DOCSLIB.ORG

Participation-Based Parametric Design in Early Stages

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Participation-Based Parametric Design in Early Stages Participation-based Parametric Design in Early Stages A participative design process for spatial planning in office building Elie Daher1, Sylvain Kubicki2, Burak Pak3 1,2Luxembourg Institute of Science and Technology 3KU Leuven Department of Architecture Campus Sint-Lucas Brussels 1,2{elie.daher|Sylvain.kubicki}@list.lu [email protected] The term participation has been used to define different activities, such as civil debate, communication, consultation, delegation, self-help construction, political decisions. However, participation in design started from the idea that individuals whom being affected by a design project must contribute to the design process. Recently, designers have been moving closer to the future users and developing new ways to empower them to get involved in the design process. In this paper we rethink the way the early design process is developed in a participatory approach thanks to parametric methods. A use case is proposed showing the potential of parametric design methods to empower the participation of users in the design of their facilities. The use case is dealing in particular with the spatial planning of an office building where the users together with the spatial planning team are able to design the layout spatial configuration by 1) fixing the objectives, 2) manipulating the model, 3)modifying some parameters, 4) visualizing the iterations and evaluating in a real-time each solution in an interactive 3D environment and together with facility managers 5) choosing the configuration of the spatial layout. Keywords: Computational design, Participatory design, Optimization , Parametric design PARTICIPATORY DESIGN of what they design and developing new ways to The term participation has been used to define dif- empower them to get involved in the design pro- ferent activities, such as civil debate, communication, cess (Sanders and P.J. Stappers 2008). The partici- consultation, delegation, self-help construction, po- patory approach (i.e. ‘user as partner’) has been led litical decisions (Davidson et al., 2006). However, par- by Northern Europeans in the early 1970s. Several ticipation in design started from the idea that individ- projects in Scandinavia set out to find the most effec- uals whom being affected by a design project must tive ways for computer-system designers to collab- have a position in the design process. Recently, de- orate with worker organizations to develop systems signers have been moving closer to the future users that most effectively promoted the quality of work COLLABORATIVE & PARTICIPATIVE DESIGN - Volume 1 - eCAADe 36 | 429 life (Sanoff, 2000). The participation is not a matter ipation is needed in different situation (building par- of fact, but a distributed, heterogeneous and rela- ticipatory residential...). tional process (Andersen et al., 2015). This consists into making a move from user-centered design to a User participation in architectural and ur- participatory design with important impacts on the ban design traditional roles of players and stakeholders in the de- Community design is an umbrella term that em- sign process (Sanders and P.J. Stappers 2008). In the braces community planning, community architec- classical way of the design process, the user is pas- ture, social architecture, community development sive, the designer brings the knowledge from theo- and community participation, this approach has ries, observation and interviews. Different levels of emerged from the fact that the mismanagement of participation have been identified in the past, rang- the physical environment is a major factor contribut- ing from manipulation to citizen control (Arnstein, ing to the social ills (Sanoff, 2000). On the other 1969). hand, computer application experiences and the de- In the participatory design, the roles and tasks velopment of the technologies, demonstrate that the will be different since the user (eventually with a pas- use of computers with specific methodologies can sive role in the traditional way of design process) help the participation and facilitate the integration is given the position to express his experience and of the user into the decision-making process. BIM plays an important role in transmitting the knowl- can be perceived as a process that facilitates the par- edge into ideas and concept development (Sanders ticipation of users in the design process. Today, the and P.J. Stappers, 2008). Even with this capability complexity of designing and constructing buildings added in the participative design, this remains a re- is more and more increasing. Engaging the user sponsive system, where the designers are looking for in the design-related process issues will