for scientific understanding.
associated with the field of industrial design, for the nature
Inspiration: To learn AI needs to address societal impactsof design problems necessitates that industrial designersof technology. About this point, sci-fi narrative is used
prototype to think of appropriate solutions (Malpass 2017).
as inspiration to incite socio-technical interactions andFurthermore, the visual literacy of industrial design engenders
experiences in technology futures.
meaningful interpretations of artifacts producing a visual formof knowledge (Goldschmidt 2015). Design fiction involves Exploration: To learn AI needs to realize problems emerging
prototyping fictional products as well as future technology in future when specific future technology is adapted into
scenarios wherein the artefacts are subsumed within larger an everyday context as well as explore possibilities of afuture contexts to connect the present and future (Malpasse preferrable future when changes are implied. In this view,2017). Through linking fiction and reality, the effects of the prototyping in design fiction is used as an explorative tool totechnology emerging in futures are strategically brought to the examine alternative scenarios for changes towards preferable
forefront and considered in an everyday context, which is the futures.
essence of design fiction. The physical outcome of prototyping Experience: To learn AI needs to systematically learn
in design fiction does not aim to dictate one solution for and evolve different paths towards how things should betechnology futures. Rather, it is used to systematically learn experienced in preferrable futures. In light of this point,and develop various possible future scenarios with the aim of prototyping in design fiction is used as an experiential learning
determining how things should be experienced in the future to experience technology futures.
(Dunne and Raby 2013). The discipline provides a vocabulary
with which to discuss the future as well as an explorative tool Table 1 below lists the theoretical insights obtained from thewith which to interact with the future. To communicate fiction sci-fi and design fiction review alongside their implications
and reality, the aesthetic quality of design is applied whereby for enhancing AI learning (Table 1. Developing theoreticalartefacts are usually built in abstract forms with minimal details Sci-Fi insights and Design Fiction insights into AI learning
to reduce functionality; however, they should be well defined implications).
and clear enough to retain realness and accuracy (Dunne
and Raby 2013; Malpass 2014). Ultimately, these ‘real-fiction’ The four insights and the four implications listed above indicate
setups engage people in experiencing future technology that the two thinking modes complement each other whenmore closely to facilitate their exploration of making changes used to achieve the research aim of enhancing the study of AI
towards preferrable futures.
technology futures. Thus, the initial proposition is formed that
Design Beyond / Science Fiction and Design Fiction to Learn About AI

the integration of sci-fi and design fiction should be adopted ina course to confirm its adequacy to facilitate the learning of AI.
Page 107

Table 1: Developing Theoretical Sci-Fi Insights and Design Fiction Insights into AI Learning Implications.

Research Method: Case Study
This research aims to determine whether AI learning can beenhanced by integrating sci-fi and design fiction in a course
on AI. Regarding research strategy, the case study method
is adopted and the cases under study are projects of anundergraduate course in the Hong Kong University of Scienceand Technology. This course, titled AI, Design and Sci-Fi:
Coding 2053, targeted students across several schools andeight students from year two to year four attended the course.
Amongst them, six students were from School of Engineering,
one from School of Science and one from School of Business.
The course lasted for one semester comprising thirteen weeks
in Spring 2023. The students worked in teams and four teams
were formed.

Case study method is adopted as a research method toassess the practical relevance of this proposed course
content by capturing empirical evidence of such relevance.
Specifically, the proposition formed in the above section
regarding the integration of sci-fi and design fiction is applied
to practical cases to capture empirical insights, which are thenused to refine the concept and ensure its practical relevance(Eisenhardt 1989). In this research, causal relationship analysis
is adopted to analyze the link between the proposition andthe case results to establish internal validity (Gray, 2004; Yin,
2014 [1984]). Furthermore, a multiple-case study is planned to
identify recursive patterns in the relationships across cases,
to establish external validity (Eisenhardt and Graebner, 2007;
Yin, 2014 [1984]).

The Pedagogical Framework: Design Course Content
The proposition of integrating sci-fi and design fiction is based on a literature selection criterion that is outlined earlier.
developed into a three-level pedagogical framework for the Specifically, the stories must focus on AI technology and havea strong socio-cultural context. The six chosen sci-fi stories
purpose of developing a course to facilitate learning AI.
are as follows: Runaround (Asimov 1950), Human Is, The Hood
The structured framework guides students to analyze the Maker and The Impossible Planet (Dick 1955), Klara and thesocietal and environmental impacts of AI development. Sun (Ishiguro 2021), and Exhalation (Chiang 2008). Clear
In addition, several preparations are also planned. First, a reading guidelines with two to three guiding questions for each
topical framework focusing on major socio-technical issues selected sci-fi story are constructed. To provide guidance
emerging from AI advancement is set. The four learning topics on and insights into how to read and write sci-fi, an English
addressing critical concerns about AI growth are: human- literature professor who focuses on sci-fi research is invited
machine relationships, future of humanity, agency, and the lost as a guest lecturer for one class period.
Earth. Next, sci-fi stories relevant to each topic are chosen,

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Design Beyond / Science Fiction and Design Fiction to Learn About AITable 2. Three-Level Pedagogical Framework to Learn AI, Applying the Initial Integrated Proposition.

LevelsSupportive teaching methods, learning
activities and assessment:

Theoretical proposition adopted
in the pedagogical framework:

Weeks 1 – 5:
— Topical framework with four topics— Adopt Sci-Fi as Research for
Scientific Extrapolation— Adopt Sci-Fi as Inspiration forWorldbuilding— Adopt Design Fiction as
Exploration to Prototyping Future
Scenarios in Everyday Reality— Adopt Design Fiction as
Experience to Experiencing
Technology Futures

Level 1:
Reading sci-fi and creating
design fiction— Six selected Sci-Fi with Literature
Selection Criteria— Reading guidelines and Prototyping
guidelines— Smaller-scale fictional artefacts— Guest lecture on how to read and write
Sci-FiLevel 2:
Writing sci-fi

Weeks 6 – 8:
— Address the four topics of the topicalframework and the selected Sci-Fi— The theme “Coding 2053”— Adopt Sci-Fi as Research for
Scientific Extrapolation— Adopt Sci-Fi as Inspiration forWorldbuilding— Writing guidelines and word limit
Level 3:Creating design fiction

Weeks 9 – 13:— Based on their own Sci-Fi— Prototyping guidelines— Adopt Design Fiction as
Exploration to Prototyping Future
Scenarios in Everyday Reality— Adopt Design Fiction as
Experience to Experiencing
Technology Futures

Table 2: The Three-Level Pedagogical Framework to Learn AI, Applying the Initial Integrated Proposition.

At level 1 ‘Reading and Creating Design Fiction’, students learn to read sci-fi and also to prototype smaller-scale, fictionalartefacts based on the sci-fi stories they read (Figure 2).
At this level, all four of the complementary elements in the initial proposition are adopted as introductory practice by thestudents.

Figure 2: Level 1: Reading sci-fi and creating design fiction. Students learn to read sci-fi and to prototype smaller-scale, fictional artefacts based on the sci-fi stories they read.

Design Beyond / Science Fiction and Design Fiction to Learn About AI

Page 109

Having grasped comprehension skills, students begin to “create” their own text in level 2, ‘Writing Sci-Fi’ (Figure 3).
At this level, the two sci-fi theoretical insights are adopted for research and inspiration. When conceiving their own stories,
students address certain topics within the topical framework and draw socio-technical insights from the selected sci-fi. In theirown stories, the students build their socio-cultural worlds and describe their AI futures. Furthermore, a deliberate theme is set
for writing, ‘Coding 2053’, taking place in the foreseeable future of 2053. Many of the students are in their teens and will be in
their 50s by 2053; thus, they can imagine their middle-age years, based on current technology.

Figure 3: Level 2: Writing sci-fi. When conceiving their own stories, students address certain topics within the topical framework and draw socio-technical insights from the selected sci-fi.

The technological issues discussed in the sci-fi stories are then visualized in the artefact-based design fiction in the last level,
level 3 ‘Creating Design Fiction’ (Figure 4).
This level adopts the two design fiction theoretical insights for exploration and experience. At this level, students explore whatif scenarios and prototype fictional products. This results in new works of sci-fi and design fiction by the students. The learning
process is observed throughout the course, and the students’ feedback is gathered and documented.

Figure 4: Level 3: Creating design fiction. At this level, students explore what-if scenarios and prototype fictional products.

Page 110

Design Beyond / Science Fiction and Design Fiction to Learn About AIAnalyzing Case Studies
This section analyzes the application of an initial theoretical
proposition (that is, to integrate sci-fi and design fiction) to fourcase studies from a design course to confirm its sufficiency
for students’ learning of AI. The four cases are: Just AnotherDay (Li and Reza, 2023), The Memory Companion (Chongand Li 2023), The Echoes of Eunice (Chin et al. 2023) andMy Journal (Tsoi 2023). Just Another Day documents three
dialogues between AI and a human to narrate three possible
societal futures, depending on how technology is developedby human. The Memory Companion conceptualizes the tradingof memories between a human and AI in 2053, to explore
equity between AI and humans. The Echoes of Eunice centres
on a teenager exploring the issues of identity and artificial
friends in a human world. My Journal explores sentience in AI
through a journal written by a computing engineer who reflects
on human life in an artificial city.

The analysis begins with identifying the four theoreticalinsights of the initial proposition in relation to the four cases. In
the analysis, the predicted insights of Scientific Extrapolation,
Worldbuilding, Prototyping Future Scenarios in Everyday
Reality, and Experiencing Technology Futures are identifiedin each new sci-fi and design fiction. This analysis confirms
the presumed causal relationships between the theoreticalinsights and the resulting student-created materials in theindividual cases. Moreover, the insights are also identified in
all of the cases, further confirming the adequacy of the initial
proposition across cases. The case analysis results support
the initial proposition. The analysis results are organized in atable below.

Table 3: Identifying predicted theoretical insights in the four cases.

Under the integrated sci-fi and design fiction approach,the students exercise two modes of thinking: writing andprototyping. To create their sci-fi, students use the selectedsci-fi stories, as research, to obtain scientific understanding andidentify technology trends. They also use sci-fi, as inspiration,
to learn socio-technical interactions and consequences. When
writing their own text, students begin to make sense of how
people negotiate a new world. The writing process allows
students to express their emotions and their desires for abetter future in a fictional context and following their intuition.
Through detailed writing, the students become consciousof human flaws causing unforeseen negative effects of AI
technology. Moreover, the four topics on the critical concerns
about AI advancement, together with the selected sci-fi
readings, are found to be supportive to students to address
societal and environmental impacts beyond technology
advance.
After writing, students are aware of what they want to express
and question; therefore, they can consider specific design
fiction based on their own stories. The students use design
fiction to examine, through exploration, how to materialize the

Design Beyond / Science Fiction and Design Fiction to Learn About AI

notion of technology’s impact on society as expressed in theirsci-fi works. Thus, they prototype fictional artefacts situated infuture technology scenarios. Moreover, the design process ofconceiving of future scenarios and building fictional artefacts
systematically develop the students’ reasoning concerning
how to evolve various solutions in terms of how things would
be experienced in preferrable futures. Lastly, the sociotechnical dynamics delineated in student-created stories arepresented in a solid manner through the fictional artefacts andscenarios. This allows students to experience themselves theinteractions with future technologies in the changed world.
In other words, the tangibility of prototyping in design fiction
provides experiential evidence of requiring changes in order
to avoid unforeseen disastrous consequences.
Student feedback is also documented, supporting thepromising integration of sci-fi and design fiction to facilitate
learning about AI. Most of the gathered feedback reflects thatstudents have learned to take a critical view to see the wider
societal impact of technological advancement and to express
their accountability for technology futures. The feedback fromstudents are noted below,

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“Delving into Sci-Fi also enables us to explore future scenarios
from a protagonist’s viewpoint, exposing to ethical dilemmas
that may arise as AI learning skills advance. Building artefactbased designs can provoke thoughtful discussions on these
ethical controversies, encouraging a more comprehensive
understanding of AI’s societal implications, Chin, Choi and“A unique approach to learn and think about AI and the Wan, 2023).
implications on society. Through reading SF, we get to thinkand picture the future, near or far. Writing our own story allows “We began expanding our worldview by reading thoughtus to create our own future and picture how AI will shape it. provoking Sci-Fi and discussing the technical and moral
Creating an artefact makes the future more real and closer to implications. We then switched our role from an audience to acreator. We imagined the world in 2053 and presented it in theuse,” (Tsoi, 2023).
form of a story and an artefact,” (Li and Sameer, 2023).
“ChatGPT was popularized during the time we took thiscourse; the learning materials prompted us to stay up-to-datewith the latest technology while at the same time also alert us[to] be mindful of the potential social-cultural impacts causedby technologies,” (Chong and Li, 2023).

Discussion

Conclusion

This paper describes how works of fiction can be used tolearn about, visualize, and describe AI technology futures.
The analysis reveals that the writing and prototyping modesof thinking in sci-fi and design fiction, respectively, arecomplementary. Sci-fi, as research and inspiration, facilitates
extrapolation and the expression of ideas about AI futures,
while exploration and experiential learning through design
fiction are complementary to operationalize to sci-fi, allowing
the use of sci-fi to interpret and materialize ideas about sociotechnical impacts on society. The find of this complementary
relationship answers research question 1.

