THE RESPONSIBLE DESIGN FRAMEWORK — CASE STUDIES
Design School Projects compiled by the Conscientious Communicators Research Hub INTRODUCTION
‘Design, if it is to be ecologically responsible and socially responsive, must be revolutionary and radical.’ Victor Papanek – Design for the Real World The Responsible Design Framework Case The following case studies demonstrate Studies have been designed to evidence approaches to exploring ‘the way’ and a developing range of practices within the ‘the why’ of design – seeking to create in LCC Design School and to inspire students environmentally responsible and socially to consider a way to practice design that responsive ways. responds to the eco-social challenges of our time with the skills and values of The projects share common traits, they are: responsible creative citizens. driven by a desire to address challenges; they identify a clear purpose; they utilise While the Responsible Design Framework co-design research, resourceful making, gives guidance for embedding responsible prototyping, circular thinking and approaches and principles within the evaluate the projects as they develop curriculum by clearly identifying this with project partners. explicit/tacit knowledge to students, the case studies highlight student and Above all, these case studies support the staff learning and achievement. These belief that design can be the ‘site of action are projects that have been created and agency to radically transform our with diverse external communities and world,’ (LCC Design School Manifesto). in collaboration with NGO and local They are active and brave – seeking to organisations which reflect the Design explore lesser known subjects, challenge School’s environmental and social the status quo, change behaviour, raise design imperatives. expectation and take creative risk! 1 CONTENTS PROCESS Interrogating and improving the way we design via /
1 Resourceful making: Scrutinising 3 Co-design approaches: Considering medium / material choice and energy use stakeholder-centred, participatory processes 1.1 Access Through Tools Exploring the value of old and new 3.1 Everyday Heroes sustainable mediums A co-designed sustainability exhibition with CSR BNP Paribas 1.2 Natural Colours Printmaking colours extracted 3.2 Melt It! from Nature Student-driven plastic recycling workshops for 3D printing 2 Systems thinking: Analysing reusability, lifespan and waste impact 4 Responsive reactions: Applying and evaluating approaches in response to need 2.1 Waste-Off Challenge Cross UAL creative upcycling and 4.1 1/1 Future in the Making impact reduction Art direction initiative celebrating and sustaining the craft of weaving 2.2 Senegal Design Exchange Intercontinental craft skills-swapping, 4.2 Food for Good enterprise and circular systems A social enterprise start-up for repurposing food waste CONTENTS PURPOSE Investigating and targeting the positive impact of design by /
5 Raising the bar: Educating and inspiring 7 Supporting welfare: Championing causes, others through example enabling inclusivity, nurturing wellbeing
5.1 Infocus (IF) 7.1 A+ (Artefact Eco Editions) A new design and photography agency Student-led publication, championing for socio-documentary green design, illustration and journalism
5.2 Orphans Who Had Parents 7.2 Future Females An educational graphic narrative Gender-orientated spatial design highlighting exploitation for wellbeing
6 Challenging the status quo: Critical 8 Innovating to fix: Attempting to solve and provoking positive change wicked problems
6.1 Inside Out Campaign 8.1 United Nations’ Great Green Wall A campaign against social injustice Communication of a wicked environmental in clothing production solution for the UN
8.2 Whoever Wins We Lose 6.2 Critical Mass Interactive bio-science public engagement Critical campaigning and strategy at the Science Museum for positive change PROCESS — Interrogating and improving the way we design PROCESS 1 Resourceful making — Scrutinising medium / material choice and energy use PROCESS ACCESS THROUGH TOOLS
The Access Through Tools exploring and strengthening Festival was a year-long the relationships that emerge pedagogical project exploring between technicians, tutors the construction of knowledge and students. All were invited Images © M. Chai and W. Lee-Warne through design production. It to contribute, from project sought to explore the liberating conception through to delivery. dynamics that emerge between the designer and their means The student team explored, of production. This called for together with associate lecturers an investigation of the tools, and designers, Sophie Demay processes and materials and Ken Kirton, the potential integral to creative making. of building a new hybrid model between a traditional crafts- The title takes its name from based apprenticeship and the ‘Whole Earth Catalog’ a design studio internship. (1968), a proto-internet, print- based cultural phenomenon Some of the tools and processes that sought ‘to make a variety used were screen-printing with of tools accessible to newly- conductive ink, risograph, dispersed counterculture digital interaction, bookmaking, communities’. filmmaking, offset printing, 3D printing, laser-cutting, The festival took shape through letterpress and relief printing. workshops, talks and a pop-up exhibition at LCC – looking There were a lot of components at incidental or speculative to the success of the festival. processes and featuring: Principally the idea of ‘We looked at design in a broad sense Daniel Eatock, James Langdon, independent student learning, first. Looking at the appropriate medium Peter Nencini, Audrey Samson, but also teaching on the New North Press, Peter Bilak, responsibilites of making for creating a design is part of the design Colophon, Daniel Charny and (with limited resources) and process. This calls for a new investigation many others. building a maker-community. Furthermore, the festival’s of the tools, processes and materials integral The project valued non- facilitation of interdisciplinary in the making of a designed artefact.’ hierarchical working across sharing, enabled students to stakeholder roles, wherein the contribute and learn beyond Sophie Demay, Senior Academic Design Lecturer and practitioner interest was geared towards their own projects. PROCESS
‘The Whole Earth Catalog’s ethos inspired the making of the Festival: the creation of a community; the notion of the collective; a common contribution to the same project; a movable, portable structure that could be accessed by many; an engagement with the DIY culture; the importance of making, of inventions, hacks and mistakes.’ Sophie Demay, Senior Academic Design Lecturer and practitioner
Images © M. Chai and W. Lee-Warne
— If LCC revived the Festival, Courses and collaborators: Sophie would like to collaborate LCC Design School with key staff with a wider range of UAL Sophie Demay and Ken Kirton. colleges and new external Collaborating with Daniel Eatock, organisations to further expand James Langdon, Peter Nencini, Audrey Samson, New North Press, the sense of community Peter Bilak, Colophon, Daniel Charny... between students, technicians — and professional practitioners. Links: Project film: https://vimeo.com/207018730 PROCESS NATURAL COLOURS
A project exploring colour ‘cycle of life’, something which originating from nature – has been discarded, composted the creation of natural dyes and is given another life. and paints made from fruits As part of the S*PARK and vegetables from waste ‘Uncertainty Playground’ kitchens and foraged plants. Exhibition (and London Design The materials gathered were Festival) from the Design School inspired and linked to the at LCC, Florence worked with diverse community living at the two Illustration and Visual Elephant & Castle, illustrating Media graduates: Shana cultural flavours (sour, bitter…) Pagano-Lohrey and Laylah telling the story of the original Amarchih in visualising the nutritional usage of the chosen ‘Flavour Garden’ through fruits, vegetables and plants. Images © L. Bush illustrative screen prints on Florence Hawkins, LCC paper. The project’s aim was printmaking technician, has to enhance students’ learning been involved in various through discovery of resources Green Week workshops that within a local proximity and experiment with the extraction engage a wider community. of colours from nature, A particular challenge that collaborating with professional Florence faced during this foragers: Fergus Drennan and project was preserving the paste James Wood, creators of ‘The used, as they do not last as long Foraged Book Project’, to impart as conventional screen-printing their considerable knowledge inks. The results of the colours to staff and students. on paper are never as vibrant Florence and her colleague as synthetic pigment, but when (Barbara Salvadori) have been you overlay them they create dedicated practitioners in a beautiful range of natural applying sustainable methods tones. in their work. She has worked recently with the local Buddhist Café to collect local food waste to be used in her workshops. She relates this to the idea of the PROCESS
Images © F. Hawkins and L. Bush
— Florence continues to experiment Courses and collaborators: with other materials and iterating LCC Design School and printmaking the process. She instils in her staff. students the importance Collaborating with James Wood of continuously exploring, and Fergus Drennan. questioning and experimenting In conjunction with UAL Green Week, ‘I think that our future is about producing and new ways of approaching one’s Conscientious Communicators and London Design Festival. consuming less. What we do use, should be practice in design, looking at ‘good’ in every sense. A designer needs to what is available locally and — trying to challenge increasing Links: question the ways things are – who makes mountains of waste. Project films: https://vimeo.com/228369544 it, what is it made of, how long will it last, is She advocates observing https://vimeo.com/207275265 the production sustainable? Design is easy – systems and always considering https://www.youtube.com/ good, ethical design is something special!’ re-purposing waste substrates. watch?v=a29SnISpPZQ Florence Hawkins, artist and Screen Printmaking Technician
Images © F. Hawkins, London Design Festival PROCESS 2 Systems thinking — Analysing reusability, lifespan and waste impact PROCESS
‘ What this project has done so impressively is use creativity to help shift perception. This WASTE–OFF has undoubtedly improved understanding and created questions around material use and design responsibilities across UAL.’ CHALLENGE Sophie Thomas, Director of Circular Economy, RSA (Royal Society for the encouragement of Arts, Manufactures and Commerce)