ensure the comments about their design and the public is not realisation of the users’ requirements in the design truly empowered to design (Cimerman, 2000). The since housing and building design emerges as a close concepts around the participatory design and in par- cooperation between architect (designer) and the ticular about who should be involved in the collec- client (user) (Kwieciński and Słyk, 2014). Various re- tive acts of creativity, design or creation, when, and searches and practices explored the methods and in which role vary between different studies in so- techniques in order to engage the participation of cial science. In order to support participatory de- the users in the design of their living environments. sign, a wide variety of methods and techniques have The user participation in the design has emerged as been developed to enhance the involvement of both a key to a gap between the requirements and the users and stakeholders in the same design processes solutions proposed by the designers (Sanoff, 2000). (Abras, et al., 2004). More cost-efficient and effec- The traditional participatory models have been heav- tive practices are needed for gathering users‘ needs ily criticized because they require meetings that are and requirements in real contexts in order to reflect often ineffective and inefficient, held at a fixed time these needs into the final design. The highest level and place; severely limiting the number of actors tak- of empowerment of the users through direct partici- ing part (Healey, 1998; Kingston, 2007). In such meet- pation is characterized by the direct engagement of ings, it is almost impossible to establish communica- the user in the design process. In this case, the user is tion that is equal. It is also hard to engage a high considered as the decision-maker. This type of par- number of citizens and to take their experiences into ticipation gets more complex when it is concerned account in early stages of the planning process (Nuo- with the community participation. In a variety de- jua and Kutti, 2008). Too often the involvement of sign instances, the community or individuals’ partic- users is superficial and simply used to bring credi- 430 | eCAADe 36 - COLLABORATIVE & PARTICIPATIVE DESIGN - Volume 1 bility to the planning and decision-making process scape plans. By using serious games, the participants without really transforming it (Sennett, 2012). Conse- are given the possibility to interact with the design quently, the removal of the public from the decision submitted, to vote for the preferred option or even making process leads to a sense of alienation of the chat with other participants (Poplin, 2014). Recent users from their environment (Jones et al., 2009). The trends in video games industry focus on improving benefits of community participation in urban plan- graphic quality and easy to use attractive interface, ning are: enhancing the capacity of the population to this fact led to using video games in urban studies, cultivate a ”stronger sense of commitment”, increas- teaching and research (Rufat et al., 2009). One of the ing user satisfaction and creating realistic expecta- most common game to be used is the SimCity, which tions of outcomes (Al-kodmany, 1999). is developed by William Wrigh. SimCity is used also in universities laboratories for urban simulation re- INFORMATION TECHNOLOGIES FOR THE search as a tool for participatory design in urban con- BENEFIT OF THE PARTICIPATION IN ARCHI- text (Hanzl, 2007). TECTURAL AND URBAN DESIGN Recent developments in ICTs, such as 3D modelling EARLY DESIGN software, communication platforms and computer Architectural design process in its general terms, is serious games as tools for urban planning, are offer- a procedure intended to the improvement of the ing new potentials of citizen participation in urban project through socially situated reflection-in-action planning design (Hanzl, 2007). In general, these soft- (Schon, 1983). In the early phases of the architec- ware systems enable displaying data in forms that tural design process the level of detail is typically can be easily understood by the participants. The low: requirements, constraints, larger scale problems informatics applications allow the simulation of fu- and priorities are exposed and restructured before ture urban plans by implementing the parameters getting into details and smaller issues.This under- essential to the planning development. A key fea- standing of the design process as a progression of ture of most participative design activities is the use ideas and inputs can be confronted with different fac- of physical artefacts such as sketches, games, or lay- tors (Cross, 2011). In the early design phase, eval- outs on which participants can place objects to repre- uating the performance of the concepts on larger sent houses, gardens, roads..