In this research paper, fiction is used to allow students to imagine
and intervene in socio-technical changes. Design practice,specifically design fiction, is connected to sci-fi to further
strengthen and expand the strategic attributes of design. The
integration of the two unique inquisitive approaches – sci-fi
through narration and design fiction through tangible artefacts– can be used to powerfully inquire into technology futures.
The research results indicates that the integrated approachis potentially effective for students’ learning of emerging
technologies, with a focus on socio-technical implications.
Research on integrating sci-fi and design fiction is scarce,and this study proposes a new interdisciplinary researcharea in the field of design research. In future research, theframework could be applied to more case studies with the aimof formulating principles for wider empirical application, which
may ultimately achieve more desirable technology futures.

Furthermore, the literature review in the fields of sci-fi anddesign fiction yields four key theoretical insights: Scientific
Extrapolation, Worldbuilding, Prototyping Future Scenarios
in Everyday Reality and Experiencing technology futures.
These are used to develop the initial proposition. The
theoretical proposition provides a new approach to the studyof technology futures, namely, the integrated sci-fi and design
fiction approach in AI-related coursework, answering researchquestion 2. This new approach is then used to develop a
3-level pedagogical framework for a new design course forlearning AI intended to advance design education, whichanswers research question 3. With the theoretical propositionat hand, the case study research method is applied to capture
empirical evidence to inform a causal relationship analysis, anda multiple-case study is used to ensure the practical relevanceof the proposed pedagogical framework.
The results of this meticulous research process demonstrate
the validity of the research, and the case study results, together
with student feedback, also demonstrate the adequacy of theintegrated knowledge to enhance students’ learning about
AI, with a focus on socio-technical implications. Finally, theresearch results offer theoretical and practical contributions
to the research community. This fulfils the research aims of
exploring a new approach to learn about and discuss AI anddeveloping a new pedagogical framework to enhance design
education are fulfilled.

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algorithms are racist. They need to be dismantled: Lack oftransparency and biased training data mean these tools are
Chin, Kelvin Chi Lon. Choi, Ruby Tsz Yan. Wan, Ho Yan. 2023. not fit for purpose. If we can’t fix them, we should ditch them.
The Echoes of Eunice. In: Mok, L. (eds) AI, Design and Sci-Fi: In MIT Technology Review: Artificial Intelligence. Accessed
Coding 2053. A collection of science fiction and design fiction. on 30 July 2023 from https://www.technologyreview.
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Companion. In: Mok, L. (eds) AI, Design and Sci-Fi: Coding Ishiguro, Kazuo. (2021). Klara and the Sun. London: Faber &2053. A collection of science fiction and design fiction. Pp. 83- Faber.
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Jemisin, Nora Keita. 2019. In: Parham, J. (eds) For N. K. Jemisin,
Crawford, Kate. 2021. Atlas of AI: Power, Politics, and the World-Building Is a Lesson in Oppression. Accessed from
Planetary Costs of Artificial Intelligence. Yale University Press. Wired on 20 August 2023 from https://www.wired.com/story/
nk-jemisin-how-to-write-science-fiction-wired25/
Dick, Philip Kindred. 2017. Human Is in Electric Dreams Vol. 1.
Li, Joycelyn Pui Kwan. Reza, Sameer. 2023. Just Another
London: Orion. First published in Starling Stories 1955.
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Dick, Philip Kindred. 2017. The Hood Maker in Electric Dreams collection of science fiction and design fiction. Pp. 57-67.
Vol. 1. London: Orion. First published in Imagination 1955.
Malpass, Matt. 2017. Critical Design in Context: History, Theory,
Dick, Philip Kindred. 2017. The Impossible Planet in Electric and Practices. London: Bloomsbury.
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Dunne, Anthony. Raby. Fiona. 2013. Speculative Everything:
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Genre. College English, Dec 1972, Vol. 34-3, Pp 372-382.
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Theme 3

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Behavioural
Design for Planet

WDO Research and Education Forum 2023 Proceedings / Design Beyond

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Design with More than
Humans: Reimagining
Social Biomimicry throughCollaborations in Learning,
Performance and Coauthorship

Authors:
Tokushu Inamura
Melanie Sarantou

Institution:
Kyushu University Facultyof Design, Department ofStrategic Design (Japan)

Abstract
The aim of this paper is to explore the roles and transformative
potential of co-authorship with more than humans (MTHs)
through biomimetics. Specifically, how can social biomimicry
be reimagined through collaborations in learning, performative
practices and co-authorship? Furthermore, how can suchcollaborations inform models of shared learning spaces
for new knowledge transformation in society? To addressthese questions, this paper presents two case studies on
the Nakagawa (Naka river) in Fukuoka (Japan), and the Kemiriver in northern Finland. Methodological approaches include
ethnographic action and analysis. Several entry points for coauthorship with MTH’s through biomimicry revealed themselves,
represented though the cormorant, kingfisher, dragonfly andsalmon. MTH co-authorship presents opportunities to foster a
new conscious and engaging push to change habits and adopt
virtuous behaviours and attitudes of collaborative learning thatencompass plural design and transition. Biomimicry throughexplorative, meditative, and performative practices present
embodied opportunities for such behavioral and attitudinal
shifts required to address societal challenges.
Keywords: More than humans, biomimicry, co-authorship,social design, transition, plurality

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Introduction
Nature remains an unlimited source of inspiration. Nearly aquarter of a century ago, Latour (1999) called for breaking
with modernist frameworks by moving to alternative andplural frameworks that consider the natural environment andinclude more than humans (MTHs) to sustain life on a scarredplanet. By MTHs, we mean every form that assumes an entity
displaying some human attributes or, after Bourriaud (1999),
materials or media that intrinsically bear qualities that are
informed by, resemble, or carry recollections of humanity’s
actions. However, in this paper, we include pluriversal
ontologies of being in this world and (active) becoming (Allport
1955; Escobar 2020). One example is the environmental
personhood prescribed to the Whanganui river in New
Zealand in 2017 (Hubberstey 2021). The last few decades
also saw a rise in interest in attempts to use biology, designand engineering to reshape natural systems with the aim ofdeveloping more sustainable futures.
The aim of this paper is to produce new knowledge about
the roles and transformative potential of coauthorship with
MTHs through novel arts-based methods and processes
for the creation of a more pluriversal world (Miettinen et al.
2023). Design inspiration derived from the natural world, often
represented as biomimicry (Benyus 1997), can generate aplural understanding of, and solutions to, societal complexities
through social innovation (Fewell 2015).
Spanning fields of research and practice in the areas of social
and transition design (Tonkenwise n.d.), this paper presents
two case studies on the Nakagawa (shortened to the Naka) inFukuoka (Japan) (Inamura 2022), and the Kemi river in northern
Finland (Miettinen and Sarantou 2021), thereby reflecting on,
reimagining and expanding social biomimicry observation as adesign approach that encompasses social design. This paper
asks the following questions: how can social biomimicry be
reimagined through collaborations in learning, performative
practices and coauthorship? How can such collaborations
inform models of shared learning spaces for new knowledgetransformation in society?
The researcher-authors of this paper and the communities
in Fukuoka (Japan) and Rovaniemi (Finland), participatedin the case studies. Methodological approaches included
ethnographic observation and analysis to identify opportunities
for biomimicry that could be embedded in approaches to coauthorship and design. The ethnographic studies deliveredvisual data that were analyzed using methods of visual
analysis to draw conclusions about the social functions thatare supported by and connected to the rivers. In each of thecase studies, societal issues were identified and acted on by
the communities. The observational phase was followed byprototype-making workshops in the form of design jams andarts-based methods and performative practices as methodsof resistance and care by both communities. In co-authorshipwith the two rivers and their surrounding environments, theresults were visually documented as second and third data
sets and analyzed through collective autoethnography by theauthor-researchers. In the following sections, we present thetwo cases.

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Case 1: Nakagawa, the Naka River

Figure 1: The Naka as a living and lifegiving being where life and creativity are continuously changing and evolving around the daily lives of communities who live and co-exist with it.
Photography by Sarantou (2023).

The Naka has been a field for continued research throughdesign. The river runs through the centre of the city and flows
around Nakasu, the centre of night life in Fukuoka. The namedraws from the ancient name for the land, noted for the golden
imperial seal that permits the king to rule the Kingdom of Na.
This seal is stored in the Fukuoka City Museum. The cultural
importance of the river is understood, yet its ecologicalimportance is easily overlooked. The river flows close to theresearch campus of the authors and the nearby landscape canbe seen (Figure 1).

to paddle through the water. A local partnering nonprofit,
Fukuoka Kaihin Sports, has collaborated in coaching the skills
for Stand-Up Paddle (SUP) board on the Nakagawa as part ofeducation, leadership, and community development.

The head of Fukuoka Kaihin Sports, Masatsune Yoshimura,provided coaching in safety and skills. Beyond this as anexperienced steward of the river, he imparted many stories ofgrowing and playing on the river as a child and the way in which
the river has been altered by anthropocentric interventions.
The river has gone through many renovations to make it
The river is home to diverse flora and fauna (Yoshimura et more resistant to torrential rain and flooding. This, however,al. 2005). Multiple projects are being conducted on the river has changed the width of the river, which has changed theto engage in and regenerate the river. The Nakagawa River characteristic flow.
Conference (Nakagawa Mirai Kaigi, from here on NMK)
was established in 2021 as part of this local effort across The augmentation of the paddle and board draws from andsectors. Corporate employees, tertiary and primary schools, combines the five senses: feeling the cool of the water and wind,
local organizations and community halls have been involved. shifts of visual perspective, smells as well as kinesthetic andPractical projects have been developed to create participatory exploration on the river. Starting from sitting low to the water
future plans, with and independently from the NMK. Prior work and then standing on the board allows for shifting proximity
on the river has introduced the potential of observation from with the water. The resistance felt through the hands on the
MTH perspectives, such as fish and bird point of view (Inamura paddle and feet on the board are touch points with the river.
2022 and 2023). Design-based exploration of the river Once comfortable in balancing and paddling, the movement
presented opportunities for embodied and biomimetic sensing with and through the flow of water and wind becomes at onceand exploration. The following section will present examples an ephemeral choreographic and collaborative act.
of biomimetic approaches and viewpoints tested on the Naka
Through this free explorative mode, the river opens paddlers
from 2018 onwards.
to observe flora and fauna, such as fish, insects, and birds aswell as land and water-based plants. From the river, we began
Bird’s eye view: The Cormorant
noticing floating rubbish such as plastic bags, bottles and cans
Cormorants are seen on the river, swimming or often restingcaught in the watercress and roots near the growth on theon artificial structures. They are traditionally trained in Asia forriverbank.
their ability to fish (King 2013). They are adept at swimming
using their webbed feet to navigate the river. A way toexperience the river from the Cormorant’s point of view isPage 118

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Figure 2: Cormorants on the Naka. Photography by Inamura (2019).

SUP exploration and walks along the river have been followedby facilitated meditative method sessions for ideation andvisualization. The tangible output of future visions for theriver were developed by master's level student designers(Figures 3a, 3b). The student team was Benedikt Schneeberg(product), Claudia Carioni (interior architecture) and Valentina
Maria Vasile (interior architecture) n.b., for elaboration of themeditative methods, see the referenced chapter (Inamura
2023). The vision has been presented to local communities
and government, as well as used as the basis to develop future
visions of the NMK.

Figure 3a: The Naka Hub concept developed. Diagram by Schneeberg, Carioni, Vasile andInamura (2019).

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Page 119Figure 3b: The Naka Hub concept developed. Diagram by Schneeberg, Carioni, Vasile and Inamura (2019).

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Bird’s eye view: the Kingfisher
The Kingfisher is a specific species on the river and is the
symbol of the eponymous Nakagawa city lying upstreamin Fukuoka prefecture (Nakagawa City 2014). It is also
one of the most iconic examples of biomimetics applied to
Shinkansen bullet trains (Primrose 2020). The avian family
became thematic during the Global Goals Jam in Fukuoka, anannual event developed by the United Nations Development
Programme and the Digital Society School, where Inamura
was a co-organizer. One team was responsible for theriver’s sustainability. Inamura identified a photographer on
the riverside who was originally taking photos of birds, tolook for Kingfishers. The photographer noted that the birds
required perches to dive into the water and fish. Based onsuch exchanges, the final output proposed was a design forboth humans, kingfishers and surrounding river ecosystems
to thrive (Figure 4a). The curiosity of bird watchers and theirconstant engagement with avian species are examples ofimportant communities of co-authorship.
Figure 4a: Result of co-authored space creation and activities of care in a collaborative
workshop space ‘design jam’. Design by Hayako Oba,Shizuha Heta, Yan Gan, Elisa Desestret,
Yuechen Gu and Inamura (2018).