A cross-University challenge It has enabled the celebration – giving waste new value and dissemination of best and helping to establish practices, as well as instigating material reuse and sharing the exploration of ways to across UAL. After discovering improve UAL systems. untapped waste streams (such as fabric off-cuts, canteen LCC created the Museum of waste, packaging, clay Reinvention – two cabinets of trimmings, make-ready press- reclaimed, upcycled objects, to act as a permanent showcase sheets and canal flotsam), Image © Conscientious Communicators: Cumulus Kolding participants undertook a series of inspirational examples, of workshops to craft and share teaching tools and unexpected upcycled design inventions. ‘creative curiosities.’ The cabinet is also an exhibit, utilising The Waste-Off Challenge discarded materials, objects mobilised participants from and furniture rescued from the across design, communication, college skips. fashion, performance and fine Some of the items currently art disciplines to collaborate Image © E. Hyyppä, LCF Image © CSM with designer-maker, Jan housed by the Museum are: Hendzel, with the intention a waste-food colour swatch, handmade paper (from waste of: instigating discussion; Image © R. Willatt, LCF transforming student and staff paper and natural materials), understanding of sustainable hacked toys and instruments, practices; informing pedagogy; sustainably printed posters inspiring cultural change and re-illustrated books, and sustainable curriculum narratives and maps. These development; nurturing will be added to in the future stakeholders relationships and with other upcycled creations community partnerships. and substrate resources. The project processes and their display at each site were useful triggers for conversations and thinking around material reuse across the University, between
technicians and Estates teams. Image © Conscientious Communicators, LCC PROCESS
up the opportunity for future collaboration and knowledge- sharing across sites. The Waste-Off Challenge lead to Jan Hendzel being commissioned to design the Camberwell Pop-up Café – created entirely from locally reclaimed wood and combining traditionally and digitally bespoke furniture to create beautiful and distinctive pieces. This project proposed a new Image © F. Coyle, Camberwell College of Arts Café materials approach to the University as a whole, and has changed mindsets. — Colleges and collaborators: LCC Design School with London College of Fashion, Central St Martins and Camberwell College of Arts. Collaborating with Jan Hendzel. A Conscientious Communicators’ project. Exhibited as part of UAL Green Week. Poster Presentation at Cumulus Kolding. — Links: Project film: https://vimeo.com/116857934 http://blogs.arts.ac.uk/london-college- of-communication/2015/03/20/waste-lccs- museum-re/ http://www.janhendzel.com/project/ canteen-collection/ Image © Conscientious Communicators, LCC Image © CCW
The Waste-Off items created the creative opportunities of ‘We sought to demonstrate the creative across UAL were not only the discarded, became closer resourceful in fabrication, to adopting a more personal potential of non-virgin materials and but positive in their role and ‘circular’ design philosophy. through this activity help establish practical spanned: tableware, table- The project initiated and tennis bats, hanging baskets / celebrated processes to store, processes to share resources and avoid planters, cleaning tools, clothes, reuse and redistribute resources contributing to landfill.’ games, furniture, a swing... within the colleges. Sarah Temple and Tara Hanrahan, project facilitators: Participants and audiences Across the University, a technical Conscientious Communicators Research Hub, UAL questioned their material and academic network created
Image © CSM responsibility and by exploring by the project has opened PROCESS SENEGAL DESIGN EXCHANGE
A two-week collaboration Tamara Lewis, together with ‘The scarcity of resources and technology with Route Artlantique, LCC fellow Graphic Media and and international students, Design graduate Sarah Louise forces people to be cleverly creative and teachers and practitioners, Bingley and Ashmi Mirdul from this proves that it is possible to design co-designed with Senegal’s LCC Design School, embarked local art and crafts business on this journey in July 2016. without relying on computer programs. community. Through the Other cohorts have followed This also creates a culture of repurposing common language of creativity, in 2017 and 2018. participants learn to combine materials and of improvisation.’ Tamara’s aim was to explore tradition with innovation, and understand purposeful Maxwel Fabiano Da Silva, BA (Hons) Graphic & Media Design / stimulated by community design in other continents. DPS student needs and the immense visual What essentially is design for in inspiration of the location. any community? Her personal Images © T. Lewis and Route Artlantique Route Artlantique is a creative practice revolves around social journey that takes place in four engagement, learning from different regions of Senegal. co-design processes and seeking It was founded to broaden the problems that could be resolved knowledge and understanding by design on both a practical of participants, to encourage and philosophical level. participatory invention and Tamara highlights the to respond to both local waste importance of the community- and need. based setting of the workshops. This hands-on approach and Some of the makers had a direct communication between grass-roots approach. Local different cultures, pioneers designers work in conjunction the active exchange of ideas, with business as advocates, creating opportunity to share responding to challenges. and improve cultural making It reinforces the idea that form in the economy. Workshops follows function and great range from digital to technical: design does not need to be woodwork, fashion, jewellery, expensive or complicated, just weaving, musical instruments purposeful, like a community and other creative industries printer, providing a flexible which serve as livelihoods to service. the locals. PROCESS — Courses and collaborators: LCC BA (Hons) Film Practice, BA (Hons) Graphic & Media Design, BA (Hons) Interaction Design Arts and Diploma in Professional Studies. Collaborating with Route Artlantique. — Links: Website: http://www.routeartlantique.com https://tamaralewisdesign.squarespace. com/
Images © T. Lewis
‘I believe that responsible design can help solve the challenges of a community and the needs of the environment – sustainably, improving people’s lives for the better, no matter how small that change may be.’ Tamara Lewis, BA (Hons) Graphic & Media Design / DPS student
Images © T. Lewis and Route Artlantique PROCESS 3 Co-design approaches — Being stakeholder- centred and participatory PROCESS ‘At LCC we had not previously worked in a cross-disciplinary way, with other creatives who cared about sustainability. Nor with such a great client. We learnt how every specification needed to be carefully EVERYDAY considered. Overall, the collaboration journey was one of the most vital experiences we have had. Not only has this opportunity HEROES allowed us to build our knowledge and portfolios, it has hugely expanded our confidence as (sustainable) designers The ‘Everyday Heroes’ responsible organisation and communicators.’ exhibition came from a approaches us to work with professional relationship students, as BNP Paribas did Stephanie Tan and Maxwel Fabiano Da Silva, BA (Hons) Graphic between LCC and the two years ago. & Media Design / DPS students CSR team at French bank BNP Paribas. The bank The Bank’s Corporate Social approached ‘Conscientious Responsibility (CSR) Programme Communicators’, seeking is unmatched. With 190,000 out creative students with employees and a presence in an interest in sustainable 76 countries, BNP Paribas is a communications and civic leading European provider of responsibility. Students from financial services on a global design, branded spaces, scale. The Bank’s CSR approach illustration, animation focuses on promoting financial and photography worked performance and stability whilst collaboratively on a display combating climate change and for their London headquarters. building a sustainable future. As part of the biggest art Awards reflect the Group’s and design University in the commitment and capability to world, at LCC we specialise in support the transition to a low- communication: filmmakers, carbon economy and to assist documentary photographers, clients with their sustainable animators, journalists and Image © U. Mateo Image © U. Mateo Images © M. Fabiano da Silva, O. Sung and S. Tan development issues through designers. One of our ambitions innovative financing solutions as a college is to practice tailored to their needs. To further with external clients who demonstrate commitment to wish to work with several the Paris Agreement, the Bank communication courses at the signed the pledge at COP21 same time to create a project. to keep the planet on a path As authors of the Responsible to limit global temperature Design Framework and rise to less than 2°C. researchers of conscientious creative practice, we are always delighted when a PROCESS — Courses and collaborators: LCC BA (Hons) Graphic & Media Design, BA (Hons) Illustration & Visual Media, BA (Hons) Branded Spaces and Diploma in Professional Studies. Collaborating with Fotodocument and BNP Paribas. A Conscientious Communicators’ project. — Links: https://group.bnpparibas/en/hottopics/ global-goals/bnp-paribas-sdgs
Image © U. Mateo
Images © M. Fabiano da Silva, O. Sung and S. Tan
As communicators at LCC, criteria, we knew we wanted Max and Stephanie on we are very concerned by the to entitle this exhibition typography and graphics, negative and limited way that Everyday Heroes to celebrate Olivia on the space and Climate Change is portrayed: and encourage individual superhero animations, Anna polar bears on shrinking islands achievements. The rest of the on comic book illustrations and and raging forest fires. When design fell into place. photographer Lucas capturing we first met the wonderful the show. Old scaffolding boards and Nina from Fotodocument and poles, recyclable honeycomb We learnt so much working with saw Luca Sage’s enormously substrates, super-hero graphics clients Richard and Anjuli, with positive images on the subject to celebrate individuals, mirrors Fotodocument and Standard8 of BNP Paribas’s role in directing to encourage participation. the exhibition fabricators. finance to a sustainable economy, that respect key Students worked together across environmental and social disciplines co-designing – PROCESS MELT IT!