Load more

Recommended publications
  • Creative Places for Collaborative Cities
    Creative Places for Collaborative Cities Teresa Franqueira* * Univeridade de Aveiro / Politecnico di Milano Aveiro, Portugal / Milan, Italy, [email protected] Abstract: This paper will focus in the urban territory and its social, cultural and economic dynamics, and in particular in the different manifestations of creativity that can be found here, namely in spaces in which spontaneous and diffuse forms of social innovation and creativity are emerging: Creative Places. It is in this urban context that Creative Places thrive, working as incubators of change, sustainable behaviours, bottom-up creativity and a subculture of collaboration. In this framework, Creative Places shape a Collaborative City, which in turn fosters the appearance of Creative Places. The assumption of design as a strategic instrument to operate in complex systems involving complex networks of actors and able to decode, combine and make sense of multidisciplinary knowledge; and in so doing, able to decline it into a coherent projectual, flexible and open-ended language in order to promote the diffusion of sustainable social innovations and widen their reach and impact through designing for sustainability and for radical systemic innovation. Key words: strategic design for sustainability, collaboration, social innovation. 3675 1. Introduction The world is in a continuous and fastpaced change, whether we consider environmental, technological or economic transformations, or, even more significantly, whether we look at the social ones. The lack of policies adjusted to tackle those transformations and the need to adapt and develop systems able to structure the social, economic, and cultural fabric towards the transition to a more sustainable development model have given birth to a diffuse phenomenon of collaborative communities, in which individuals collaborate between them to produce the outcomes that the traditional welfare state does not seem able to deliver.
    [Show full text]
  • Learning and Practicing in Service Design
    ServDes2018 - Service Design Proof of Concept Politecnico di Milano 18th-19th-20th, June 2018 Learning and practicing in service design Alessandro Deserti, Anna Meroni [email protected]; [email protected] Department of Design, Politecnico di Milano, Via Durando 38a, 20158 Milan, Italy Bas Raijmakers [email protected] Design Academy Eindhoven and STBY, The Netherlands Abstract The paper analyses the contributions to the “learning and practicing’ track of “ServDes.2018 Proof of Concept” and categorises them by identifying convergences and defining six emerging topics. As a result, new roles and responsibilities emerge. They can be summarised in a few directions: 1) beyond learning - where more and more, service designers are explicitly or implicitly requested to play the role of educators within organisations; 2) beyond human centred design – where the need to better understand the role of and the interaction with ‘non-human agents’ emerges; 3) beyond organisational change – where the transformational role of design seems to expand from within organisations to the relationships that organisations establish with external actors. KEYWORDS: service design, learning, designer skills, stakeholders, big data, impact, emotional intelligence Introduction The ‘learning and practicing’ track of “ServDes.2018 Proof of Concept” Conference was designed with the ambition to investigate two apparently traditional topics, coming out with new ideas and trajectories. This was done in the first place by putting the topics together, in order to investigate their interplay within a context of fast change in the role of a service designer. The risk, for a track that explicitly aimed to “… explore the evolution of the skills a service designer must acquire and which education is expected to provide”, was to tie learning and practicing respectively to education and professional practice, ending up with two disconnected sets of papers, focused on the one hand on the formal training of designers and on the other hand on the new skills of practitioners.
    [Show full text]
  • Design Culture and Dialogic Design Ezio Manzini
    Design Culture and Dialogic Design Ezio Manzini The question of culture is virtually absent from the debate on contemporary design and especially from what in this paper I refer to as emerging design: a problem-based, solution-oriented design, the defining characteristic of which is not the products, services, and communicative artifacts it produces, but the tools and methods it uses.1 The discussion on it dutifully covers envi- ronmental, economic, and social issues, together with those of participation and the environmental, economic, and social effects of its results. Certainly all these aspects are very important, but the absence of a debate on emerging design’s cultural dimension is a serious limitation that prevents it from becoming the agent of (cultural and therefore also social and environmental) change that it could and indeed should be. Meanwhile, although rarely dis- cussed, emerging design also has its own culture—a culture that is rather limited and limiting precisely because of this lack of debate. In this paper I call this culture solution-ism and participation-ism. To go beyond this somewhat reductive culture, we need to return to the discussion on issues that are or should be typical of design: from the criteria by which to orient and assess the quality of local solutions, to the broadest visions of the world toward which we work. This discussion must be undertaken through a dia- 1 A very clear statement on the nature of emerging design, and of its present lim- logic approach, in which the various interlocutors, design experts its, was proposed in 2014 in a manifesto included, interact as they bring their own ideas and define and titled “DesignX,” collaboratively authored accept their own responsibilities.