Insect view: The Dragonfly
Co-authorship on the river is not only reliant on empathetic
or conceptual understanding, but also on cognitively having
access to spatial and structural understanding of the river sothat sensemaking can occur. The dragonflies that hover andinhabit the river negotiate the space with ease. The dragonfly
is a popular cultural motif exemplified by the nursery song
Aka-tombo (Mitchell and Lasswell 2005). The movementof remote-controlled drones with the capability to hoverand traverse is analogous to a dragonfly. Drone augmented
biomimetic exploration allows for three-dimensional data
through light detection and ranging (LiDAR). Drones were
flown to gather three-dimensional geographical data andshared with primary school children as part of the Year 12
class, alongside learning about local fish species and SUP
demonstrations (Figures 4b and 5). This was conducted aspart of a visioning exercise to coauthor pluralistic visions for
the Naka and its desirable futures. Both the data gathered by
the drones, as well as observing the flying drones, afford theweaving of points of view of the river so that senses of spaceand scale can become tangible.

Figure 4b: Drone LiDAR photography and operation by AlShawaf Bader ASAMA. Photography
by Al Shawaf (2022).

Three biomimetic modes have been outlined; they are entry
points for coauthorship with MTH from a design approach.
The following section details the case of the Kemi in Finland incontrast with an arts-based inquiry.

Figure 5: Drone and landing pad on the banks of the Naka. Photography by Inamura (2022).

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Case 2: Kemi River
This artivist (artist + activist) project was implemented
by artist-researchers Satu Miettinen, Taina Kontio, Mari
Mäkiranta and Melanie Sarantou in support of Professor Vesa
Puuronen, who was legally sanctioned for the sum of € 20 000
for placing graffiti of two salmons and the slogans and a poem,“Eternal river is grieving the greed of people”, on the private
property of the electricity company Kemijoki Oy at Pirttikoski
and Seitakorva (Viinikka 2020). Puuronen used the graffiti toprotest the newly proposed Sierilä power plant that will be
erected on the banks of the Kemi.
Different companies and governments have exploited theKemi and its salmon since Swedish rule through overfishing,transporting logs and wood on the river and, as a final nail inthe coffin, Kemijoki Oy set up power plants during the 1950s
and changed the way of life for the local communities andaltered the local natural scenery. The indigenous salmon
became extinct because of power plants (Niemi 2021).
The case study related to the ephemeral artivist (Penley andRoss 1991) project Five Salmon and Two Fish (viisi lohta ja
kaksi kalaa) that was implemented on the banks of the Kemi
River has been published elsewhere (Miettinen and Sarantou
2021). The artivist action was implemented by four artistresearchers from Finland, one of whom is the coauthor of thispaper. The documentary artists for the project were journalists
and documentary artist Antti Haase and videographer Mikko
Leinonen of the production company Illume Oy, who assistedwith capturing the ephemeral and performative project inMarch 2021. This reflection on the project looks beyond theinitial project, its motivation and implementation to understandthe value and role of performative and arts-based projects indesign education.
The image of a large 20-metre fish that has been installedon the banks of the Kemi (Figure 6) blends gracefully with its
natural surroundings. The installation was created from textile
strips that were used to create a line drawing of a large fishon the white backdrop of the icy riverbank. The image of the
fish was captured by a drone about 10–15 metres above thefish. The large fish appears whimsically from above, like awhimsical line drawing of a fish. The installation was created,documented and removed from the ice within a span of fourhours on an early sunny spring day near Rovaniemi in Arctic
Finland. A sustainable approach to the ephemeral installation
was selected – for creating and documenting the artivist
action, harmful impacts on the environment were reduced
as far as possible; for example, the textile strips were wholly
removed from the environment.
The inspiration for the ephemeral nature of the action, both the
installation and the performance, was derived from biomimicry(Benyus 1997), which means innovation that has been inspiredby nature. The artist-researchers observed the movement ofsalmon or trout in rivers when swimming upstream or when
they barely showed themselves camouflaged by the dark
patches on their backs, like a shadow or glimpse, in one
moment visible while disappearing the next when close to
the river surface. The whimsical textile installation similarly
showed itself, in a moment – a well-camouflaged glimpse of afish appeared on the banks of the Kemi, before it was removed
after documenting the performance. The performance of themoving salmon generated kinaesthetic empathy due to themimicking of movement and sensual experiences (Reynolds
and Reason, 2012), which was generated from the natural
Page 122

Figure 6: The ephemeral fish installation on the banks of the Kemi. Photography by Satu
Miettinen (2021).

Figure 7: Artist-researchers (from left) Melanie Sarantou, Satu Miettinen, and Taina Kontio ina performance next to the installation of the salmon on the banks of the Kemi. Photography
by Mikko Leinonen (2020).

environment that was closely connected to the former habitatof the salmon (Figure 7).
The value of performative and arts-based methods for design
education lies in driving active and action-based learning inwhich students can critically reflect on the choices they makefor their actions, for example, how it will impact the environmentand how they can observe new and innovative ideas stemmingfrom nature. In addition, values such as using ephemeral
methods and the reusability and removability of materials
used in their actions so that no unwanted traces are left innature or outdoor spaces can be used in design education.
Documentation not only supported the artivist action using
place, space and textile strips sought to take a stand and raiseawareness of the decline of the Kemi and its inhabitants, thesalmon that have been extinguished in this area of the river(Niemi 2021). Value can be created by documenting artsbased actions as part of students’ learning experiences. Suchvalue is vested in having evidenced actions that can be further
digitally disseminated for analytical and reflective purposes toaid learning processes because such documentation “speak
louder and more persistently than those (more than humans)
who have been silenced” (Miettinen and Sarantou 2021, p. 47).

Design Beyond / Design with More than Humans: Reimagining Social Biomimicry through Collaborations in Learning, Performance and Co-authorship

Discussion
Creative co-authorship with communities and MTHs cancontribute to the design for plurality by providing new views
and ways to design and create new values, as well as those thatare embedded in design practices. Co-authorship with a living
design medium refers to material production that incorporates
simple living organisms, material-driven design and designingwith MTHs that have agency of their own. Anthropocene asa worldview, revealing human activities that reshape nature
through creativity, connecting humans and MTHs to resultin intertwined worlds. Cross-pollinated anthropologies, suchas the Anthropocene, enhance dialogue within a hybrid,
globalizing world that includes various actors, often MTHs. In
such contexts, makers, designers, teachers and researchers
become experimenters, collectors, and natural agents. Thisentails a multifaceted exploration of contemporary material
culture, requiring a border crossing between creative actions
with MTHs, spaces, fields, and disciplines (Härkönen et al.
2023).
Societal challenges need solutions that drive interactions andorganizational processes to deliver impact not only on a social
level but on a broader societal scale, which comprises thesocial and environmental contexts of such challenges. To thisend, researchers, artists and designers sometimes adapt or

reject behaviours and patterns observed from nature to create
innovative solutions. In doing so, social designers can use
biomimicry to move on from approaches to social design thatseem to have more ameliorative outcomes rather than resultsthat address policy and structural change (Tonkenwise n.d.).
An escalating challenge is how to change our interactions andrelationships with MTHs to enable futures that can address
societal challenges. Moreover, how we (re)design education
through this research is paramount to generating a sustainable
impact for designed futures.
The impact of this research is to present co-authorship with
MTHs for reshaping pluriversal approaches to learning andnew models for the implementation of shared learning spaces
within different environments and with communities andMTHs. These inspiring recommendations would generate inindividuals, as well as in communities, a new conscious andengaging push to change habits and adopt virtuous behaviours
and attitudes of collaborative learning. Interactions with MTHs
ask for tolerance, plural ontologies and views, and a reflection
and reimagination of the future through ideas that should beshared and communicated verbally, visually, kinetically, orother communication channels.

Acknowledgements: We thank the Ministry of Land, Infrastructure, Transport and Tourism for supporting this research throughsupporting the Nakagawa Future Conference with the ‘Public-private partnership projects to promote town center regeneration’
grant.
This work was supported by JSPS KAKENHI Grant Number 18K18315 and the European Commission Horizon 2020, Grant
Number 870621.

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Design Explorations Towards the Pluriverse. London: Taylor &Francis. https://doi.org/10.4324/9781003285175

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Design Beyond / Design with More than Humans: Reimagining Social Biomimicry through Collaborations in Learning, Performance and Co-authorshipEphemeral E-commerce:
Environmental Design Project
Curriculum to Redefine
Consumer Behavior

Author:Christopher Mark
KaltenbachInstitution:
American University of
Sharjah (United ArabEmirates)

Abstract
This paper introduces an undergraduate design-studiocourse project that utilizes a product-service, vending system
concept. It is based on a closed-loop product fabrication anddisposal system described in a U.S. patent in which the vending
machine is melded with a 3-D printer to generate objects
from an unspecified, recyclable biopolymer, which are thenreturned to the vending machine after use to be reconstituted
in the same material. In this course, everyday products werereinterpreted as disposable. From each object, along with theconnected vending and mobile-phone network that supported
its acquisition and disposal, two screen-based user interfaces
were created.
Within these parameters and the notion that the consumer will
have temporary use of such items, speculation on the futureof product ownership and incentivized recycling behaviour
are presented, ultimately providing a definition of a productservice.
Keywords: Design education, systems thinking, productservice, dematerialized economy, pro-environmental behavior

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Introduction
The United Nations’ Sustainable Development Goals provides
important targets for government, business, and individual
environmental action; however, it remains necessary todemonstrate the implementation possibilities of these targets
through underlying environmental principles. Within designbased degree programmes in higher education, design-studiocurricula provides opportunities to illustrate environmental
action and principles in a proposed project outcome. It is throughthis speculative objective of student generated schemes thatthe creative potential of these broad environmental goals canbe showcased.1 Furthermore, if students are given a wellformulated set of project parameters, centered on a clearly
defined outcome, their successful results function as a seriesof test-cases from which to identify underlying trends andbroader societal beliefs.

Under the title of ‘Ephemeral E-commerce’, the conceptual
framework of this curriculum is two-pronged. First, it directs
the students’ empirical research by situating a design
problem—the need to imagine an acquired everyday productas a temporary, disposable object—within a speculative, micro
manufacturing, distribution, disposal and recycling system
as described in a U.S. patent. Secondly, it provides a way torethink how we come into possession of a product and disposeof it, and fundamentally question the ownership and use of that
product—this is the basis for a definition of a product-service.
Ultimately, this curriculum assists students in imagining
entirely new business and consumer behavioural models for
reinterpreting a product. As such, environmental stewardshipis embedded in an entire system of product manufacturing,acquisition, use and disposal, which inadvertently directs
consumer action toward pro-environmental behavior, “without
The activities of production and consumption — one of the thought.”2
UN’s seventeen sustainable development goals — is a richsynergy for design exploration. When these activities are
situated within an invented business model and the presumed
necessities and desires of a consumer, a hypothetical, interrelated e-commerce system can demonstrate a reductionof resources in production and responsible consumption
behaviors. This is the definition of a basic environmental
principle at the centre of many concepts related to ideal
economies of responsible resource management. In thispaper, a semester-long, design-studio project curriculum isintroduced that employs this environmental principle. It also
provides a set of specific parameters and directed objectives
in which to engage a concept of product production andconsumer acquisition and use.

1
From 2005 to 2015 the academic work of Anthony Dunne and Fiona Raby at the Royal College of Art, in London, helped to popularize this mode of environmental design education throughtheir own unique perspective on designing speculatively.
2
In 1997 Japanese product designer Naoto Fukasawa and Diamond Design Management Network (DMN), along with IDEO, conducted a three-day design workshop with Japanese design
leaders that eventuated in an exhibition in 1999. Until 2019 Fukasawa and DMN continued to conduct workshops (using a variety of themes) and exhibit the design work from them. “Without
Thought” refers to designing for the unconscious. https://mctinc.jp/dmn/without_thought. Naoto Fukasawa Design (edited). Without Thought. Vol. 4(2003). Tokyo: Diamond Inc.

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Locating a System of Behaviour Independent of Environmental Knowledge
There is growing interest by citizens across the globe toeducate themselves in ways of reducing the use of specificgoods and services that are harmful to the environment by
allowing for engagement with those that afford “recycling,
conserving energy, purchasing environmentally friendly
products, and so forth” (Pelletier et al. 1998). There still
remains however, a large portion of the population that require
other means of motivation to act in a pro-environmentalmanner. We also need economic systems that have naturally
built into them required actions that prompt the public to act
responsibly. As societies are continually drawn to use newtechnologies for services supported by the mobile phone, theuse of remote automation may provide a path for individuals to
be unburdened by expectations of learning and remembering
how to conserve resources.
Environmental knowledge and attitudes do not always
correlate to actual environmental behaviour, and intrinsic andextrinsic cultural norms shape perception and action (Pelletier
et al. 1998). Furthermore, overuse of the word ‘sustainable’
over the past thirty-five years has diminished its motivational
impact. This term was officially used in 1987 under the slogan of‘sustainable development’ by Gro Harlem Brundtland, Norway’s
Prime Minister and Chairman of the World Commission on
Environment and Development at that time. It was defined as“meeting the needs and aspirations of the present generation
without compromising the ability of future generations to meettheir needs. It is a form of progress for social and economic
development that enhances the resource-base rather thandegrades it. It requires a more equitable distribution of wealththan currently prevails within and among nations, and it aims at
the eradication of global mass-poverty, keeping options open
for the future” (Brundtland 1987) It is clear that the primaryvision put forward was intergenerational-, economic- andequity-based with nuanced reference to the preservation of
resources—a freedom-for-human-activity centered objective
rather than a planet-centric conservation of resources. As the
Chemical and Biomolecular Engineer, Anthony Andrady statedin 2015, “The numerous alternative definitions of sustainability
in the literature (over 300 had emerged by 2007) reflect
the inadequacy of the original. Proliferation of various, often
inconsistent, definitions is, however, not productive in that itquestions the credibility of the concept itself and dilutes its
interpretation and meaning… Despite its present-day politicalsalience of the notion of sustainability, this definition remains
unclear, ambiguous, and qualitative” (Andrady 2015). This has
been further compounded by the desensitizing nature of its
use in pervasive direct and indirect marketing across all media
platforms. Hence, the implication may be that the use of theterm may actively disincentivize action.