The Melt-it DIY event was making beautiful objects from part of UAL Green Week 2018, waste materials. Their mission is promoting sustainability to change people’s perceptions through the process of of waste via innovation – to recycling and designing use art and technology to with plastic waste. It was unlock the hidden potential in conceived, researched and recycling, and demonstrate the realised by an LCC design unexpected beauty of scrap. In student and involved three doing so, they hope to inspire industry experts: Rodrigo sustainability and recycling. Garcia with Ooho! Project; The aim of the project was to Sophie Thomas on the circular educate students and staff economy and Happenstance’s about their responsibility as ‘Stew Project’ workshop. both designers/makers and Image © A. Urquia The event was created by consumers/users – seeking to Graphic and Media Design connect global imperatives student Carina Figueiredo, with with individual consumption the help of LCC 3D Workshop and production. Images © C. Figueiredo Technician Andrew Davidson Carina created handmade bins as part of Carina’s Diploma in that were deposited around Professional Studies self-initiated college to collect plastics. project. Once collected, Happenstance Previous to the project, Carina demonstrated how participants had no knowledge of plastic could create their own bowls substrates or extruder machines. made out of the waste. She had to teach herself Happenstance recycles plastics the components, risks and into ‘STEW Products’ that fit to a temperatures according to the closed-loop cycle. Each object different plastic types. It was a is returnable for re-moulding ‘project in development’ that at the end of its’ life. sought to involve students in the During the workshop, participants collection and processing of were involved in the process, plastic waste, by turning it into from shredding to moulding filament for 3D printing. and were introduced to a Carina invited Happenstance to spectrum of topics within small take part as experts in the field. batch, closed-loop recycling. They are a materials design and manufacturing company
Image © Conscientious Communicators PROCESS
‘Responsible design means not only being aware, but acting every day to ensure that you have the least detrimental impact possible on the planet. I think about everything I do now as a human being and a designer.’ Carina Figueiredo, BA (Hons) Graphic & Media Design / DPS student
Image © A. Davidson
Following the workshop, — participants viewed Courses and Collaborators: presentations and joined LCC Design School with BA (Hons) pertinent discussions on the Graphic & Media Design / Diploma in role of design in the circular Professional Studies Carina Figueired and 3D Workshop staff. economy and sustainable Collaborating wth Happenstance, futures with Ooho! Project Ooho! Project and Sophie Thomas. and systems design expert Part of UAL’s Green Week. Sophie Thomas. — Links: https://vimeo.com/219365035 http://www.oohowater.com/ http://www.eyemagazine.com/feature/ article/living-and-decaying-in-the-plastic- age Images © Conscientious Communicators PROCESS 4 Responsive reactions — Applying and evaluating approaches in response to need PROCESS 1 /1 FUTURE IN THE MAKING
An innovative art direction and at 73 years of age, she initiative which celebrated has been an upholsterer established and expert for over 60 years, using her processes of production and own traditional methods of resourceful making. The aim production and upcycling. of the project was to foster new Barbara visits markets and buys partnerships and empower old clothes by weight, these artisan makers, building new can be wool jumpers, cotton models of social enterprise and t-shirts, or cashmere sweater. By sustainable development. The cutting each piece of clothing co-design process undertaken into fabric strips she frugally ensured stakeholders learnt determines the thickness of the from differing knowledge rug, colour charts are made systems and perspectives. and her loom weaves each All photography (from film footage) © T. Sixou new piece. 1/1 won a 2018 UAL Creative Enterprise Awards and provides The central idea of the project is an exciting new enterprise to invite a conversation between model linking craft, art, the artist and Barbara about curation and advocacy. 1/1 is the technical possibilities of her a collaboration between an craft. The rug is the space, and artist, a curator, and an artisan the pattern is the exhibition. which explores the technical possibilities of traditional craft The first collection was designed in contemporary design. At the by Gina Proenza, a young, intersection of art and furniture emergent graduate Franco- design, each rug is unique and Colombian artist. She navigates produced in an edition of one. between fact and fiction in her practice – producing images, The 1/1 project (initiated by texts, smells or installations in LCC Art Direction student which shifts of meaning occur. Simon Sixou), sought artists to create a series of three Gina has won the Helvetia Art rugs in collaboration with Prize (a sponsorship award Sicilian rug maker, Barbara for young artists) and has Constantino. Barbara still presented a solo exhibition crafts rugs in her native town at the LISTE – Art Fair Basel 2018. PROCESS
‘When judging this award, 1/1 stood out as a project with great potential and integrity. It seemed a big idea: combining new and old skills, multiple collaborators and crafts in danger of extinction and repositioning artefacts in a gallery setting. Rug designs © G. Proenza and B. Constantino When Simon came to pitch, he demonstrated The concept and production — a very obvious passion and interest in the Website © S. Sixou processes have led Simon to Courses and collaborators: project as well as real clarity and conviction consider the future potential of LCC BA (Hons) Art Direction, Simon Sixou, the project: a global exploration Barbara Constantino, Gina Proenza when presenting. He was open to feedback of the value of an artwork, the and Filmmaker Theo Sixou. and some difficult questions, but overall he importance of craft in our daily — life and the evolution of the Links: was a very obvious choice for the award.’ art market. Project film: https://vimeo.com/268174499 Will Hudson, Co-founder of It’s Nice That and UAL Creative Enterprise Project website: http://oneonone.me/ Award Judge PROCESS ‘I am really inspired by the enormous implications of these three students – pulling this project together and making it happen! If others could be like this, the global food FOOD FOR waste scandal would be over.’ Tristram Stuart, food waste campaigner and author GOOD
Food for Good began, experience at LCC with guest collecting and transporting Tristram Stuart (speaker and unwanted (but perfectly author of Waste: Uncovering healthy and edible) food from the Global Food Scandal). local restaurants and shops to the kitchens of nearby The trio designed branding hostels and homeless charities and messages, but they – reducing waste and caring also designed the service for others. It was created by and systems. As the project three LCC Graphic and Media expanded, Chiara, Anna Design students while they and Martina faced different were studying for their Diploma challenges and had to adapt in Professional Studies. Since to develop the administrative graduation the girls are still and practical processes and working with food waste in procedures required. a professional capacity. They won a small grant from Images © A. Cennamo, C. Astuti and M. Giulianelli The project sprang from UnLtd, which helped with witnessing first-hand the initial distribution costs, but quantity of edible food wasted soon a company needed to be in their part-time jobs and formed to facilitate working realising how many people with businesses and other are homeless and hungry in organisations. Health and London. Food for Good’s aim safety issues were also a key was to reduce the amount of consideration and a learning food wasted on a daily basis, curve, requiring research and avoiding food going to landfill compliance. and also help charities reach It was their creative approach, out to the homeless, involving design thinking and problem- them as part of a community. solving attitude that made The project also wanted to raise them different to other (more public awareness by hosting established) food waste a series of catering events initiatives using fresh, but unwanted food – participation in Feeding of the 5,000 and hosting a dining PROCESS
Food for Good developed and delivered a range of successful activities, from direct action on the streets, to events where they demonstrated what was possible with the food they collected. They produced canapés for high level events at UAL and raised money from designed products like tote bags, posters and place settings – which all celebrated and utilised surplus or waste. — Courses and collaborators: BA (Hons) Graphic & Media Design / Diploma in Professional Studies, Anna Cennamo, Chiara Astuti and Martina Giulianelli. — Links: Project films: https://vimeo.com/ user11734401 https://www.youtube.com/ watch?v=a29SnISpPZQ
Images © A. Cennamo, C. Astuti and M. Giulianelli