    [Show full text]
  • Design for Supply Chain
    SJRATi.GY PROCESS VALUE Spreading the Word Across HP hcscdius. there is o^rowiti^i acceptance (il ing products with the suppK chain in mintl. We see more articles and success stories tout- ing the importance and impact of the "design For several years, Hewlett-Packard (HP) for sLippiy chain" (DfSC) eoncepl. Furihcr. the DfSC approaches themselves—such as variety has run a design for supply chain (DfSC) management, logistics enhancement, common- program aimed at bringing supply chain ality and reuse, postponement, tax and duty reduction, and take- cost considerations to bear on product hack lacililatlon—are fast becoming staples of todays business vocabulan.' As multinational corporations adapt to increasingly design decisions.The program has been global supply chains, product design decisions are affecting their an unqualified success.To date, DfSC sLipply chain costs and efficiency to an unprecedented degree. efforts have resulted in aggregate cost Despite the growing attention, however, many large man- Lilacturers are still a long way from making DfSC an integral savings that exceed $100 million. |iart ot their product-development and product-management Here's a look at how design for supply missions and processes. There are many circumstances where cbain best practices are diffused managers may see some value in practicing DfSC. But other constraints-—limited time, scarce personnel resources, or lack of throughout HP lamiliarity with the benefit.^ of DfSC. for instance—stand in the way. \ he challenge lies in the diffusion of re.sponsibility Supjily chain cost savings are rarely reflected in the [lerlormance score- By Brian Cargille and Chris Fry card of a design engineer or marketing manager.
    [Show full text]
  • Traces As Service Evidence
    ServDes2018 - Service Design Proof of Concept Politecnico di Milano 18th-19th-20th, June 2018 Traces as service evidence Spyros Bofylatos [email protected] Department of Product and Systems Design Engineering, University of the Aegean Konstaninoupoleos 1, Hermoupolis, Syros 84100, Greece Abstract In this paper, the idea of leveraging traces in service design for sustainability is presented. Physical evidence is an essential aspect of services as the service experience exists as a choreography of people, things and processes. These designed, tangible aspects of services play an important role in the overall service experience and at the same time act as affordances, leading the user through a desired service journey without interpersonal interactions. Viewing services in the context of actor network theory, as networks of humans and non- humans suggests that this service evidence act as a carrier of explicit knowledge relegated to it by the designers. Integrating tacit knowledge in the design process is a meaningful endeavour especially in the context of service design for sustainability. Traces is a notion associated with focal practices that shed light in this unexplored direction of service design. Traces exhibit similar characteristics to evidence but in a capacity of carrying tacit knowledge. KEYWORDS: traces, service design, craft, tacit knowledge, social innovation Introduction This paper aims to introduce the idea of traces in the design of services. Traces, the perceptible enduring marks left on the material world through the engagement with people with it (Ingold 2007), are carriers of tacit knowledge acting as the keystone (Robbins 2016) between people, practices and things. We turn to the idea of service evidence to better understand the tools that create meaning in the intersection of time and material in contemporary service design in order to identify the meaningful design space for the integration of traces in service design.