On the other hand, the use of new technology can provide
a strong incentive for adopting pro-environmental behaviors
that might otherwise be avoided—solar panels mounted
on residences to generate one’s own electricity, buying anelectric vehicle to become less dependent on petroleum or theuse of a location-based multiplayer mobile game that prompts
people to recycle virtual objects (Centieiro et al. 2011). All ofthese require little if any commitment to learning about the
specifics of environmental degradation but rather allows forsaving money or creating an enjoyable activity.
To assist with generating a similar relevant model, theparameters for this curriculum adopted existing technology
into its proposed system of production to create an
e-commerce experience for customers. It was inspired by
the Japanese company JR East Water Business Co. its Acurevending machine (first introduced 2010) and Acure Pass app
e-commerce system, a beverage vending service launched inTokyo in 2017. This digital vending system was first to integratea 47-inch touchscreen display and a camera mounted at the
top of its usual stand-alone housing. Using a targeted intelligent
marketing system, the vending machine’s internal sensory data
recognizes the approaching person’s gender and approximate
age. It then displays beverage recommendations based onthat data. Once a product is selected, additional information
appears. After the sale, the screen displays a ‘thank you.’
When not in use the machine displays advertising appropriate
to the time of day, temperature, and season (Filippetti 2011).
While no longer novel, the use of large touchscreens, together
with personalized, anthropomorphized and contextualized
media interactions, can now be seen on vending machines andsuch retail locations as McDonald’s, outside of Japan. Thisapplication of user-interfaces can motivate early adopters use
from a generation of young consumers ensconced in mobile
digital interfaces and its media since adolescence. If thesescreens and the user’s mobile device could direct consumers
to specific actions relative to the product they were purchasing
and using, it is safe to speculate that they could inadvertently
motivate individuals to recycle, conserve energy or purchaseenvironmentally friendly products without being made awareof the necessity and importance of their behavior.

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The Project Brief
Part 1: Conceptual Frameworks
One of the earliest articulations of a PSS concept originatesfrom 1997, which is described in a 2011 paper as “an extensionof the service component around a product for businessactivities that are traditionally product-oriented, i.e., theintroduction of a new service component that is marketed
as a product for business activities that usually are service
oriented” (Yoon et al. 2018). This is a business-to-business(B2B) strategy for foregrounding a service separate to thatof a three-dimensional object, that in turn describes it as a‘product’—a marketing strategy in creative semantics. This
expansion of the term ‘product’ beyond the physicality ofgoods, appears to be deliberate, as to make the intangiblenessof a service, concrete. Twenty-five years later, this has become
excepted parlance in the field of app design. The use of theterm ‘product-service’ in this project curriculum references a
To create a viable alternative to the typical brick-and-mortar material change to an actual physical object.
retail paradigm, several key aspects that define additive
printing had to be enhanced or overlooked: the considerable It is from these two conceptual anchors that students are
decrease in print time (within three-minutes); the absence of given a two-device system and a new product interpretation
support material, which would typically require removal once in which they are free to invent their own application within
the object was dispensed; and a biopolymer material that the project framework. This produces a highly personalized
could easily be melted and reconstituted. This last point is interpretation and resolution to the project brief.
The 2018 U.S. patent, Internet Enabled Apparatus, System
and Method for Physically and Virtually Rendering ThreeDimensional Objects (Kaltenbach et al. 2018) provides thefirst part of the conceptual framework for this course. It
proposes that print-on-demand technology is integrated withthe vending machine and describes an unspecified biopolymer
used to make products that would easily break down into its
original state—once disposed of back in the vending machine—
to be reconstituted into a new product. The vending machine
housing would provide separate areas for the dispensing andthe return of the object. It is a closed-loop system redefining
how retail products are made, purchased, distributed anddisposed of through reimagining the function and material of
the 3-D printer.

critical to this hypothetical 3-D vending system, as Andrady
points out: “An endeavor can only be sustainable in the longterm only if it consumes resources needed by the process at
a rate that is equal to or slower than that for the regenerationof the resources” (Andrady 2015). The idea of a biopolymer
with this characteristic is at the centre of chitin-based polymer
research currently being carried out (Sanandiya et al. 2020).

Part 2: Implementation of Stages

This curriculum was used to create a three-part course
project over a twelve- to fifteen-week period. Divided into fourstages, students were required to design a product-service,an e-commerce app or website for the mobile phone, and avending machine and user interface taken from the app/
The curriculum has also taken advantage of current website and reconfigured for a larger screen.
advancements in 3-D printing: eyeglass lens, textile/fabric,
and micron-level printing, to name a few. These printing In stage one, students first identified an everyday object
technologies have allowed for a broader choice of existing found in their home that could be reimagined as a single-use
products to be considered for this vending application.
product based on where, when, how, and by whom would use
it. This empirical research along with contextual data was thenThe second conceptual framework is a definition of a product- applied to the hypothetical-system-model-diagram (Figure 1).
service: an actual physical, three-dimensional object, a The range of products chosen spanned recreational activities‘product’, that performs in a temporary nature, like a ‘service’. and personal accessories, to tools that would assist in a wide
Since the product is ‘borrowed’ for a period of time and not range of activities.
‘purchased’, in effect the consumer activity pays for temporary
use of the material that takes the form of the thing one needs
to use.3 This definition contributes to the board research of theever-expanding definition of a product-service system (PSS)
which has been carried out by researchers since the early
2000s; seventy-four definitions having been identified in 2013
(Boehm and Thomas 2013).

This concept was influenced by the book: Rifkin, Jeremy. The Age of Access : The New Culture of Hypercapitalism, Where All of Life Is a Paid-For Experience. New York: J.P. Tarcher/
Putnam, 2000.

3

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Figure 1: The evolution of the patent’s system diagram into the hypothetical-system-model-diagram, which was then used as the research checklist for each student’s project.

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In stage two, students had to consider the function of the vending machine and the companion mobile e-commerce app or
website; this would sell the chosen product (and an imagined range of complementary thematic products) and be used to help
activate, at minimum, the printing and dispensing, and return of the product-service to the vending machine. This design work
was carried out by envisioning the touchscreen and analogue user interfaces of the vending machine, and the mobile phone.
Scenario maps in the form of storyboards were drawn to visualize context and the particulars of using the proposed productservice, as well as both interfaces. (Figures 2 and 3)

Figure 2: Rendering of the proposed vending machine in situ and the scenario map centered on an abaya product-service concept. Design work by American University of Sharjah student
Noor Jbara (BSDM 2025).

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Figure 3: Data visualization describing the navigation of the vending machine and its interface. This project is centred on a name tag product-service concept. Design work by American
University of Sharjah student Marianne Breidy (BSDM 2023).

In stage three, students further developed the formal characteristics of the product-service. Using 3-D modeling software, afirst iteration of the product-service’s digital design was completed. These objects most often remained as general forms withminimal aesthetic design.

Design Beyond / Ephemeral E-commerce: Environmental Design Project Curriculum to Redefine Consumer Behavior

Page 131In the fourth and final stage, students developed a printed manual that both described and illustrated their entire productservice, app/website, and vending machine concept. This included defining the value proposition of the entire system from the
problems it solved—for example the object never eventually ending up in a landfill or storage space not needed to keep the
item—to the benefits of its use which in some cases had health benefits or strengthened cultural traditions. (Figure 4)

Figure 4: A student's manual was reorganized on a panel for the purpose of presenting it in an exhibition in Japan. This project is centred on a name tag product-service concept. Design
work by American University of Sharjah student Marianne Breidy (BSDM 2023).

Part 3: Ideation, How to Invervene in the
SystemDuring this course, students developed their project througha “system intervention ideation methodology,” (Kaltenbach2019) which is supported by an analysis tool with predefinedparameters—the hypothetical-system-model-diagram (Figure1). This diagram tool directs the students research to specificareas that must be individually defined. It illustrates the scopeof the research and provides an immediate understanding of
the relationship of the various system components that require
investigation and definition.

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This design methodology was built from the components
of a system articulated in Donella H. Meadows’ 2005 book,published posthumously, Thinking in Systems. Meadows, anenvironmental scientist, and a member of the MIT System
Dynamics group applied her own perspective of systems
thinking on solving problems associated with ecologicalsustainability. She defined a range of system configurations
using three key components: elements, interconnections
and function or purpose (Kaltenbach 2019). The articulationof these components provided the basis for a language andconceptual approach to articulate to students the systems
thinking in this course, a hypothetical system, one uniquefor intervening in the 3-D-printing-vending-machine-concept
patent.

Design Beyond / Ephemeral E-commerce: Environmental Design Project Curriculum to Redefine Consumer Behavior

Conclusion
In this paper, an undergraduate design studio course
curriculum was presented in relation to the perceived
necessity to develop a system of production and consumptionthat could inadvertently motivate pro-environmental behavior
from the consumer. Further research is required to analyze
the outcomes– over seventy–from this course, which are ineffect, research test-cases. However, a few observations canbe made at this time.

students applied an incentivizing points system, while others
used a financial penalty of an amount either equal or double
to the original fee for the product-service. Many students
drew reference to the UAE government’s system of points andfines for traffic infringements, acknowledging that they werestrict and financially sever, they nevertheless believed it wasnecessary to incentivize safety for all. The application of theirown management return policy reflected a similar prerogative.
In one final observation, students often challenged the mandate
for the return of the product-service to the vending machine,
expressing a desire to keep it, as one would with any product.
This identifies an important hurdle in the effectiveness of theunderlying objective of this curriculum, the desire to decrease
the need/desire for product ownership. As societies continue
to associate products with status and the act of shopping as
an important public, social activity, it will be difficult to convince
people of the need to own less goods.

To date, this curriculum has been repeatedly taught in acourse over a three-year period in a United Arab Emirates
University.4 The project outcomes reflect the interests andbeliefs of a particular demographic: primarily young Arab
women, eighteen to twenty-one years of age, living in a federalpresidential state, also known as a tribal autocracy. Within
the uniqueness of this cultural milieu, two primary areas are
currently noteworthy: the choice of object and system of use,
and the approach to incentivizing the return of the object to
As outlined in the UN’s recent Sustainable Development Goals
the vending machine within a twenty-four-hour period.
Report, there is an ever greater need to reduce the “material
Objects associated with the Muslim religion such as the footprint per capita in high-income countries.” What typeprayer mat, prayer dress, and hajib via the medical face of mindset is required and at what age should someone bemask (a response to COVID concerns) provided compelling expected to think in this manner? Does this require a social
augmentation to daily rituals. Furthermore, the debate as to phenomenon intervention of frugal customs (Fujii 2006)?
what extent should the system incentivize and/or penalize the During the three years this course was taught there have been
consumer for returning/not returning the product-service to a few projects that have sought to introduce a toy productthe vending machine provided broader interpretations of the service, situated in preschool learning environments andconsumer’s relation to management of their own waste. The waiting areas in pediatrician offices. One wonders if exposure
students’ schemes are analyzed in relation to the psychological at an early age to these product-service experiences could
measuring tool, Motivation Toward the Environment Scale help train a new generation to free themselves from the(MTES) (Pelletier et al. 1998). While the results of this analysis emotional dependency to covet and to own things.
work have yet to be completed, one can see that some

The Ephemeral E-commerce (DES300, User-Centered Design Project) course was taught in the Bachelor of Science in Design Management (BSDM) degree program in the Department of
Art and Design at the American University of Sharjah, Sharjah, United Arab Emirates.