‘We wanted to use our skills as communicators to make a positive impact on society and the environment. Real experience played a big role in shaping us both personally and professionally. It has taught us a range of practical and strategic skills that we would not have learnt without trial and error.’ Anna Cennamo, Chiara Astuti and Martina Giulianelli, Design School alumni PURPOSE — Investigating and targeting the positive impact of design PURPOSE 5 Raising the bar — Educating and inspiring others through example PURPOSE INFOCUS ( IF)
InFocus is a creative platform aware of the importance of which believes in the power responsibility and sustainability of visual communication as in contemporary lifestyles and a tool to educate. It has been business corporations. established as a charity IF acknowledge the countless and social enterprise, to ‘wicked’ problems that face create work that advocates the planet today, ranging from environmental change. Images © V. G. Lee climate change to the refugee
crises. They believe that through IF performs two key roles: firstly, positive media they can create to act as a platform for artists, radical communications ‘The environment is vital to our existence on designers and data visualizers which can shine an original to present their work inviting this planet, yet we destroy the rainforests, light directly on causes and commissions and secondly, campaigns. LCC Design contaminate the seas, pollute the atmosphere as a collaborative group to student Verity Grace Lee’s data take part in exhibitions, talks and kill animals in the name of progress. As a visualisations are utilised on and events, raising money the IF site to help clarify and species, we have forgotten what is important. for various charities. It is a communicate these complex genuinely new model – an As a design communicator, I cannot think of environmental challenges. agency, a social enterprise Image © R. Moore The platform has also gathered a better way to use my skills.’ and a charity. interviews from some of the most Verity Grace Lee, BA (Hons) Graphic & Media Design / DPS student With artists practicing in inspiring people working within countries such as Saudi conservation today, ranging Arabia, India and the Tuvalu from National Geographic, Islands, this unique co-op Survival Charities and award- collaborates with organisations winning photographers, to and companies to realise marine biologists and the content around issues of ex-Director of Photography Climate Change. The group is at Greenpeace. comprised of a dedicated team Founding photographer (and of professional documentary LCC alumnus) Jasper Wilkins, photographers, filmmakers, travelled to Gorkha, Nepal in graphic designers and collaboration with Olympus illustrators who share the and Raleigh International, same subject interest and are (an organisation aimed at
Image © B. Dombrowski PURPOSE
‘I was once told ‘Don’t put off until tomorrow what you can do today,’ and it has stuck with me. The time for environmental protection is now! One day we may observe a world that we contributed to, with scarce wildlife, water, flooded cities and forest fires and we will ask ‘What happened and what did I do to challenge this?’ Jasper Wilkins, BA (Hons) Photography alumnus
Images © J. Wilkins
young people, working in — countries such as Costa Rica, Courses and collaborators: Tanzania and Nepal). His Jasper Wilkins and Verity Grace Lee with 10 other LCC alumnus, BA (Hons) work consists of inspiring Photography, BA (Hons) Graphic & Media communities with his image- Design and Diploma in Professional making, working with a team of Studies. volunteers to provide livelihood — development and adaptive Links: strategies for indigenous people. Project film: https://www. youtube.com/watch?time_ This project resulted in an continue=5&v=w2p2HJagCQo exhibition held at Bermondsey Project website: Project Space displaying real http://www.infocusorg.com stories from the community – focussing on climate change and female empowerment. Later, he developed the project into a book and visited schools/ colleges to discuss it. PURPOSE ORPHANS WHO HAD PARENTS
‘Orphans who had Parents’ is children suffer emotionally from a graphic narrative created the continual ‘turn-over’ of the to explore exploitation issues volunteer carers looking after surrounding Cambodian them. Lisa’s objective was to orphanages. LCC Illustration share her research and make student Lisa Grant, reflected young people more aware that stories such as these were of the problems caused by poorly explained in school ‘voluntourism.’ She feels that and that graphic narratives by investigation, we could may be a better way to engage all become more responsible young people before they and aware. embarked on ‘Voluntourism’ (travelling abroad to take Lisa’s aim was specifically part in temporary volunteer to draw attention to new work), popular with gap year problems that few have students. She felt compelled explored with new primary to tell this story and others research, encouraging readers in a more engaging visual way. to understand that their own actions can contribute to some Aaliya Sherrif, another LCC of the world’s most shocking student, provided the research and abusive issues material for Lisa’s project. The intention was that Cambodian Her main challenge was orphanages would be the first converting the research into a graphic novel that would topic in a series that focussed Images © L. Grant on social issues for GCSE-level communicate all the relevant in UK schools. information whilst remaining an engaging read. The publication The ‘orphanages’ from Lisa’s needed to be entertaining research make their money enough for a young audience. from temporary volunteers with good intentions who leave Editions of the publication have donations at the end of their been sold at independent shops visits. She discovered that not and bookstores. Lisa is talking to only are the children neglected leading educational publishers in the process, but the owners about a series. gain 100% of the profit. The PURPOSE
Images © L. Grant
— ‘I liked the idea of trying something Courses and collaborators: accessible and fun, as opposed to BA (Hons) Illustration and Visual Media, something that is data-driven and purely Lisa Grant and Aaliya Sherrif. — factual. The characters I drew saved the Links: use of a thousand words and were easier http://blogs.arts.ac.uk/london-college- of-communication/2013/06/20/london- to relate to. Tourism Concern, (a relevant college-of-voluntourism/ and important charity), is now an aspect of the National Curriculum in Geography. I understood this project when I understood my audience.’ Lisa Grant, BA (Hons) Illustration & Visual Media student PURPOSE 6 Challenging the status quo — Critical and provoking positive change PURPOSE
‘Katie Baggs and her team most brilliantly initiated the student activation for Fashion INSIDE OUT Revolution Day in London. Their commitment to the cause, originality of ideas, clear execution, design and communication CAMPAIGN contributed to making it one of the strongest of the several global events which were held on the day, certainly one of the most INSIDEOUT FASH MOB The INSIDE OUT project was how sustainable the materials photographed internationally. Katie became conceived to mark the first are and how their production very personally involved, attending our anniversary of the Rana affects the environment. Plaza disaster, 24th April board meetings and becoming an essential 2014, when 1,127 people died A stand-out visual aspect of team member.’ and 2,515 more people were the INSIDE OUT campaign injured when a textile factory was the use of giant washing Orsola de Castro, Co-Founder Fashion Revolution Day Image © fashionrevolution.org collapsed in the province of label instructions, featuring Savar in Bangladesh due to the messaging. By subverting building having unregulated the meaning of the symbols, Healthy and Safety. shoppers were encouraged to question the provenance Students from LCC and LCF of garments, linking it back to united to create a ‘fashmob’, social and environmental issues challenging high street crowds and engaging their sense of to consider ‘Who made your responsibility. clothes?’ Shoppers were asked to check their labels. This The student led protest for student protest was a result of ‘Fashion Revolution Day’ was a collaboration with Fashion staged with bold graphics Revolution. at the biggest concentration of high street brands in the The student campaign was led UK: Oxford Circus, London. by LCC Design student, Katie Feedback from the public and Baggs working with LCF student media was positive, both on the and Evolving Fashion Society ground and online; with content member, Alice Bodgener. trending and coverage by the Guardian and Al Jazeera. The aim of Fashion Revolution is for people to unite and put The initial ‘shock-factor’ pressure on fashion brands to campaign approach has since be more transparent about the evolved into a positive, global clothes they sell. The purpose of movement, which highlights the annual day is to encourage exploitation and shines a light consumers to question who on positivity, transparency and made their clothes, the responsibility within the fashion conditions of fashion workers, supply chain.