    [Show full text]
  • Review of Design of Collective Housing in the 21St Century
    buildings Essay Review of Design of Collective Housing in the 21st Century David Hernández Falagán Escuela Técnica Superior de Arquitectura de Barcelona, Universitat Politècnica de Catalunya, 08028 Barcelona, Spain; [email protected] Abstract: This essay proposes a review of current trends in the design of collective housing projects. The method for the review is based on the observation of certain conditions of contemporary society that show an immediate influence on new habitat patterns. The concepts of uncertainty, scarcity and contingency are the catalysts for the observation, and conditions that provoke new diffuse scenarios for residential buildings. The concept of diffuse dwelling is identified here as the conjunction of three factors: non-permanent coexistence models, residential adaptation of the built environment, and non- hierarchical typological patterns. The review proposes a qualitative analysis questionnaire for the recognition of significant projects of this new residential paradigm. By tracing the EU Mies Award Archive, various examples have been identified that allow us to recognize common characteristics. The result of the analysis reveals how these parameters define a new paradigm in the design of collective housing based on collectivity, constructive resilience, and a new value of domesticity. Keywords: housing; diffuse design; built environment; uncertainty; scarcity; contingency; domestic- ity; resilience; collectivity Citation: Hernández Falagán, D. Review of Design of Collective 1. Introduction Housing in the 21st Century. Part of the responsibility for analyzing contemporary housing is related to our ability Buildings 2021, 11, 157. https:// to foresee how the collective habitat will evolve in the future. It is important to identify doi.org/10.3390/buildings11040157 how we can incorporate quality conditions and balances in the hierarchies of use to the new residential figurations that we can recognize in current experiences.
    [Show full text]
  • Allegati 6014.Pdf
    MD Journal [ 2 ] 2016 SINAPSI. DESIGN E CONNETTIVITÀ SYNAPSES. DESIGN AND CONNECTIVITY Editoriale Vanessa De Luca, Michele Zannoni Issue editors Essays Venanzio Arquilla, Alessandra Bosco, Alfredo Calosci, Nicolò Ceccarelli, Medardo Chiapponi, Andrea Ciotti, Pietro Costa, Veronica Dal Buono, Barbara Del Curto, Annalisa Di Roma, Marinella Ferrara, Stefano Follesa, Agnese Piselli, Giovanni Profeta, Valentina Rognoli, Alessandra Scarcelli, Marco Sironi, Michela Toni, Gustavo Zepeda 2 A. Acocella MD Journal [ 1 ] 2016 MD Journal Rivista scientifica di design in Open Access Numero 2, Dicembre 2016 Anno I Periodicità semestrale Direzione scientifica Alfonso Acocella Direttore Veronica Dal Buono Vicedirettore Dario Scodeller Vicedirettore Comitato scientifico Alberto Campo Baeza, Flaviano Celaschi, Matali Crasset, Claudio D’Amato, Alessandro Deserti, Max Dudler, Hugo Dworzak, Claudio Germak, Fabio Gramazio, Massimo Iosa Ghini, Hans Kollhoff, Kengo Kuma, Manuel Aires Mateus, Caterina Napoleone, Werner Oechslin, José Carlos Palacios Gonzalo, Tonino Paris, Vincenzo Pavan, Gilles Perraudin, Christian Pongratz, Kuno Prey, Patrizia Ranzo, Marlies Rohmer, Cristina Tonelli, Michela Toni, Benedetta Spadolini, Maria Chiara Torricelli Comitato editoriale Alessandra Acocella, Chiara Alessi, Luigi Alini, Angelo Bertolazzi, Valeria Bucchetti, Rossana Carullo, Vincenzo Cristallo, Federica Dal Falco, Vanessa De Luca, Barbara Del Curto, Giuseppe Fallacara, Anna Maria Ferrari, Emanuela Ferretti, Lorenzo Imbesi, Alessandro Ippoliti, Carla Langella, Alex Lobos,
    [Show full text]
  • Download (770Kb)
    Designing resilient creative communities through biomimetic service design Spyros Bofylatos – Juliet Kampasi Department of Product and Systems Design Engineering University of the Aegean Research question This study aims to explore how the adoption of biomimetic tools in the design of services in the context of social innovation can increase the resilience of the community. Increased resilience acts as an exit strategy for the designers, as a way to enable the evolution of the diffuse design capacity within the community and as strategy to flexible address scale in the context of reconstituting the domains of everyday life. Creative communities • Creative communities are grassroots, bottom-up initiatives of people who through their diffuse design capacity propose new, desirable service futures that address the problems of their everyday life. • These creative communities exist within a transition from modernity towards sustainment, the next epoch of human development. The adversarial character of these systems causes them to embody alternative values such as conviviality, solidarity, openness and shift the focus from growth to flourishing (Ehrenfeld, 2008). • Creative communities use diffuse design capacity (Manzini 2016) to create these solutions. Design for sustainability • The inability of modernity to work within the planet’s carrying capacity has created a society that is unsustainable, and unless some of the core values change, it cannot be salvaged. The scale of environmental degradation puts our existence on the planet in jeopardy. • Approaches that aim to reduce environmental or societal impacts whilst preserving the current model of growth are impossible to lead to sustainability. These approaches reduce unsustainability but one must ask oneself whether reducing unsustainability to zero lead to the emergence of sustainability? (Ehrenfeld, 2008).