4

Design Beyond / Ephemeral E-commerce: Environmental Design Project Curriculum to Redefine Consumer Behavior

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the Rim of One's Teacup: A Multidisciplinary Literature Review Sanandiya, Naresh D, Christoph Ottenheim, Jun Wei Phua,of Product-Service Systems in Information Systems, Business Augusta Caligiani, Stylianos Dritsas, and Javier G Fernandez.
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2011. “Proceedings of the 8th International Conference
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Essay. In A Location-Based Multiplayer Mobile Game to “Technology Assessment Model for Sustainable Development
Encourage Pro-Environmental Behaviours, 1–8. https://doi. of Lng Terminals.” Journal of Cleaner Production 172: 927–
37. Accessed December 1, 2023. https://doi.org/10.1016/j.
org/10.1145/2071423.2071461.
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Filippetti, Jenny. “Acure digital vending machine” Design
Boom. March 2, 2011. Accessed December 1, 2023. https://www.acure-fun.net/en/lounge/vm/entry13.html
Fujii, Satoshi. 2006. “Environmental Concern, Attitude Toward
Frugality, and Ease of Behavior As Determinants of ProEnvironmental Behavior Intentions.” Journal of Environmental
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JR East Japan Water Business Co., Ltd. “Acure Lounge:
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Machine’ Innovation vending machine ‘Why were you born?’” Acure. May 5, 2017. Accessed December 1, 2023. https://www.acure-fun.net/en/lounge/vm/entry13.html
Kaltenbach, Christopher, Luke Nihlen, Luis M. OrJz. Internet
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Bottom-up Circular Economy
with the Alternation of
Recycling Plastic Waste in CE
Strategies by Adapting Opensource Design and Adaptive
Manufacturing

Authors:
Daisuke Nagatomo
Hsu Wei-Yun
Tseng Kuan-Wei
Su Ke-Shin

Institution:
Department of Design,
National Taiwan Normal
University (Taiwan, Chinese
Taipei)

Hung Yu-ju

Abstract
Circular Economy (CE) is recently one of the matters mostemphasized by scholars and industries. However, there is alack of research and evidence for evaluating the impact ofexisting CE strategies on social patterns. There are a few CE
indicators. CE is mainly incorporated into the business modelfrom a decision-making perspective rarely trickling down tothe consumer. Taiwan has one of the highest recycling rates
globally and yet faces challenges in utilizing the collectedresources. This research investigates the alternative ofrecycling plastic waste by incorporating consumer behaviour
into CE strategies with Precious Plastic Universe (PPU)
Open-source resources. PPU resources provide the knowhow for recycling plastic waste into new plastic resources.
Incorporating the PPU database, this research explores thepotential resources from post-consumer polymer waste. The
second phase investigates the tools for converting collected
waste to usable polymer. Finally, the last step is to explore thepossibility of employing collected polymer wastes to enhance
students’ design project creativity and problem-solving abilities
by incorporating adaptive manufacturing tools at the National
Taiwan Normal University Department of Design. The collected
research data includes quantitative data from collected
single-use polymer with participating student researchers andqualitative data from observations and interviews.
Keywords: Circular economy, open-source design, recycle,
single-use plastic

Taiwan has one of the highest recycling rates
globally and yet faces challenges in utilizing thecollected resources.

Design Beyond / Bottom-up Circular Economy with the Alternation of Recycling Plastic Waste in CE Strategies by Adapting Open-source Design
and Adaptive Manufacturing

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Introduction
The importance of sustainable practice has spread widely tomany disciplines, such as academica, industry, and policy, inthe past decades (Sadhukhan et al. 2020). The United Nations
addressed the 17 Sustainable Development (SDGs) goals toachieve a better and more sustainable future for all (Nations2015). Regarding sustainable development, it is urgent todiscuss the economic system since we have relied on the
consumption-based linear system in past decades (de Souza
Junior et al. 2020). While the past decades' economic systemrefers to a Linear Economy, the European Union proposed
the Circular Economy (CE) action plan to address elongating
the product lifecycle to reduce the impact. The European
Union's CE approach is to create a system for easy repairing,
more sparing parts, facilitating end-of-life treatment, andestablishing standards (Plan 2011).

Currently, CE has gained momentum among scholars andindustries. Geissdoerfer et al. (2017) articulated more than
100 peer-reviewed articles on this topic in 2016, compared
to 30 in 2014. Most recently, Kirchherr, Reike, and Hekkert(2017) summarized 114 CE definitions to create transparency
regarding the current understanding of the CE concept
through screening related articles. The researchers pointed
out that there have been different recognitions in CE core
principles on classifying the CE strategies. The various Rs
express the key CE idea (Figure 1), and these nine Rs represent
the degree of circularity to these products. McDonough andBraungart (2010) noted that most recycling is downcycling; it
reduces material quality over time. The authors also pointed
to rethinking the production/distribution and consumption
process before recycling by reorganizing the waste hierarchy.

Figure 1: The 9R Framework. Adapted from Kirchherr, Reike and Hekkert 2017.

Among all the investigations for defining CE (Geissdoerfer et This definition has promoted many business sectors to
al. 2017), most researchers agree with the definition provided incorporate the basic concept of CE. Lewandowski (2016)claims that circular business models often appear at the coreby the Ellen MacArthur Foundation, which is:of CE. CE business models consider the most in production[CE] an industrial system that is restorative or regenerative and distribution but not consumption patterns. Ghisellini,by intention and design. It replaces the 'end-of-life' concept Cialani, and Ulgiati (2016) note that "the promotion ofwith restoration, shifts towards the use of renewable energy, consumer responsibility is crucial for CE." Lieder and Rashid
eliminates the use of toxic chemicals, which impair reuse, (2015) also point out the problem of supply chains needing
and aims to eliminate waste through the superior design of to consider consumption processes. Gallaud and Laperchematerials, products, systems, and, within this, business models (2016) mention that the balance between consumer patterns
and circular business models is the key to CE strategies.
(MacArthur 2013).
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Design Beyond / Bottom-up Circular Economy with the Alternation of Recycling Plastic Waste in CE Strategies by Adapting Open-source Design
and Adaptive ManufacturingResearch Background
This research dissects consumer responsibility in CE strategies,
especially in the recycling phase. CE defines replacing the'end-of-life' concept with the frameworks of production/
distribution and consumption processes (reducing, reusing,recycling, and recovering). However, recycling and recovering
for consumers is the same act as throwing away trash. The
most the consumer can contribute to this phase is separating
the trash into different types. In big visions of CE (Figure 2),
recycling is still part of the circular system. However, promoting
recycling is not assisting the CE frameworks in implementing
our social mechanism. Most consumers do not have otherchoices than throwing them into recycling bins. This research
hypothesizes observing the consumers' reactions when they
have other opportunities other than recycling their daily waste.
In their research, Dantas et al. (2021) describe the implicationof combining CE and Industry 4.0 to achieve Sustainable
Development Goals. I4.0 utilizes intermixed and affiliatedtechnologies for production and optimization (Drath andHorch 2014). Examples of I4.0 are open-sourcing information,
Personalizing Fabrication, and the Internet of Things (IoT).
Open-source hardware, software, and hybrid solutions are
the key ideas for I4.0, enabling users to drive innovation andoptimize efficiency. The engine of achieving sustainability isinnovation, which can revise the difficulty we face and convert
it into an opportunity. Therefore, exploring how I4.0 can apply
to CE and extending further goals to meet SDGs is vital. The
researchers concluded that combining CE and I4.0 shows thepossibility of developing sustainable practices and solutions
for achieving the SDGs.
Precious Plastic is the open hardware plastic recycling project
and Open-Source digital commons project. Dave Hakkens
initiated Precious Plastic as part of his studies at the Design
Academy in Eindhoven, Netherlands (Plastic 2022a). In
January 2020, the community expanded to the Precious Plastic
Universe (PPU) as the global alternative recycling system. PPU
allows people to join and explore the vision for a world with lessplastic waste. This research selects tools and methods basedon the open-source data and shared knowledge on the PPU
platform to accelerate the investigation. Finally, the selected
instruments and pre-evaluated methods are applied to thecourse curricula at the National Taiwan Normal University
Department of Design, and the qualitative and quantitative
data are corrected via pre and post-course questionnaires
and selected interviews.

Research Method
To conduct this research, the researcher investigated two
aspects; first, to identify how much single-use plastic eachindividual generates and, among those wastes, how muchpolymer can be repurposed (Figure 2). The second aspect
is investigating which tool to employ for repurposing thepolymer via the PPU open-source database. To identify thesingle-use plastic waste data, four students from the National
Taiwan Normal University Department of Design participatedin documenting single-use plastic waste from their daily lives
from 14 November 2022 to 28 February 2023. The students
use recycle identity numbers, such as 1 for PET, 2 for HDPE, 3

for PVC, 4 for LDPE, 5 for Precious Plastic, 6 for Polystyrene,
and 7 for others, to sort their polymer wastes and record
the number of plastic items and the volume of total plastic
waste (Figure 3). Based on the collected data, most singleuse plastic waste comes from food packaging, such as meal
containers and bottles. It is due to the nature of students who
mostly live in university dormitories that are not equipped with
self-cooking facilities. Therefore, for most meals they rely on
take-out or delivered food. PET, HDPE, and Precious Plastic
are commonly found as the type of polymer for single-use
plastic waste.

Figure 2: Research Model Diagram.

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Figure 3: Students’ single-use plastic waste collection.

After collecting single-use plastic waste, the researcher andstudents investigated methods to repurpose those polymers
through the PPU database. Since most processing plastic
methods require thermal transformation, there is a specificrisk of hazardous substances. Therefore, referring to the datafrom PPU (Plastic 2022b), the students selected Precious
Plastic as the primary type of polymer to incorporate in theirdesign project due to its low cyclic compounds, high ductility,
colourfulness, and manageable melting point, ranging from 160
to 166 °C. Furthermore, Precious Plastic is found the most in its
collection of single-use plastic waste items, dominating overtwenty percent of the total volume. Therefore, the researcher
and students look into available adaptive manufacturing tools
to process Precious Plastic waste to incorporate into theirdesign project.
The PPU database exhibits a series of open-source machines
for processing harvested plastics from the waste. The primary
purpose of these machines is to thermal transform thepolymer by extruding, injecting, and compressing it into othershapes. Despite the source of those types of equipment being
open, they demand professional knowledge of mechanicalengineering for assembly. Therefore, the researcher looked
for alternatives to process the polymer waste. Finally, thesmall-size industry-use plastic shredder and commercialized
heat-press machine, which has a temperature limit of 200°C,
were obtained for this research. This research equipment
allowed the students to process polymer waste into smaller
shredded particles and thermal transform them into a sheet
format (Figure 4). However, due to the limit of temperature andbed size of the heat press, the thermally transformed Precious
Plastic sheet size could not exceed thirty square centimeters.
The design project conducted by students concluded withproducing a light fixture design, which incorporates marbled
plastic sheets with weaving joints (Figure 5). The weaving
joint system allows the lighting fixture to take on various
shapes. Students continued the exploration with the colour
and transparency of the design by alternating the repurposed
plastic sheets. The project also proposed a circular system sothat the product would not be abandoned at the end of its life.

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Figure 4: Repurposed plastic waste into editable sheet material.

Figure 5: Student’s final design by incorporating repurposed plastic sheets.

The European Union's Circular
Economy approach is to create asystem for easy repairing, more
sparing parts, facilitating end-oflife treatment, and establishingstandards.

Design Beyond / Bottom-up Circular Economy with the Alternation of Recycling Plastic Waste in CE Strategies by Adapting Open-source Design
and Adaptive ManufacturingResults and Discussion
The result of this research is evaluated by the student's project
outcome and qualitative analysis with interview feedback fromthe participants (Tables 1 and 2). Based on the observations,students attained ample knowledge of single-use plastic
waste and the recycling system in Taiwan during the project.
Furthermore, they drastically increased their knowledge ofplastic products in their daily life and the problem of disposing

No.

Questionsof that waste. While students were developing their designs,
they encountered several challenges, including the needto consider the lifecycle of their design and the limitationof equipment to produce their design. Therefore, they
incorporated a multi-disciplinary approach to solve these
problems using adaptive manufacturing tools.

Answer1

We discovered that apart from behavioural and habitual constraints, the living environment
also plays a crucial role in influencing the amount and type of plastic usage. For instance, if
Could you explain your project andsomeone lives in a rental room without a drinking fountain, the number of water bottles will
what is the critical factor of yourrise. On the other hand, if someone lives in the dormitory without a refrigerator, the usage
design?
of trim packages and drinks rises. The collection also revealed that our lives are filled withplastic products in this era, making it challenging to avoid them.

2

In the early design stage, we divided the environmental awareness group and the general use
You have collected your plastic group, recording the plastic products in daily life and comparing the differences. In addition towaste for a few months. What was the restrictions of behaviour and habits, the living environment is an essential factor affecting
the most significant finding?
the amount of plastic used. Life is full of plastic products and hard to avoid. Therefore, we aim
to try every possibility of recycling plastics through various recycling methods.

3

Did you find any difference After implementing this project, I could roughly distinguish the type of plastic before
before and after working on this confirming the plastic recycling label. I also found that whether it is myself or my family andproject regarding environmental friends around me, I often use or discard recyclables unconsciously.
awareness?

4

We conduct the Life Cycle Assessment of our design. It involves evaluating the environmental
How
do
you
incorporate
impacts throughout the entire life cycle of the product and project, from material collection
environmental considerations into
to manufacturing, use, and disposal, trying to transform the plastic waste produced daily andyour design process?
return it to life in another way.

5

We incorporate recycled materials into artistic techniques. Inspired by weaving techniques, a
What is the most significant
traditional shaping method, we molded the material and designed two interlocking methods
difference between your design andto extend the volume of plastic sheets. As a result, the appearance of the products differed
recycled plastic products?
with these adhesive-free shaping methods.

6

Was there any specific type of We use No. 5 Precious Plastic to make hot-pressed plastic sheets. Because of the highplastic waste you used on your ductility, colourfulness, and high melting point of Precious Plastics, subsequent products canproject? Please also describe the be processed and presented better in terms of pressing, weaving, and visual effects.
reasons.

7

This project took us a whole year. We had to set our goals and maintain from zero on our
Please describe the difference
own. Not only should we finish our project, but we also need to hold an actual exhibition.
between your project and other
Furthermore, this is the first time that product design students should cooperate with graphic
previous school projects, if there isdesign students. That caused some cooperation problems. However, learning how to workany.
with different people was also an essential point in the graduation project.