Images © K. Baggs and S. L. Bingley PURPOSE
— Colleges and collaborators: LCC Design School, BA (Hons) Graphic & Media Design, Katie Baggs, with London College of Fashion, Alice Bodgener. Collaborating with Fashion Revolution Day and Pants to Poverty. A Conscientious Communicators’ project. — Links: https://www.arts.ac.uk/about-ual/press- office/stories/wear-your-clothes-inside-out- and-join-students-from-ual-in-support-of- fashion-revolution-day https://www.fashionrevolution.org
Images © K. Baggs and S. L. Bingley
‘I fundamentally believe that as a designer, my role is to move people towards a change. We have a potentially important role as visual communicators to communicate to the world, simple acts that can be accomplished, making change for good.’ Kaite Baggs, BA (Hons) Graphic & Media Design student
Image © theguardian.com PURPOSE CRITICAL MASS
A curriculum-embedded perspectives, considering project, which demonstrated how to raise awareness in the potential of participatory unexpected ways. campaign communication, The project commenced critical thinking, co-design with workshops, lectures and creative activism to Image © and primary research with a inform and mobilise a ‘Critical selection of external partners, Mass’ of engaged people. during which students and staff Communication students were inspired and challenged have the ability to persuade by creative campaigners, and provoke; to educate or activists, ethical practitioners entertain; to influence the way and social innovators. people think and act. After focused research each The objective of Critical Mass group developed their own was to challenge LCC students’ brief; exchanged knowledge Image © A. Escobar preconceptions of process and with their contemporaries; purpose. It encouraged students engaged key stakeholders in to use real-world creative co-design, took ideas through activism for transformative development and testing, ‘This collaboratively-produced newspaper effect. Students explored the demonstrating problem-based potential of collaboration took the students to the heart of some key learning. with community and experts, sustainability challenges. It taught them how working through their research Design ‘interventions’ took to best engage others, but also crucially, how in a participatory manner. It campaigning to the streets and challenged them to consider into local communities, as well collective consciousness and responsibility their relationship with society as connecting with national might begin to be developed ‘bottom up’. and current affairs. and global campaigns. Subjects were diverse, spanning societal Graphic and Media Design Working with students from different courses and environmental issues students were challenged to such as: data privacy, gender and levels, around a defined issue, parallels investigate social and political identity, 3D printing, fracking, issues that had an important the learning and negotiation that occurs in food waste, youth depression personal significance to them. and saving Southbank’s skate social movement groups and as such, has They followed a process in space... which they were tasked to extended the curriculum in a valuable way.’ determine issues from multiple Jess Baines, Course Leaders BA (Hons) Design Cultures PURPOSE
‘As designers we need to learn the skills and mind-set of co-design and co-production to enable us to understand a range of complex social issues and to design sustainable and ethical solutions for communities. These approaches not only open us to new creative solutions, but involve communities in learning to create positive-lasting change, both locally and globally, for themselves.’
Images © Conscientious Communicators and GMD Deborah Szebeko, LCC alumnus and Founder of ThinkPublic
Projects were reviewed and The project generated over 30 evaluated by staff, students and public design interventions, collaborators – quantitatively with over 350 students directly e.g. number of participants, engaged in creative activism. signatures, social media shares — were carefully analysed. The Courses and collaborators: success of each project was also qualitatively reviewed BA (Hons) Graphic & Media Design. (Newspaper: BA (Hons) Design through critical reflection and Management & Cultures, MA Graphic discussion. Design and BA (Hons) Journalism, with Tzortiz Rallis). A focused term of activity A Conscientious Communicators’ project. culminated in an exhibition that Film presentation at Cumulus Hong Kong. enabled the project outcomes to extend beyond the campaign — audiences to college students Links: and academics. This exhibition Project film: https://vimeo.com/100064339 inspired a workshop that instigated the production of ‘Critical Mass’, an eco-social issue of the LCC University newspaper. Finally, a documentary film report of the project was circulated and is available online for academics and students as a teaching resource. PURPOSE 7 Supporting welfare — Championing causes, enabling inclusivity, nurturing wellbeing PURPOSE
‘Artefact Magazine works at its very best when students from various courses work together A+ (ARTEFACT on creating it. Features that are developed together by writers, photographers and illustrators are always the most dynamic. ECO EDITIONS) The magazine is one of the most accomplished student university magazines in the UK.’ Simon Hinde, Programme Director for BA (Hons) Journalism at LCC In an exciting collaboration, looking carefully at how the Design and Media School natural world profoundly affects students at LCC have worked our lives. The cover featured a together in the creation of A+ historic Greenpeace image (of
Words: David Buckland magazine (a special edition of a protest against whaling); the Images: Cape farewell / Various Artefact, the student magazine photography of a small activist CAPE FAREWELL: HOW ART CAN produced, managed and boat confronting the large BATTLE CLIMATE CHANGE edited by Journalism). ship wrapped around from front to back. These special eco editions (created for Green Week) The articles and images written provide new writing, illustration, and commissioned in the data visualisation and design magazine demonstrate that Journey of the Private Moon in the Arctic, Leonid Tishkov. 2010
on social and environmental connecting with nature and Launched in 2001, the Cape Farewell project using their sounds as a common link. Cape continues to evolve and work with our best Farewell has closely collaborated with the and most dynamic creative minds and practi- Museum of Science and Industry in Manchester tioners to address the global challenge of and the Manchester Science festival to real- climate change. Fundamental to this evolution ise this ambitious project. The exhibition subjects which interest exploring the roots that sustain is to champion the creative arts as an agent opened in October at MOSI, including three of change towards visioning and building the participatory events; a performance by Coates sustainable culture we can all aspire to. on the opening night, an ‘in conversation’ event with the artists, and two workshops. Up We launched our new website - www.capefare- to the beginning of November over 7000 people students across the university. and explain our world, is well.com - on the 1st of November 2014, cre- attended the show and Marcus was on BBC 4’s ated by Bullet Creative. The website artic- Inside Science with his sound piece. ulates the transition Cape Farewell has made from arctic expeditions to focus on our urban Cape Farewell’s next selected artist for the projects where creativity becomes an agent of Lovelock Art Commission us Tanya Kovats, who Participants have found that an exciting opportunity to change, visioning the transition from a dirty will be collaborating with composer Jonathan carbon based economy towards a sustainable Dove. James Lovelock’s agency has approved of cleaner society. this new collaboration and Kovats and Dove are currently developing plans. Around the UK we have several projects aimed the joint creation of the A+ access an incredible source at changing the way people think about cli- RURAL ARTIST RESIDENCIES mate change. The Rural Artist Residency programme invites Red Ice 3. Chris Wainwright, 2009 Colour C Type print on Aluminium artists to work with farmers in Dorset, in- LOVELOCK ART COMMISSION terrogating our food systems, land use and The Lovelock Art Commission invites a con- (organic) farming practices. For the first publication has been a of inspiration and innovation. temporary artist to interrogate, research residency artist Chris Drury, novelist Kay and re-interpret the work of scientist James Syrad and Dorset based artist Guy Martin have Lovelock. This years selected artist is Mar- worked on their artistic response. cus Coates. For his commission Coates pro- duced the sound installation ‘The Sounds Chris Drury worked with farmer Chris Legg, rewarding experience for both of Others: A Biophonic Line’. Coates stud- who’s land inspired him to create multiple Since the start of the millenium the Cape Farewell project has been offering an artistic response to the global challenge of climate change. David Buckland, its ied hundreds of animal sounds to discover artworks. For one artwork he has buried dif- founder, talks about its ethos and ideals and describes some of its key projects. the minute but discernible connections be- ferent types of paper in the organic soil of The magazine reminded us that tween them. By stretching and compressing Chris Legg’s land, allowing different levels the sounds, using custom-built software, the of acidity in the soil to affect the paper. creatives and writers – sharing resemblances between them appeared. The big paper will turn into a book. Chris is collaborating with Kay Syrad, writing about He worked alongside renowned wildlife their experiences working with the farmers. if we become strangers to our sound-recordist Geoff Sample who helped him Furthermore Drury is working on portraits of discover what connects such varied animals as the farmers. We have confirmed an exhibition roles and learning from one bats, whales, insects, amphibians and humans, at Durlston Galleries later this year. another. natural environment, we will be 28 29 unprepared for the challenges Image © Artefact A+ explored ways to recalibrate of our future. Nature like all contemporary life – learning creative organisations and from, mimicking and embracing individuals must continue to be Illustration © R. Neale