    [Show full text]
  • Designing Resilient Creative Communities Through Biomimetic Service Design
    Relating Systems Thinking and Design Symposium 2018 www.systemic-design.net WORKING PAPER Designing resilient creative communities through biomimetic service design Spyros Bofylatos a*, Juliet Kampasib, Thomas Spyroua a Department of Product and Systems Design Engineering, University of the Aegean b The Institute of Leadership and Management, * Corresponding author e-mail: [email protected] Abstract: Creative communities are grassroots, bottom-up initiatives of people who through their diffuse design capacity propose new, desirable service futures that address the problems of everyday life. These creative communities exist within a transition from modernity towards sustainment, their adversarial character embodies alternative values such as conviviality, solidarity, openness and shift the focus from growth to flourishing. The sociotechnical system that is a creative community creating social innovation faces constant threats due to the collapse of traditional support structures and their disruptive, adversarial character and so, identifying strategies to increase its resilience is necessary. We turn to nature for inspiration and mentoring. Biomimisis is a framework that designs solutions inspired by biological systems. We argue that permaculture, provides an interesting direction for the development and research in the context of social innovation. Keywords: Design for sustainability; Service design; Resilience; Biomimisis; Permaculture 206 Relating Systems Thinking and Design Symposium 2018 www.systemic-design.net WORKING PAPER 1. Introduction This paper aims to support the idea that increasing the resilience of creative communities by fostering the emergence of greater diffuse capacity on a local level can act as a successful exit strategy for service design. To achieve this goal, we turn to Biomimisis, the study of biological systems to translate their principles in sociotechnical ones.
    [Show full text]
  • Design in a Changing, Connected World1
    Strategic Design Research Journal, 7(2): 95-99 May-August 2014 ©2014 by Unisinos – doi: 10.4013/sdrj.2014.72.06 Design in a changing, connected world1 Design em um mundo conectado e em transformação Ezio Manzini [email protected] DESIS Network, University of the Arts London, Politecnico di Milano Località il Casello 30, 52 021 Bucine, Arezzo, Italy One of the most obvious things people can do today will find 460 projects presenting diverse typologies of ac- is talk about change. Although it is an overused expres- tivities and results. Moving from this observation we, a col- sion, we cannot escape from it. The change I am talking league of mine and I, did a fast and rough research on their about here is driven by two main forces: the spread of main characters (we did it on sample of 34 projects that had higher levels of connectivity and the growing evidence of been chosen to be exhibited as representative of the whole the limits of the Planet. Both these drivers of change im- WDC in Cape Town). In order to make the discussion of its pact on every aspect of our societies, from the way we pro- results easier, we built a matrix using two axis: the first one, duce, to the one we live our everyday life, to the one the the “What” axis, indicates the project outputs, from individ- same societies are managed. In this dynamic environment ual entities (industrial and craft products, buildings, graphic design is obviously changing too. projects) to systems (complex, hybrid artifacts as services or When, several years ago, I started to deal with design, organizations).