8

The most challenging difficulty is the restriction of the size of the plastic sheet because of theWhat was the most challenging partmachine, and we learned from the traditional weaving technique so that the plastic sheets
while working on your project, andcan be joined without the intervention of adhesives or different materials. Different weaving
how did you overcome the difficulty?
methods also create a unique shape and appearance of the product.

9

Did working on this project help you Yes. We found out the problems of plastic pollution and observed our behaviours of using
to develop problem-solving ability? plastic in our daily lives. We tried to use the plastic waste we made as our materials. We were
Please also describe your reason.
showing the possibilities of using recycled materials.

10

Please share the innovative design
method you have incorporated into
this project.

We try to discover various ways of reproducing and shaping the recycled material, allowing
plastic to transform into a new form. To present the diversity of recycled plastic sheets,
we took pictures of the materials, even the failed ones, with different perspectives andfocal lengths. Combining organic and artificial elements can create an exciting and visuallyappealing aesthetic.

11

After working on this project, do you
have any opinion on how the Circular
Economy can be implemented insociety?

It may be challenging to avoid using plastic in our lives. Then, it is necessary to develop andimprove the policy for collection, sorting, and recycling. The policy may include implementing
efficient waste management systems and promoting the use of recycled materials in
manufacturing.

12

Throughout this research and project, we have gained valuable insights and experiencesin recycling plastic materials. Our journey involved documentation, experimentation, andPlease summarize your experienceinnovative design approaches. We tested the properties of plastics, explored various
through this research and project.
techniques for transforming recycled materials, and pushed the boundaries of what is
possible.

Table 1: Interview questions and interview answers collected from three interviewees. The interview was conducted via an online form.

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Meeting these goals is difficult within the constraints of 20thcentury higher education due to disciplinary standards andprofessional accreditation requirements (Bridgstock 2017).
Therefore, the STEM model gains much more attention fromeducational institutes for training students with problembased projects by incorporating interdisciplinary knowledge.
Furthermore, the demand for multi-disciplinary education to
face social challenges has increased in the past decade (Chanand Nagatomo 2022). STEM for Sustainability (STEM4S)
expands the scope of STEM by setting the goal of educating
students with sustainability as the definite prerequisite for
their achievements (Figure 6). In the framework of STEM4S,
design is a tool for solving problems and enhancing students'
creativity. Thus, it shows excellent potential for future creativeeducation to be implemented to achieve a circular society.

Figure 6: Diagram of Conventional Education vs STEM4S.

Conclusion
Students express that the Circular Economy can only be
successfully implemented if every participant is willing tochange after participating in this research project. Therefore,
spreading knowledge and enlightening society on CE strategies
are the foundation of the successful enactment of the Circular
Economy. Furthermore, creative education can be an engine
to drive social change by nurturing the next generation of
global citizens who can face challenges with multi-disciplinary
knowledge and skills for establishing a circular society (Figure7). Finally, a circular society can be achieved by incorporating
most of the population at the core and understanding the
responsibility of the industries and citizens.

Figure 7: Circulator concept diagram.

Acknowlegements: This research was funded by the Taiwan National Science and Technology Council (Project Number: 1112621-M-003 -004 - 'Investigation of alternation of recycling plastic-waste in Circular Economy strategies with digital and opensource technologies') and also the Taiwan Ministry of Education (Project Number: PHA1110020 'Research of STEM4S scope andframework for design education'). The authors thank all the participants and supporting entities during the research process.

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!Do Something: Provoking
Sustainable Behaviour
Change Through Collective
Design Initiatives

Authors:
Emma Peters
Emma Mills
Stephen Loo
Rebecca Green

Institution:
School of Art and Design,
Faculty of Art, Design andArchitecture, University of
New South Wales (Australia)

Teresa Crea

Abstract
The climate crisis calls upon the imagination and creativity ofdesigners and design educators to collectively envision futuresthat generate affective motivation for sustainable behaviourchange. This paper argues that using a collective design-led
approach is highly beneficial when tackling complex problems
such as climate change to provoke behaviour change. In 2022,
The Wicked Collective for Climate Change and Sustainable
Development, University of New South Wales, set out to achievea high-impact provocation of multi-modal, interdisciplinary,and speculative design addressing sustainability to alter the
trajectory of climate impact as a catalyst for behaviour change.
The outcome was an internationally recognized exhibition! Do
Something that employed design principles, strategies andframeworks to generate immediate and ongoing behaviourchange impact for a sustainable future.
Keywords: Climate change, behaviour change, sustainable
innovation, design thinking, wicked problems

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Figure 1: !Do Something Exhibition, 2023. Showing work of M. Hank Haeusler and Jiaying Qian. Image Credit: Cheyenne Bardos.

Climate action requires behaviour change from individuals,
communities and governments to untangle and rethink
the systems that have contributed to accelerated carbon
emissions and global warming. Universities are well positioned
to develop and lead projects that activate climate change
action. The Wicked Collective was established in 2021 by fiveacademics from the School of Art, Design and Architecture(ADA) at the University of New South Wales (UNSW) – Dr.
Teresa Crea, Dr. Rebecca Green, Professor Stephen Loo,
Emma Mills and Emma Peters. The group recognized theneed for urgent collaborative action to engage, enhanceand energize our student and research community to drive
collective sustainable behaviour change. The disciplinary
fields of each member of the Wicked Collective encompass
simulation and immersive environments, architecture, graphic
and textile design, and pedagogy design. We have the sharedbelief that sustainable design thinking, research, practice, andpedagogy is imperative in the pursuit of urgent climate change
action.
Design impacts behaviour in intentional and unintentional ways
(Niedderer et al. 2016), requiring those proposing new design
strategies to interrogate the impact of their work. Creativeinterventions offered to the public through exhibitions cangenerate affective engagement, positive behaviour change andgive voice to citizens in relationship to climate change policy(Burke et al. 2018). This paper will reflect upon the guiding
principles, outcomes, and influence of the !Do Something
exhibition through the lens of Bruce Mau’s principles of ‘newwicked problems demand new wicked teams’ and ‘fact-based
optimism’, alongside the power of ‘narrative expressions’(Chabay et al. 2019, Hinkel et al. 2020) and the EAST
framework developed by the ‘Behavioural Insights Team’(2014) to provoke meaningful behaviour change to confront
climate change issues.

The !DO SOMETHING exhibition (Figure 1) was held at UNSW
Library Gallery in Kensington Sydney from September toNovember 2022. The gallery is a public venue that attracts
over one million visitors annually. The exhibition sought toform a purposeful, affective, and transformational narrative
expression where the presentation of imagined futures
would provoke behaviour change towards sustainability forthe participants and audience. The Wicked Collective invited
students and staff from ADA to submit creative responses andinterventions to the wicked problem of climate change. The
selected works were required to respond to one or more of theUnited Nations Sustainable Development Goals (SDGs) and becreated during the pandemic lockdown period of 2020–2022.
The exhibition was planned to coincide with Massive Action
Sydney, and the exhibition was opened by the faculty Dean, andby internationally renowned designer and visionary Bruce Mau
and his Massive Change Network co-founder Aiyemobisi ‘Bisi’
Williams. The impact of the !Do Something exhibition went far
beyond the university community. As many attendees shared
their experiences of the exhibition across multiple platforms
on social media, tagging the exhibitors, the university, theexhibition itself, and the Wicked Collective. Mau and Williams
also shared their experience of the exhibition with their 10,000
strong following across different media channels, providing
international exposure and response to the exhibition. Mau,
Williams and the Massive Action project become integral to
the success of the exhibition through their support and judging
of the inaugural Bruce Mau Prize on opening night. Our faculty
also funded three awards and the School of Art, Design andArchitecture Dean was the third member of our judging panel.
Discussion now turns to the influence of Mau, Williams and
Massive Change Network.

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Sustainable design thinking, research, practice,and pedagogy is imperative in the pursuit of urgent
climate change action.
Wicked Teams for Wicked Problems
The work of internationally renowned designer, innovator,
and author Bruce Mau provided the Wicked Collective with an
optimistic and constructive approach to pursing an ambitiously
wicked project. Mau’s MC24 Principle ‘new wicked problems
demand new wicked teams’ (Mau 2020a) was a central tenet
for the collective in understanding the importance of working
as a team of interdisciplinary design practitioners to generatecreative activations that respond to the complexity of climatechange. ‘Wickedness’ presents itself as an alternate mode ofsensemaking, way of probing the chaos and contradictionsof insurmountable problems such as climate change, to act
as a catalyst for new ideas and transformative thinking. Wealign with the sentiment that wicked problems turn into wicked
opportunities (Bailey et al. 2018). Together the collective
recognized that understanding and responding to climatechange is considered a core competency for designers interms of responsible and sustainable outcomes (O'Rafferty,
Curtis, et al. 2014), and the multiple approaches towards
generating action requires visibility and dialogue beyond thestudio classroom to propel generative solutions.
Mau argues ‘wicked’ problems don’t respect traditionalboundaries, and the most serious challenges we face today
spread across multiple disciplines (Mau 2020). Climatechange is a dominant wicked problem of our time: there is no
single solution; the boundaries are difficult to define; and it isinfluenced by interdependent and rapidly changing factors.
Therefore, teams built on classic models of knowledge are nolonger equipped to tackle these complex problems. Instead,they require a richer alternative of dynamic solutions by teams
that cross boundaries and disciplines.
The Wicked Collective is modelled on Mau’s RenaissanceTeam framework of a diverse constellation of individuals
working in concert (Guerra 2020) with a shared commitment
to motivate climate-action and inspire behaviour change. The
collective is made up of multi-disciplinary academics witha broad range of skills in design thinking, textiles, graphics,

architecture, simulation, and immersive environments. Asa team the collective collaborated on the !Do Something
exhibition with professional staff from across the university
including curatorial and library teams.
The !Do Something exhibition saw the collective displayof character traits Mau suggests designers must develop
to become effective collaborators – expertise, curiosity,
empathy, confidence, humility, independence, and courage(Mau 2020b). This approach was particularly successful
as the collective members lead different aspects of the !Do
Something exhibition from operationalizing the event, visualcommunication, and branding, to the curatorial outcomesrequired. While maintaining a shared vision for the outcome,each collective member exercised skills in leadership andfollowship at various times in the project depending on theirexpertise.
The key operative in Mau’s ‘wicked teams’ is the concept
of cooperation. It would be too straightforward to rest ourargument on the fact that members of a wicked collective need
to be cooperative, in that they think and work well together.
Although working well may arise from a team’s common
mission, this is not to say that cooperative people need to think
and work alike. In contrast, and focussing on being ‘wicked’,
Mau sees the most important contribution that a cooperative
design team can make is asking better questions. Questions
are generative because they are the ‘engine of new thought’(Smith 2020). Questions arrive when disparate, dissonant,and perhaps contradictory facts are placed in adjacency in anenvironment where difficult conversations can occur safely.
Truly dialogical conversation can in fact be ‘ruined by too
much identification with the other person’ (Bahktin 2004) asnormatively assumed in cooperations.

Fact-based Optimism
factual, not only their materialities, but their relations, thereciprocity of dialogues, on climate change. It is here design
does its iterative thinking, imbricating hypothetical thinking
of science and technology, and the narratival thinking of thehumanities. Quantification and qualification work in wicked
ways, to tell new cooperative stories. Mau is optimistic about
this factual way of working. To him, ‘cooperation, connection,and the creation of global systems for human development are
the great untold story of our age’ (Smith 2020). Optimism to
us is a kind of experimental democracy, where real knowledge
and value creation occurs through making factual the things
In !Do Something, climate change is made factual, in the sense that designers produce when doing something, and thethat it is made visible and sensible in and through design. dialogical interpretations that flow from it. Through creative
Design propositions, objects and projects work together (Latin: generation, this drives change, and transformation.
co- [together] + ‘operari’ [work]) because the exhibition makes
A second MC24 principle, ‘Fact-based optimism’ (Mau 2020)
was invaluable in our approach to the exhibition. We extend
this identification to the facts proffered in dialogues. Wicked
teams produce facts that cooperate, in their differences
to arrive at wicked questions, which in design often compel
the meta-question, ‘what is to be done’ (now)? (Smith 2020).
Our exhibition is therefore a proactive response to Mau’s
call, where the designers and their works represented are all‘doing something!’, demonstrating a ‘fact-based optimism [as]a collaborative endeavour’ (Smith 2020).