Words: Danielle Agtani nature; reimagining London; adaptive and disconcertingly Image: Rachael Neale up-cycling waste; celebrating intelligent. The publication OVERFISHING Our limitless demand for fish and wasteful trawling methods are wreaking craft and making; exploring the urged readers to become havoc on the maritime environment origins of festivals; investigating students of the natural world We often hear of deplorable con- which will not be sold but used The main method of commercial The quota system works like this: swims were also a way of attract- As a way of preventing depletion ditions in the meat trade, how as bait (they are apparently an fishing is trawling, which is a trawler has a quota to catch, ing attention from governments in the population of these fish, animals are horrifically reared unpleasant delicacy). Dogfish dragging a net through the sea say, five tons of cod and five and global organisations: Rebecca recommends that we eat and killed and the importance of are seen as the pests of the sea to catch fish. Bottom trawl- tons of haddock. They’ve caught a variety of fish and not just ways to shape the world by rather than conquerors, buying organic meat. The fish and feed off anything it finds, ing is the most destructive form their five tons of cod but only “It’s a long-term project to per- stick to those which are popular: trade is one with just as many including the bait intended for of trawling. It involves drag- three tons of haddock. The trawl- suade governments to set aside if more people took this ap- issues, but little is printed in much larger species, such as cod ging a net along the seabed to er will not return port without large parts of our oceans as proach, demand would reduce. the press or sprawled over our and haddock. A retired trawler- capture the fish that live and reaching its full quota of had- Marine Protected Areas,” Lewis Facebook or Twitter feeds via the man from Brixham said that the feed there, such as cod, haddock dock and so keeps on fishing. explains. “I met a number of key Additionally, Rebecca believes likes of PETA or change.org. dogfish’s sandpaper-like skin and plaice. All forms of bot- They eventually catch the two policy makers en route, and will that using low-impact, sustain- listening, learning and taking or colonisers, an exciting was often used to scrub down the tom trawling cause damage to the tons of haddock they are entitled be having follow-up meetings with able fishing methods is vital- We have a seemingly limitless decks on the boats. seabed. to, but in the process also catch them in the weeks to come. But ly important for the health of demand for all kinds of fish and an extra ton of cod. All of this it was very pleasing to see that our seas and therefore the whole seafood. The worldwide commer- extra cod over the five-ton quota our message was shared on social planet, as the repercussions of cial fish industry is worth £63 will have to be thrown back into media by a wide range of organi- ocean food chains collapsing are action. (and essential) professional billion, and the UK government the sea dead. sations from the World Economic unquantifiable. Over a billion recommends eating two portions of Forum to the United Nations and people rely on fish as their only fish every week. The term ‘discard’ therefore Greenpeace.” source of protein. refers to fish that commercial To put it into perspective, the “Bottom trawling has reduced fishing vessels have caught and Lewis says that the Seven Seas Rebecca also spoke about the sus- and personal approach! UK population is 64 million, thrown back over the side of the swims confirmed his view that we tainable food campaign at the SEA which equals 128 million portions boat dead because they cannot urgently need to set aside big LIFE aquarium and how it specifi- of fish being eaten each week, legally take it back to port to chunks of our oceans as Marine cally helps Londoners gain per- The first issue explored the if we all meet government recom- seas and oceans to barren, sell. Protected Areas: “I see protect- spective on the natural marine mendations. With an approximate ing our environment as a human world, which is often overlooked 128 million fish being consumed Lewis Pugh is the UN’s Patron for rights issue. The right to have in the city: each week in the UK alone, fish the Oceans, a man who spearheads our environment protected for stocks across the world are un- lifeless wastelands” the UN’s campaign for more Marine the benefit of our generation and “SEA LIFE Aquariums offer peo- theme of Natural Capital’ – der massive pressure, leading to Protected Areas (MPAs) around the future generations is our most ple a window into a world that is over-fishing and the devastation world. MPAs are essentially Na- important human right.” normally out-of-sight and out- marine habitats. tional Parks in the oceans - less of-mind. Coming face to face with than 2% of the world’s oceans Lewis experienced his most pro- incredible, beautiful marine life Fish are not farmed in the same are protected, and Lewis Pugh is found moment during the Seven is for many people an inspiring Natural Capital Issue FREE MAGAZINEway as livestock. With fish we Despite dogfish being caught in Sections of many seas and oceans actively trying to change that. Seas swims in the Red Sea, and experience and we want to harness rely on natural breeding pat- there thousands daily, their that have been bottom trawled Lewis says there are many advan- saw for himself how MPAs are a this opportunity to influence terns to replace the fish taken population is actually remain- repeatedly for years have ef- tages to creating more MPAs: necessity for our oceans: people to do what they can to from the sea, whereas livestock ing stable and even increasing fectively been transformed from protect the marine environment. Image © Greenpeace is bred in captivity in intensive in some parts of the seas. This abundant sections of sea produc- “When we set aside MPAs we pro- “I swam through a Marine Protect- Choosing sustainable seafood is breeding programmes, meaning they species appears to be the excep- ing an abundant variety of seal- tect the marine habitat. When we ed Area, and experienced the sea an easy and effective step that are replaced in the same numbers tion to the rule, when it comes ife, to barren, lifeless waste- do that, fish stocks recover. as it was meant to be: rich and people can take to make a real that they are slaughtered. In the to bycatch. lands. Which supports food security. colourful, teaming with abundant difference.” last one hundred years, we con- When we create MPAs, we protect life,” he says. “It was sim- sumed fish faster than they can Many fisheries are non-selective, I was informed by a trawlerman the coral, which protects the ply breathtaking. But then, just Checking sustainability of sea- reproduce, meaning that stocks meaning they catch sealife that in Brixham that the surrounding shoreline and provides shelter two kilometres on, outside of where no humans have set foot. I spoke to Rebecca Carter, the food is unfortunately complex, have become seriously depleted. they did not intend to. Some of waters are lifeless and beds of for fish. MPAs are places peo- the protected area, there was no I’ve seen drastic changes in my Conservation and Education Man- however here are a few tips from this ʻbycatchʼ can be sold, but mud. In locations that have been ple want to visit for ecotourism, coral and there were no fish. It lifetime – changes that have come ager at the SEA LIFE Aquarium in Rebecca Carter on how to eat fish I made a 6am visit to the world much of it is unwanted and thrown subjected to intensive bottom so itʼs good for the economy. It looked like an underwater desert. about because of our actions.” London about how overfishing is sustainably and simply: famous Brixham Fish Market, the back into the sea, unlikely to trawling of any kind it is un- has, if youʼll pardon the pun, a If I had needed more proof that affecting our seas, and how we largest in England, and a market survive after being caught. The likely that fish stocks will ripple effect. Theyʼre good for Marine Protected Areas really Before becoming the UN’s Patron can make an active contribution “Look for Marine Stewardship that provides stock all over the Marine Conservation Society (MCS) ever recover, even if commercial the world economy, for the health work, that was it.” for the Oceans, Lewis worked as to ensuring we eat sustainably Council certified seafood, country, including the Harrods say that discarded bycatch is a fishing stopped altogether, as of the oceans, for every person a maritime lawyer in London for sourced fish: which is genuinely, sustainably fish stand and Michelin starred waste of a natural resource, a the environment and eco-systems living on this planet.” Lewis’ various swims in some of five years, but decided the ca- sourced. www.fishonline.org is a restaurants. The market was major threat to the health of that support marine life has been the most vulnerable parts of our reer was not for him and followed “Here in the UK five species make great guide by the Marine Conser- filled with hundreds of crates fish stocks, a threat to the fu- destroyed. As part of his endeavour to cre- oceans meant that he has seen his childhood dream of exploring up over 80% of the seafood con- vation Society. We also give out of fish, from cod and plaice, to ture of the fishing industry and ate more MPAs and raise aware- first hand the damage caused by the oceans. Although a career as sumed: cod, tuna, haddock, salmon free Pocket Good Fish Guides at tope and dogfish. a threat to the marine ecosystem. Focusing more on legislation, ness of the issues of overfishing not just overfishing, but a lack a Maritime lawyer was not for and prawns,” Rebecca explains. the London Aquarium which you can fishing vessels are set ‘fish and the importance of sustaina- of respect for our oceans: Pugh, he says that it provided “This is putting huge pressure on stick on your fridge or pop in The presence of the four tope at While my findings at the Brixham quotas’ which refers to the ble fishing, Lewis carried out a good grounding for the work he many populations of these species your wallet. the market were the most shock- Fish Market were slightly shock- amount of fish that a vessel can series of long distance swims in “I’ve seen enormous chunks of ice does now: in the wild; some populations ing, as they are members of the ing, the market is well known legally catch and bring back to the ‘Seven Seas’, referring to slide off Arctic glaciers. I’ve are now seriously threatened. But Finally, if there is not enough shark family. As it turns out, for sourcing decent quality and port. Quotas are set on a Eu- those that circled the ancient swum over bleached coral killed “It taught me how to argue pas- fishing for specific species not information on menus about the these tope were a product of sustainably sourced fish by the rope-wide basis by the Common world in Greek and Roman times; by rising sea temperatures, and sionately and rationally. That’s only depletes populations of the sourcing of seafood, make a point ‘bycatch’ (fish caught uninten- government’s standards. The issue Fisheries Policy and are based the Mediterranean, Adriatic, over the bones of whales hunted key to being a successful envi- desired catch, it also depletes of asking. As a consumer you can tionally), the first issue I came with overfishing and the damage on historic fishing rights and Aegean, Black, Red, Arabian and to the edge of extinction. I’ve ronmental campaigner. If you are those of unwanted species, due to have a huge impact through your across at the market. caused is not the fault of rogue scientific advice on sustainable North Seas. visited lakes high in the Hima- too emotional you run the risk of high levels of bycatch; anything purchase decisions, but also fishermen - it comes down to EU fish stocks. In theory this sys- layas where once there was only turning off policy makers. And if unwanted is thrown back into the by asking for things when they As well as tope, there were policies on fishing and fisher- tem should work, but the reality Other than just raising awareness ice. And Iʼve seen plastic pol- you can’t present your arguments ocean, which is incredibly waste- aren’t there – such as MSC certi- crates upon crates of dogfish, ies. is the total opposite. to the public, Lewis’s Seven Seas lution in the most remote areas rationally, no one will listen.” ful.” fied seafood.”