    [Show full text]
  • Allegati 5993.Pdf
    MD Journal [ 2 ] 2016 SINAPSI. DESIGN E CONNETTIVITÀ SYNAPSES. DESIGN AND CONNECTIVITY Editoriale Vanessa De Luca, Michele Zannoni Issue editors Essays Venanzio Arquilla, Alessandra Bosco, Alfredo Calosci, Nicolò Ceccarelli, Medardo Chiapponi, Andrea Ciotti, Pietro Costa, Veronica Dal Buono, Barbara Del Curto, Annalisa Di Roma, Marinella Ferrara, Stefano Follesa, Agnese Piselli, Giovanni Profeta, Valentina Rognoli, Alessandra Scarcelli, Marco Sironi, Michela Toni, Gustavo Zepeda Le immagini utilizzate nella rivista rispondono alla pratica del fair use (Copyright Act 17 U.S.C. 107) recepita per l’Italia dall’articolo 70 della Legge sul Diritto d’autore che ne consente l’uso a fini di critica, insegnamento e ricerca scientifica a scopi non commerciali. MD Journal Rivista scientifica di design in Open Access Numero 2, Dicembre 2016 Anno I Periodicità semestrale Direzione scientifica Alfonso Acocella Direttore Veronica Dal Buono Vicedirettore Dario Scodeller Vicedirettore Comitato scientifico Alberto Campo Baeza, Flaviano Celaschi, Matali Crasset, Claudio D’Amato, Alessandro Deserti, Max Dudler, Hugo Dworzak, Claudio Germak, Fabio Gramazio, Massimo Iosa Ghini, Hans Kollhoff, Kengo Kuma, Manuel Aires Mateus, Caterina Napoleone, Werner Oechslin, José Carlos Palacios Gonzalo, Tonino Paris, Vincenzo Pavan, Gilles Perraudin, Christian Pongratz, Kuno Prey, Patrizia Ranzo, Marlies Rohmer, Cristina Tonelli, Michela Toni, Benedetta Spadolini, Maria Chiara Torricelli Comitato editoriale Alessandra Acocella, Chiara Alessi, Luigi Alini, Angelo Bertolazzi,
    [Show full text]
  • Bringing Design Thinking to a Changemaker Campus and Community: Pathways to Learning Design Thinking for Social Change
    Bringing design thinking to a changemaker campus and community: Pathways to learning design thinking for social change The experiences of Tulane University’s Social Innovation and Social Entrepreneurship (SISE) program and the Phyllis M. Taylor Center for Social Innovation and Design Thinking Taylor Provocations Series #1, July 2018 Authors: Laura Murphy and Maille Faughnan 1 About the Taylor Provocations Series This document is #1 in a series of monographs, working papers, extended essays and other works on social innovation and design thinking produced by Taylor staff, fellows, professors, and students. The aim of the series is to provoke thinking and conversation around design thinking, social innovation, changemaking education and related themes. Please get in touch if you have an idea for a provocation. About the Taylor Center The Phyllis M. Taylor Center for Social Innovation and Design Thinking (TAYLOR) was founded in 2014 at Tulane University with support from local, Louisiana native Phyllis M. Taylor. Thanks to her philanthropy, the center embraced a range of curricular, co-curricular and other programs. These started as early as 2009, aiming to spread social entrepreneurship and changemaking on campus. Under the Taylor umbrella lie the SISE (social innovation and social entrepreneurship) minor, Fast 48 bootcamp, Taylor Your Life courses, the Changemaker Institute, major Speaker events, student scholarships, community partnerships, and campus-wide cohorts of Professors of Social Entrepreneurship. Early on, design thinking was envisioned as an essential skillset for anyone seeking to be a changemaker. As a research university (and with Taylor being a university-wide center) we encourage scholarly and academic research on design thinking for social impact, which includes critical perspectives, concerns, and limits, from within any and across disciplines.
    [Show full text]