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Transformative Narratives
Transformative climate narratives, rather than climate‘information’, are motivational forces to provoke behaviourchange in the context of climate change (Hinkel et al. 2020).
The power of curatorial and exhibition design as a methodology
and educational tool to showcase transformative narratives
that provoke sustainable behavioural change is a sharedconviction of The Wicked Collective. The !Do Something
exhibition sought to form a purposeful, affective, andtransformative narrative expression where the presentationof imagined futures would provoke behaviour change towards
sustainability for the participants and audience. Chabay, Koch,
Martinez, and Scholz, in the paper Influence of Narratives of
Vision and Identity on Collective Behaviour Change (2019)recognize affective narrative expression as a way to present a
vision so that a community can redirect towards a shared goalsuch as greater sustainability. They remind us that ‘narratives
do not exist in a social vacuum, but are embedded, exchanged,
and modified by the contexts and communities in which they
exist and through which they may influence the dynamics ofsocial movements toward sustainability’ (Chabay et al. 2019).
The !Do Something exhibition challenged the normative modeof issue-based exhibitions by bringing together a wide range ofmulti-modal projects that had not been presented extensively orcollectively before. Relationships between curatorial practiceand behaviour change were designed to allow for adjacencies
and contingencies to emerge between the work. The exhibition
became a story-driver, where the possibilities of new narratives
and meaning-making arose from the experience of perceiving
numerous responses concerned with our climate future in
one space, and operated from the research that supports therelevance and impact of arts-based climate change initiatives(Burke et al. 2018, Buckland et al. 2006). The space in which
the exhibition occupied – the UNSW Library – introduced an
additional layer to understanding the projects in relationshipto information sharing and transformative narratives. Many ofthe projects were in development during the 2021 and 2022
Covid-19 lockdowns, and had not had the opportunity to beshared with and beyond the university community.

The projects included in the exhibition told transformative
stories of both utopian and dystopian futures to articulate how
our actions today will influence the way forward in relationshipto climate change. A vital intention of the collective was toinclude both student and staff submissions to recognise thattransformative narratives are not contingent on hierarchy– each member of the university community has valuable
stories to share. The included work represented ideas inmotion, encouraging nascent concepts to be brought to the
public for further dialogue. The curatorial team visioned aspace where a diverse range of open-ended narratives could
afford the audience to meaningfully translate their experienceof the exhibition into impactful behaviour change for greater
sustainability.
The three awarded projects in the exhibition pose questions andpropose solutions for a world in the throes of climate change.
‘Bioshelters’ (Figure 2), awarded the Bruce Mau Prize, hadcollaboration at the centre of the work, led by academic Hank
Haeusler. The project asks if it is possible to design shelters
where clams may feel ‘more at home’ using computational
design methods and 3D printing for rapid prototyping. Toby
Castle’s project (Figure 3), winner of the Dean’s Prize, utilizes
QR codes in flood impacted neighbourhoods for Australiancommunities to link and share ideas for how to prepare fornatural disaster and share experiences. Augmented reality wasused to show effects of flooding to understand what flooding
might mean for communities in the future. Rachel Vosila’s
work, Kelpist, (Figure 4) recognized as the People’s Choice
Award, explores seaweed as a regenerative, biodegradable
and beneficial material for product design. Each of theseprojects provoked a new way of thinking about the challenges
and opportunities of climate change, and consequently offersa space to provoke alternative perspectives that can propel
generative thinking and activate behavior change.

Figure 2: M. Hank Haeusler and Partners:
University of New South Wales /Computational Design, University of New
South Wales Biomedical Engineering,
The University of Newcastle School ofArchitecture, Reef Design Lab, World
Harbour Project, Macquarie University
Biological Sciences. Concept: Yannis
Zavoleas, M. Hank Haeusler with Andre
Pereira, Beth Strain, Rebekah Araullo. Design:
Yannis Zavoleas and M. Hank Haeusler.
Other contributors: Eliot Rosenberg, David
Lennon, Alex Goad, Melanie Bishop, Vivian
Cumbo, Maria Vozzo, James Gardiner, 2016,
Bioshelters. Image Credit: Cheyenne Bardos.

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Figure 3: Toby Castles, 2022, QR Collaborate: Using shared spaces to improve flood preparedness. Image Credit: Cheyenne Bardos.

Figure 4: Rachel Vosila, 2022, Kelpist. Image Credit: Cheyenne Bardos.

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Applying a Framework for Behaviour
Activating Behaviour Change
ChangeDelivering a collaborative project with a central wickedchallenge of climate change is a knotty undertaking. Intuitively
as designers and educators, we approach complex problems
and make them accessible to generate genuine understanding
and behaviour change. The EAST framework (Service et al.
2014), originally created for the UK government to provide anaccessible framework for policy development, highlights four
clear targets that the Wicked Collective innately integrated
to ensure the translation of the project fulfilled the aim ofprovoking behaviour change for climate change: make it easy;
make it timely; make it attractive; and make it social.
We made it easy by creating a simple form for participants toexpress their interest in sharing their climate-related projects inthe exhibition and streamlined messaging and communication
to ensure all deadlines were met. We made it timely withplanning, communication and aligning with adjacent events
such as the Art, Design and Architecture faculty’s Education
Festival and Innovation Hub’s Massive Action project. We
made it attractive with high-impact, dynamic and consistentvisual identity collateral. Additionally, we obtained incentives
such as awards and securing the endorsement of Bruce Mau
to bring prestige for participants and our audience. We made itsocial with an opening event that was one of the first post lockdowns, demonstrating the importance of gathering together insolidarity and celebration when confronting wicked problems.

The !Do Something exhibition occupied the UNSW Libraryfor twelve weeks in 2022, in a public venue that attracts one
million visits annually, and gave an opportunity to these visitors
to experience a cross section of diverse and innovative climatechange narratives from staff and students of the ADA faculty.
Coming together as invested members of a university with thecore strategies of ‘wicked teams for wicked problems’, ‘factbased optimism’, and the power of transformative narratives
was an affirming experience. The collective members,
stakeholders, participants, and visitors entered a space thatallowed creative considerations of climate change to be
activated, and provoked robust conversations about the roles
we all play as change-agents. As members of the Wicked
Collective, sharing knowledge and expertise generated an
opportunity to consider our individual research, teaching andactions within a network of colleagues, providing camaraderie
and energy to develop a high-impact climate-related project
together.
The !Do Something exhibition generated renewed collectiveenergy to propel further dialogue in creating meaningful climate
behaviour change and continues to influence and stimulate
discourse, reflection, and action within our communities.

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References
Bahktin, Mijail. 2004. The Dialogical Imagination. Translated by Mau, Bruce. 2020b. New Wicked Problems Demand New
M. Holquist and C. Emerson. Austin: University of Texas Press. Wicked Teams. In The MC24 design principle, New Wicked
Problems Demand New Wicked Team," speaks to the needBailey, Mark, Nick Spencer, Emmanouil Chatzakis, Kate for “Renaissance Teams,” diverse group of individuals, with
Lampitt Adey, Nate Sterling, and Neil Smith. 2018. "From different skills, working together towards a shared goal.
wicked problem to design problem: Developing actionable
briefs and solution opportunities through a collaborative, The seven “rules” for becoming a Renaissance Team player
multidisciplinary design-led approach."correspond to seven character traits that the best designers
possess and constantly work on developing: expertise,
Buckland, David, Ali MacGilp, and Siôn Parkinson. 2006. curiosity, empathy, confidence, humility, independence, andBurning ice: art & climate change. Cape Farewell London.
courage. If you were to create a Renaissance Team for yourproject or business, what skills and knowledge would be most
Burke, Miriam, David Ockwell, and Lorraine Whitmarsh. 2018. needed?, edited by BruceMau.MC24: Facebook.
"Participatory arts and affective engagement with climatechange: The missing link in achieving climate compatible Niedderer, K., G. Ludden, S. J. Clune, D. Lockton, J. Mackrill, A.
behaviour change?" Global Environmental Change 49:95-105. Morris, R. Cain, E. Gardiner, M. Evans, R. Gutteridge, and P. P.
doi: https://doi.org/10.1016/j.gloenvcha.2018.02.007.
M. Hekkert. 2016. "Design for Behaviour Change as a Driverfor Sustainable Innovation: Challenges and Opportunities for
Chabay, Ilan, Larissa Koch, Grit Martinez, and Geeske Scholz. Implementation in the Private and Public Sectors." International
2019. "Influence of Narratives of Vision and Identity on journal of design 10 (2):67-85.
Collective Behavior Change." Sustainability 11 (20):5680.
Service, Owain, Michael Hallsworth, David Halpern, Felicity
Guerra, Berta Ramos. 2020. "Bruce Mau, optimism and the Algate, Rory Gallagher, Sam Nguyen, Simon Ruda, Michaeleternal need for change." https://brucemaustudio.com/press/ Sanders, Marcos Pelenur, Alex Gyani, Hugo Harper, Joanne
bruce-mau-optimism-and-the-eternal-need-for-change/.
Reinhard, and Elspeth Kirkman. 2014. "EAST: Four simple
ways to apply behavioural insights."53.
Hinkel, Jochen, Diana Mangalagiu, Alexander Bisaro, and J.
David Tàbara. 2020. "Transformative narratives for climate Smith, Mat. 2020. "Bruce Mau Know How – Make Fact-Basedaction." Climatic Change 160 (4):495-506. doi: 10.1007/ Optimism Your Mantra." Phaidon. https://brucemaustudio.com/
s10584-020-02761-y.
press/bruce-mau-know-how-make-fact-based-optimismyour-mantra/#:~:text=Fact%2Dbased%20optimism%20is%20
Mau, Bruce. 2020a. Mau MC24 : Bruce Mau's 24 principles for a,important%20contribution%20designers%20can%20make.
designing massive change in your life and work. Edited by Jon
Ward, Bruce Mau's 24 principles for designing massive change
in your life and work. London, New York, NY: Phaidon Press
Limited.

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Kiwi Kai, from the Soil to your
Plate: Designing Educational
Tools for Pro-environmental
Communications

Authors:
Fabiola Cristina Rodríguez
Estrada1
Catriona MacLeod1,2Garth Harmsworth2
Antonio Alfonso Rodríguez
Rosales1,3Institutions:
1
CICTEG- Centro deInvestigación Científica yTecnológica de Guerrero(Mexico)2
Manaaki Whenua – Landcare
Research, Dunedin (New
Zealand)Manaaki Whenua - Landcare
Research, Palmerston North(New Zealand)

3

Abstract
This paper outlines the design process for Kiwi Kai – an online
educational tool aiming to inspire and enable young New
Zealanders to think critically about how their food is produced.
The tool invites students to experience real-world challenges
that New Zealand farmers face when growing food. Throughgame-based play, users learn about the interconnected
relationships between humans, biodiversity, and theenvironment. They also develop science abilities and longterm competencies, while starting to learn about traditional
knowledge and values held by Māori society (indigenous New
Zealanders).
The tool was codesigned with its intended users and aninterdisciplinary team involving specialists in education, design,
te ao Māori (Māori world view), science communication,
educational game design, programming, agriculture, andecology from various institutes within New Zealand andabroad. Directly involving students in the design process
allowed us to understand to their needs and incorporate theirideas into the tool design. To help teachers apply the tool in
the classroom, supporting resources were co-designed witheducation and indigenous knowledge experts.
Here, we focus mainly on the designer’s perspective and role inconstructing this educational tool. We show how a successful
collaboration between a designer, end users and otherdisciplinary experts can create engaging educational toolsthat hold potential to change users’ attitudes and behaviours
towards sustainable practices.
Keywords:
biodiversity,
knowledge

Critical thinking,educational tool,

Design Beyond / Kiwi Kai, from the Soil to your Plate: Designing Educational Tools for Pro-environmental Communications

sustainableecosystem,

agriculture,indigenous

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Introduction
Our world is facing a wide range of health, environmental
and social crises (Díaz 2019). To address these issues, 193
countries agreed in 2015 to work towards 17 Sustainability
Development Goals (SDG) including: eliminating poverty andhunger, reducing inequalities, rescuing climate, and sustaining
life on Earth by 2030 (Editorial 2023). However, recent
SDG assessments signal that our current progress towards
addressing these challenges is too slow and most targets
will not be met. Hence, the International Science Council(2023) and others (Abson et al. 2017; Díaz 2019) are callingfor changes to how scientists work, so that science can playa much greater and effective contribution to society’s needs.
This includes a call for scientists to work in closer collaboration
with other disciplines and stakeholders to deliver creative
solutions to society’s most immediate problems.

Furthermore, the task of changing attitudes is difficult andoften limited by (Bernal 2004):

The ‘First Things First’ Manifesto 2000 (Adbusters 1999)
recommends that professionals in creative areas reassess andredirect their goals to help address these challenges. With theintroduction of new artificial intelligence tools, it is even more
important to reflect on and understand the essential role thatcreative professions can contribute. For example, designers
can help change people’s attitudes toward environmental
problems, by creating better awareness of non-specialist
audiences needs and facilitating the involvement of all in thedesign of educational resources. Environmental issues areoften complex, and so must address many different aspects
including social, cultural, economic, and political factors.

Here, we focus on understanding how designers can workas part of an interdisciplinary team to help to build proenvironmental educational tools to help address suchcomplex problems. We present a case study centred aroundthe development of an interactive learning tool – Kiwi Kai(kiwikai.nz) – which aimed to inspire young New Zealanders tothink critically about how their food is produced and whether it
is nature friendly. Our goal was to design an online educational
tool for students to experience the real-world challenges that
New Zealand farmers face when growing food, whilst also
learning about interconnected and varied relationships thathumans have with nature, and the environment.

— Inefficient communication— Lack of appreciation of different perspectives— Distortion of the information— Lack of cultural sensitivity
Thus, design can be a critical element in helping specialists fromother disciplines generate tools to communicate efficiently.
Designers can recontextualize the specialists’ message for anon-specialized audience (Luzón 2013). Designers are experts
in analyzing a problem, understanding, and empathizing with,users and all the stakeholders to create communication
bridges to reach the intended audience.