24 25 Words and image: Séverine Chapelle
LONDON Sites of importance for nature conservation PURPOSE NATIONAL 1400 NATURE AS A PARK RESERVES
London is well known for its cultural heritage, but the capi- tal has extraordinary urban natural heritage too. What if we turned London into the world’s first National Park City? That’s precisely what a revolutionary movement of Londoners is working to achieve. Back by both school children, charities, businesses and the leading mayoral candidates, 2016 could be 3000 the year in which the decision is made to make this radical parks idea a reality.
Find out more and help to make London a National Park City million people at www.nationalparkcity.london.
Respond to the idea of London becoming a #NationalParkCity by tweeting photos, videos and comment to #LondonNPC. 300 farms ‘I was so proud to design the front cover of local nature reserves Artefact, it was my first published illustration green and I spotted it being read all over UAL.’ 850 Km of streams, rivers and canals 47% Mala Mutinta BA (Hons) Illustration & Visual Media.
30,000 million gardens allotments
3.8 50+canoe clubs
million trees
sites of specific scientific interest
13,000species of wildlife
40 41
Image © A. Escobar, Illustrations © J. Wilkinson Illustration © S. Chapelle
The second A+ issue explored full of really wild places is great effects of Elephant and Castle the multiple definitions of wild for our health and mental well- regeneration. Vesa Puosi and the possibility of bringing being, a reintroduction of more interviewed artists on a mission wilderness back into the city. species of plants and animals to provoke a change in our would allow nature to manage environment. Penelope Sonder Excitingly, this issue was with more wisdom than human discussed green graffiti and published alongside a public city management has ever how art and design can be an symposium at LCC – entitled achieved. As human beings influential way to educate and WILD: ReNaturing the City. we are part of nature, the promote sustainable lifestyles. At an initial editorial all magazine suggested that our Barbara Lanzafame and designers and journalists city planning must take this into Fabiana de Giorgio explored were encouraged to consider consideration. The thesis of the the realm of sustainable the subject of Wild or Feral. publication was that we cannot farming methods such as Students pitched subjects and exclude wilderness. underwater farming by the then discussed their merit and Ocean Reef Project. The edition celebrated the voice how much interest there would of more than 80 collaborators — be in each topic. The research and 10,000 copies of the Courses and collaborators: approach, interviews and publication were distributed Course Director Simon Hinde and illustration for each feature across UAL and London itself, BA (Hons) Journalism with BA (Hons) were discussed and agreed Photography students. representing the sustainable collectively. Design School, BA (Hons) Illustration & ideas and thoughts of 20,000 Visual Media and Diploma in Professional Wild is often used to describe students and academics – Studies. situations that are out of control. Joshua Potter provided Magazine design: Oswin Tickler / Together students redefined information on how Londoners SmallFury. the theme. The edition of A+ can go green. Jasper Wilkins A Conscientious Communicator’s project. suggested that rewilding a discussed the benefits of going — city is not an abandonment, vegan. Camberwell academic Links: but a liberating empowering David Cross shed light on UAL’s Online issues: https://issuu.com/ possibility for human beings. relationship with the Royal artefactmagazine/docs/artefact_ Nature is a gift especially Bank of Scotland and Guerilla green_2015_interactive in the city – raw, untamed, gardener Richard Reynolds https://issuu.com/artefactmagazine/docs/ unpredictable, exciting. A city discussed the damaging green_artefact_020216
Illustration © M. Mutinta PURPOSE
‘Female Inna Space has been an incredible journey to embark on and has taught me FUTURE so much about how I work and what I believe is possible. From my market research, I have found that there is a need for women FEMALES to connect with each other and themselves and that there are many different ways of creating this.’ Female Inna Space is a or retreats that run for women Freya Rose Tanner, BA (Hons) Design Management & Cultures student monthly meet-up for millennial aged between 18–28. Her women, which explores how research findings show that space, connection and there are events that run for community can be developed younger girls, helping guide to improve wellbeing. them into womanhood. However, this guidance This project designed by diminishes until the next phase Freya Tanner, an LCC Design of life, such as motherhood or Management and Cultures other later chosen paths. student, looked at how young women can come together She started to run research to grow and make better focus groups and cultural informed decisions about their probes where she realised that health, relationships, career the process in itself of enquiring and consumer choices that one’s feelings and others’ affect themselves, society, the experiences was the solution; environment and the planet. and creating an environment where women can engage with This event series grew out of challenging subject matters. research and prototyping concepts for a wider project called ‘Future Females’. Using a design thinking approach, Freya started benchmarking existing services, events, communities and movement. Currently, there are a handful of retreats run for women to connect to their deeper wise selves. However, they tend to be very alternative and at times expensive, making them available only to a selective market. Furthermore, there is a gap in the market for self-development workshops Images © F. R. Tanner PURPOSE
‘Freya’s work in this project is a wonderful example of embracing passion with a curious and empathetic mindset, and testing ideas out in the world. What started as research, quickly led to a successful series of events and burgeoning community, supported by good design, marketing and management. Freya and Kitty continue to collaborate and develop their creative work in the well-being space – infact, they are the future females... ’ Mo-Ling Chui, Course Leader BA (Hons) Design Management & Cultures
Freya’s project was a reflection on her journey in making Female Inna Space. Initially, she did not believe that her work was good enough, however with the support of tutor Mo-Ling Chui, mentor Tiu de Haan and collaborator Kitty de la Beche she found like-minded individuals, a following and created beautiful impactful events. She gained more confidence in what she wanted to do and in creating a safe space for women to share their experiences and learn from each other. — Courses and collaborators: BA (Hons) Design Management & Cultures. — Links: https://www.freyarosetanner.com/
Images © F. R. Tanner PURPOSE 8 Innovating to fix — Attempting to solve wicked problems PURPOSE UNITED NATIONS’ GREAT GREEN WALL
The Great Green Wall was and the Executive Secretary of a triangular project led by the UNCCD, Monique Barbut. Image © Chris Ong communications agency Chris Ong’s immersive exhibition venturethree, in association at Kew Gardens, Sumi Khan’s with the United Nations. This sand timer gift and Beth Africa-led initiative has been Johnson’s reality TV series were established for five years, chosen to be realised by the UN. (conceived with the goal of Image © ventuurethree providing a future to millions Chris’ proposal focused on of people currently living at the long-term development the forefront of climate and results of the Great Green change), the UN however, Wall (GGW). Aiming at young ‘This generation of creatives will play an had failed to communicate kids aged 5-8-year-olds with this green corridor project vivid imaginations, future absolutely key role in tackling the global to European audiences. adventurers and explorers, issues of tomorrow. They are the ones driving encouraging them to engage It was briefed to the final with desertification issues of projects like the Great Green Wall.’ year LCC Graphic and Media the future. His idea was an students, as one of their Monique Barbut, Executive Secretary of the UNCCD immersive exhibition based in final major projects. The the UK simultaneously growing students were tasked with and developing in real time communicating this astonishing Images © C. Ong with the corridor in Africa. project to a wider audience. Sumi’s proposal was to create Students were asked to come up a mailer that would speak for with communication ideas using itself, something that constantly non-traditional media: the UN changes as time moves on. The sought interactive installations, proposed hourglass signified digital applications, and the Sahara Desert, the tree intervention concepts that represented hope for the future would raise the profile of this of Africa and the seeping sand world-changing initiative. 20 symbolised the urgency of students were then selected to the call to action. This mailer exhibit their work at v3 head prompted recipients to act, office, sharing their ideas with and support the initiative. an audience that included
representatives from the UN, Image © S. Khan PURPOSE
Beth’s idea, entitled ‘The World’s A year later Beth re-joined Biggest Gardening Project’, the UNCCD on a contract to proposed a TV series targeted support the initiative. The UN at young, tech-savvy audiences, are creating a documentary on always online and connected. the subject of the Great Green It tapped into the power of Wall and Beth will be featured consumer culture and how it leading the supporting impact can be used to raise awareness campaign. and communicate educational content through entertainment. — Beth detailed how her concept Courses and collaborators: translated to social media, LCC BA (Hons) Graphic & Media Design, news, branded merchandise, with the UN and venturethree. etc. in spreading information — ‘Both the UN and everyone at venturethree about the GGW project. Links: After graduation Beth moved Initiative website: http://www. were hugely impressed by the quality greatgreenwall.org to Bonn, Germany as a UN of thinking, imagination and the effort consultant. Following on from https://vimeo.com/147318615 the GGW Project, she was put in by all of the students involved. chosen to re-brand the United We are currently facing some enormous Nations Convention to Combat Desertification (UNCCD). The global problems, but if this experience new branding was launched in demonstrates anything, it is that we time for the Conference of the Parties 2017, hosted by China have the talent to try and solve them.’ in Ordos (Inner Mongolia). Stuart Jane, Creative Director venturethree
Images © B. Johnson PURPOSE
‘We hope that we managed to alert those who attended the workshop to a higher awareness WHOEVER WINS of the risks of antibiotics misuse.’ WE LOSE Nikolai Boyce, BA (Hons) Interaction Design Arts student WHOEVERE. WINS COLI WE LOSE
You are a part of the fight between the bacteria and the antibiotics!
Choose your side. Are you on the side Whoever Wins We Lose of the Antibiotics or the Bacteria? Build your avatar! Turn the motors on, place them on the was a fun, yet thought- Petri dish and let them fight. Whoever stays on the Petri dish for the longest provoking workshop and time takeovers the human body! game, presented by LCC Interaction Design students to Science Museum visitors. The interaction was created to highlight the misuse of antibiotics. The project was part of the museum’s
50% of antibiotics every year are prescribed unnecessarily. We want ‘Bio-revolution Late’ event. to raise awareness of the overuse of antibiotics. The e ect of overuse could create a world in which bacteria are resistant and untreatable; a bacterial infection could be a death sentence. An estimated 25,000 An estimated 50% of antibiotics people die each year in the European Union from antibiotic-resistant bacterial infections (European Centre for Disease Prevention and Control, are prescribed unnecessarily 2012). The antibiotic Methicillin was produced in 1960 and Methicillin resistant bacteria developed in 1962; Levofloxacin in 1996 and the first each year. Their overuse has resistant cases were in the same year; Daptomycin in 2003 and the first signs of resistance were in 2004. The superbug is coming; we need your disastrous medical effects and help to protect mankind and fight! leads to compromised immune For more information about the project go to - www.wwwl.org.uk systems and strains of antibiotic Image © S. Leibowitz Illustrations © J. Bishopp / N. Boyce / E. Hapka resistant bacteria. In response to this fact, interaction design students Jessica Bishopp, WHOEVER WINS WE LOSE Nikolai Boyce and Emilia STAPHYLOCOCCUS Hapka, created a game that You are a part of the fight between the visually illustrated this concern. bacteria and the antibiotics! Choose your side. Are you on the side of the Antibiotics or the Bacteria? Build your avatar! Taking inspiration from game Turn the motors on, place them on the Petri dish and let them fight. Whoever stays on the Petri dish for the longest design, marble mazes and time takeovers the human body! sumo suit battles, this playful approach to the subject meant that a serious message was shared in a light-hearted and engaging way. The project evolved over the course of the pitching process 50% of antibiotics every year are prescribed unnecessarily. We want to raise awareness of the overuse to the Science Museum, who of antibiotics. The e ect of overuse could create a world in which bacteria are resistant and untreatable; a bacterial infection could be a death had set the theme of medicine sentence. An estimated 25,000 people die each year in the European Union from antibiotic-resistant Image © L. Bush bacterial infections (European Centre and bio-science. for Disease Prevention and Control, 2012). The antibiotic Methicillin was produced in 1960 and Methicillin resistant bacteria developed in 1962; Levofloxacin in 1996 and the first resistant cases were in the same year; Daptomycin in 2003 and the first signs of resistance were in 2004. The superbug is coming; we need your help to protect mankind and fight!
For more information about the project go to - www.wwwl.org.uk WHOEVERTETANUS WINS WE LOSE
You are a part of the fight between the bacteria and the antibiotics!
Choose your side. Are you on the side of the Antibiotics or the Bacteria? Build your avatar! Turn the motors on, place them on the Petri dish and let them fight. Whoever stays on the Petri dish for the longest time takeovers the human body!
PURPOSE
50% of antibiotics every year are prescribed unnecessarily. We want to raise awareness of the overuse of antibiotics. The e ect of overuse could create a world in which bacteria are resistant and untreatable; a bacterial infection could be a death sentence. An estimated 25,000 people die each year in the European Union from antibiotic-resistant bacterial infections (European Centre for Disease Prevention and Control, 2012). The antibiotic Methicillin was produced in 1960 and Methicillin resistant bacteria developed in 1962; Levofloxacin in 1996 and the first resistant cases were in the same year; Daptomycin in 2003 and the first signs of resistance were in 2004. The superbug is coming; we need your help to protect mankind and fight!
For more information about the project go to - www.wwwl.org.uk
The concept developed from a giant pinball maze, into something more thoughtful and accessible – where the focus was diverted to the objects people made as well as how they interacted with them and each other – to enable a deeper understanding of the complex issue. With nearly a thousand people attending the event, participants were invited to physically create and battle with robotic bacteria and antibiotics – emulating the current ongoing battle for the immune system. Sitting on the Museum’s floor, visitors assembled their own motorised paper craft bacteria and antibiotics and fought to knock each other off the game boards. Audiences admitted to a new understanding of the topic as this important subject was brought to life.
— Images © L. Bush Courses and collaborators: BA (Hons) Design for Interaction & Moving ‘It was important that these projects worked Image (now BA (Hons) Interaction Design in a vibrant and extremely busy environment Arts), with the Science Museum. — where lots of curious people were looking Links: to be wowed, informed and entertained.’ Event website: https://www.sciencemuseum.org.uk/see- Joel Karamath, Course Leader BA (Hons) Interaction Design Arts and-do/lates INFORMATION
Credits Development
The collation of the Responsible Design We are keen to gather new case studies Framework Case Studies would not have (from a range of disciplines) that support been possible without the assistance and and inspire the Framework. If you have expertise of the following: a case study to share, please contact the coordinators of the Conscientious Sarah Temple and Tara Hanrahan / Communicators Research Hub. Content curation and design direction. Conscientious Communicators is a Jennicka Buckingham (Graphic and Research Hub formed at LCC, to develop Media Design alumnus) / Content collation, and consolidate a community of practice interviewing and design. around eco-social creativity and to explore contemporary perspectives London College of Communication which investigate sustainability in practice Design School / Course teams, technical and within the curriculum. staff and Dean Nicky Ryan.
LCC Teaching & Learning Innovation Fund.