Interdisciplinary Approach
Complex socio-ecological problems require innovative
solutions informed by different ways of knowing and doing(International Science Council 2023; Norström et al. 2020),
as well as a dynamic approach (Andrade et al. 2014). Like
any specialists confronted with multi-faceted challenges,
environmental and conservation researchers tend to have“discipline-induced selective attention areas and blind spots”(Andrade et al. 2014) and a narrow world view informed bytheir respective discipline’s methodologies, specialized lingo
and problem-solving approaches.
Involving a team of diverse specialists, including the designers,
from the beginning allowed us to draw on different capacities
and skills to the construction of the problem statement.
Integrating insights from design theories and practices canbe a crucial element in addressing such socio-ecologicalproblems. Designers can offer more than producing objectsof use (Dorst 2011), as they specialize in finding solutions
to complex problems by looking at different options until
reaching the appropriate solution, depending on the socialand cultural order to which it belongs (Maldonado s.f., in Sexe
2001). Designers can also learn from different paradigms byworking in interdisciplinary teams to generate new options:“The interdisciplinary nature of Design thinking also ensuresthat innovation is naturally balanced between the technical,
business, and human dimensions” (SAP Design Service Team,in Melles et al. 2011:163). Hence, a higher quality outcome
stems from an iterative process involving diverse specialists(Wilson 2013), helping us to gain a holistic view of complex
problems and designing innovative solutions.

Page 150

In the case of Kiwi Kai, our challenge was to design an
educational tool that not only successfully engaged its
intended audience but also integrated information about
New Zealand’s farming system with scientific evidence on
biodiversity and te ao Māori (New Zealand’s indigenous
people’s worldview including Māori concepts, knowledge,
values, practices, language and terms), whilst also supportinggame-based learning and school curriculum needs. Hence,from the outset, our project team involved experts fromdiverse disciplines including agriculture, ecology, te ao Māori,education, science communication, design, game design andprogramming from various institutes within New Zealand andabroad. This allowed us to work together define the problem
statement and ultimately deliver a free online educational toolthat:
— Invited the player to manage a virtual farm and try tobalance care for nature, grow healthy food and care forcommunity, without overspending. Players experimentwith diverse farm management strategies giving them asense of autonomy and creativity, challenge, and purpose(Bolstad and McDowall 2019), as the tool includes 240
farm scenarios and 140 chores that reflecting the realworld social, economic and environmental context of New
Zealand farming.
— Reflected the essence of te ao Māori respectfully bysubtly highlighting Māori’s (indigenous New Zealanders)(w)holistic relationships (inter-connection and interdependency) with the environment as well as theirtraditional knowledge, practices, and values (Harrison etal. 2020; Harmsworth 2022).

Design Beyond / Kiwi Kai, from the Soil to your Plate: Designing Educational Tools for Pro-environmental Communications

— Included nature-based quests designed to help theplayer appreciate what it means to practise kaitiakitanga(guardianship), with good choices revealing hidden taonga(values, treasures) and rewards. These quest designs
were informed by an existing biodiversity assessment
for NZ farms (previously co-designed with NZ farmers,
stakeholders, and biodiversity experts; MacLeod et al.
2021).
— Used an existing novella-style game framework to give
us a fast start, with five unique reward rooms to visualizechanges on the farm, and bespoke artwork for New
Zealand’s unique biodiversity and environment. The tool
also had an agile design enabling us to easily specifychanges in the game text, graphics, and triggers via
Google Sheets.
— Ensured that the browser-friendly tool was optimized
for use on the devices available in most schools (i.e.
Chromebooks) and it was feasible to complete the gamewithin a classroom session.
— Embedded the learning experiences aligned with New
Zealand’s school curriculum. Supporting resourceswere available via an educational platform commonlyused by teachers nationally (Science Learning Hub,n.d.). These resources demonstrate how to use Kiwi Kai
as a springboard for deeper learning in the classroom,
helping students to develop their science proficiencies,
understanding of te ao Māori concepts and enduring
relationships and capabilities.

This user-centric design approach helped to deliver a userinterface that was agile, inclusive, ethical, visually engaging,ergonomic and fit-for-purpose. In user-centred design, theuser’s viewpoint was critical in shaping the process including theplanning, design and development phases. The user-centred
design included: active participation of users, collaboration
with the design solutions and multidisciplinary teams fortackling a specific task (Pelta 2007 in Rodríguez-Estrada et al.
2015). It helped us to understand the user’s needs and wants.
To create communication bridges linking the users to thenatural world, requires a team that can share communicativecodes. It is a process where there is a continuous practice of
asking, challenging assumptions, listening, and understanding,requesting information that may seem obvious to an expert inthat domain, knowing that others can contribute, recognizing
differences in what people know and how they communicate,take personal responsibility to be an effective collaborator(Dall’ Alba’s, n.d.; in Adams et al. 2011 in Rodriguez Estrada n.d.).
Our team’s challenge was to integrate our diverse skills andknowledge to produce a tool that inspired the students thinkcritically about how their food is produced, our relationships
with the natural world and each other. The Kiwi Kai projectprovides a working demonstration of how design can help
facilitate social transformation. Design has been shown to
improve practical decision-making in other fields, in innovationand social impact projects, and has the capacity to contributeto the developing of tools to communicate and change users’
attitudes towards socio-ecological problems.

We also co-designed the tool with its intended audiences –students aged 8 to 12 years old. Over 200 students from fiveschools (mainly in Dunedin) helped name, test, and refine thetool. We initially worked closely with two classes, but thenprogressively invited novel users from other classes and schools
to join the project. This iterative design process helped us to
not only understand and respond to the intended audience’s
needs (Stanford d. School at The Irish Times., s.f.), but it also
integrated their ideas into the tool design, which included:— Developing and refining our storylines for introducing thevirtual farm, interacting with the key characters in thegame, and solving farm management issues.
— Allowing the player to save the game, tailor their farmand avatar to match their own interests, and easily see
the outcomes of their decisions through the use of visual
effects and changes in their farm environment as well as
their score bars and various reward systems— Helping to select graphic designs and improve the userinterface layout.

With the introduction of new artificial intelligence
tools, it is even more important to reflect on
and understand the essential role that creative
professions can contribute.

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Kiwi Kai, A Multimodal Text

Figure 1: Kiwi Kai introduction. October 5, 2023. Kiwikai.Nz. App.Kiwikai.Nz. https://app.kiwikai.nz

Along with working in interdisciplinary teams to create
communications with the capacity to transform the attitudes
and behaviours of the users towards environmental matters,
we need to modify how messages are usually constructed.
Particularly in environmental communication, the teams
responsible for generating educational materials must workon elaborating messages through multiple sign systems anduse different strategies (Serafini 2011). When designing Kiwi
Kai, we aimed to deliver a tool that helped students interpret,
critique, and create knowledge; hence, it was decided todesign a multimodal text (Table 1).

Multimodal text is constructed by combining two or moresemiotic systems, which can be linguistic, visual, gestural,
spatial, and auditory (Kress and Van Leeuwen, 1996 in the
Department of Education WA, 2013). It recognizes that thedefinition of literacy now goes beyond the use of oral andwritten language. Nowadays, we use complex texts that containelaborate visual images, unusual narrative structures, complex
design elements and unique formats (Goldstone 2004; Kress
2003; Serafini 2011). We require greater capacity and speedof adjustment to the technologies that come into our lives at
a speed never seen before. We find new ways of acquiring
information through interaction with various multimodal texts,
such as video games, applications, interactives, virtual reality,
and interactive books, to name a few.

Figure 2: Initial explanation. October 5, 2023. App.Kiwikai.Nz. https://app.kiwikai.nz

Figure 3: Icon for care for the community. October 5, 2023. App.Kiwikai.Nz.
https://app.kiwikai.nz

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Semiotic system

Linguistics

Definition and code
examplesOral and written language (use of
vocabulary and grammar).

Examples from Kiwi Kai’s design— Keeping text simple and short with a popup glossary for complex terms.
— Highlighting key messages using a different colour font.
— Phrasing to reflect character personalities.
— Integrating key phrases and words in te reo Māori with a popuptranslation.

— Providing popup information cards to inform user decisions.
— Player can customize their avatar.
— Moving images draw attention to change in seasons, gain/loss of points,
VisualRefers to static and moving
images.

and key rewards stored in a notebook.

— Visual appearance of farm changes to reflect player choices andchanges in season and production cycles.

— Bespoke graphics designed mainly for species unique to NZ.
Audio

Includes music, sound effects andsilence.

GesturalContains facial expressions andbody language.

— Bird calls reflect NZ farm environment.
— Celebrate player achievements.
— Player clicks active elements.
— Characters reflect different roles, cultures, and intergenerational
aspects of NZ farm communities.

— Changes in character expressions give visual feedback on player
choices.

— Layout of habitat and species images reflect NZ farming landscapesand species niches.

SpatialIncludes the position, layout, andorganization of objects in space.

— Farm map allows user to move between different habitats.
— Each habitat functions as a ‘reward room’.
— User interface layout is consistent, with changing button formats toreflect their status (locked, unlocked).

Table 1: Definition of the five semiotic systems (Department of Education of WA, 2013:2), with examples from Kiwi Kai’s design.

Producers and receivers of communications must be able to read multiple types of texts. (Unsworth 2001, in the WA Departmentof Education 2012). In the education system, literacy is changing so that it now goes beyond the use and production of traditional
texts and includes new communication technologies, such as the use of different multimodal texts. Accordingly, Kiwi Kai’s teamwanted to allow students to engage in constructing this multimodal text. This aided in generating a tool that can engage thetarget users.

Figure 4: Interaction kiwi Kai. October 5, 2023. App.Kiwikai.Nz. https://app.kiwikai.nz

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Close collaboration occurred between specialists and eachsemiotic system to craft appropriate codes. For betterbiodiversity comprehension, sustainable farming, andagriculture, the expertise of environmental scientists andfarming professionals played a pivotal role. For Indigenous
New Zealanders’ codes, the participation of the experts inMāori knowledge, culture, language, and terms was imperative.
Indigenous Māori are understandable very sensitive to how
Māori are represented or portrayed through iconography,
images, symbols, graphics, language, and in general.
Developing the Kiwi Kai game considered these sensitivities
from start to finish by engaging with Māori experts to guidethe whole process. Indigenous data sovereignty and ethics
are crucial considerations in which experts guided us to follow
the appropriate protocols. Educators working with community
members helped to understand the local epistemologies andthe value of the students’ observations (Balazs and MorelloFrosch 2013 in Andrade et al. 2014).

The design specialists’ assignment was to work with thesubject-matter experts and understand their codes andrecontextualize them for the target users. As the act ofcommunicating is a social process, every time a new pieceof communication is developed, the discourse needs to berecontextualized (Rodríguez-Estrada et al. 2015).
— To generate the appropriate codes.
— Design the user interface with the programmers, whowere specialists in narrative design.

Figure 5: Explanation with the inclusion of Maori language. October 5, 2023. App.Kiwikai.Nz. https://app.kiwikai.nz

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Figure 6: Map Navigating the Kiwi Kai game. October 5, 2023. App.Kiwikai.Nz. https://app.kiwikai.nz

As designers of pro-environmental communicative tools, it isessential to understand that conveying all these codes into
one multimodal text is not only about generating each code
individually but also designing all of them together to engage
with our users and communicate the targeted message.
For Kiwi Kai’s design process, we understood that theinterdisciplinary process requires patience; as Andrade et al.
(2014) mentioned, it was a process of adaptation where we
all learned the conventions and specialized communicationsof other disciplines. Design proved helpful in confronting acomplex problem – in this case , the challenge of Kiwi Kai’s
design to reflect multiple dimensions of a complex socio-

ecological system in a way that would successfully engage
young New Zealander’s (of all cultures and ethnicities) tothink critically about how their food is produced and help
them envisage different pathways for achieving sustainable
farming. Within five months, Kiwi Kai’s website has reached a
global audience of 2500 people, with 1800 players (including
students, educators and caregivers) across New Zealand and22 other countries engaging directly with the educational tooland many providing positive feedback.

Acknowledgements: This project was funded by New Zealand’s Ministry for Business, Innovation and Employment’s Unlocking
Curious Minds and Biological Heritage National Science Challenge programmes as well as the Strategic Science Investment Fundfor Crown Research Institutes (Manaaki Whenua – Landcare Research). It was also supported by generous in-kind support fromthe Science Learning Hub, Enviroschools (via Otago Regional Council), New Zealand Association for Environmental Education,
Horticulture and Agriculture Teachers Association of New Zealand, New Zealand Association Resource Management and Deer
Industry New Zealand.
Students and teachers from Carisbrook School, North-East Valley Normal School, Ōpoho School, Musselburgh School andLaingholm Primary School who helped us co-design and refine our educational tool. Our core project team involved Geo AR
Games, Wl Links and Carisbrook School, with additional expertise provided by The AgriBusiness Group, EFS Initiatives, New
Zealand Council for Educational Research and Science Learning Hub.

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Special Thanks

We would like to acknowledge and thank the many
individuals and institutions who supported us
throughout this process and enabled the successful
execution of this event:

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