A respectful design framework: incorporating indigenous knowledge in the design process

To stay within the planetary boundaries, we have to take responsibility, and this includes designers. This requires new perspectives on design. In this work, we focus on a co-design project with indigenous communities. Within such communities, indigenous knowledge is central. Indigenous knowledge acknowledges that the world is alive and that we, as humans, are merely a small part. Central in our approach is Sheehan’s respectful design, which ensures a central place for indigenous knowledge in the design process. However, Sheehan’s approach does not state in pragmatic terms how such a design approach can be achieved. Some of the co-design processes we engaged in led to respectful design spaces, others did not. This helped us to identify patterns of dynamics that are essential for respectful design. At the core of our findings lies the observation that in order to reach a respectful design space, in which indigenous knowledge is embedded, a shared dialogical space between community and designer is essential

Complexities of a hypothetical co-supervision case : On roles, expectations, independence

This essay reflects on possible complexities that embarking on co-supervising a doctoral candidate might entail. The hypothetical co-supervision case under consideration is one between different disciplines, organisations and countries, and it focuses on how differences in understanding the role of a PhD candidate might surface. Furthermore, the importance of reflecting on the nature of the project, whether it is an open brief or a specified project, is highlighted. This also necessitates consideration of the extent to which the supervisors connect ownership to the project idea, outcome, and process. Lastly, the importance of the role of the supervisor in supporting the PhD candidate towards becoming an independent researcher is raised. As a conclusion, attention is drawn to the need for potential co-supervisors to articulate and discuss their stances and expectations on the above questions prior to embarking on co-supervision; this is in order to prevent or lessen possible tensions at a later stage.Denna essä reflekterar över de möjliga komplikationer som kan uppstå när man ger sig in på att samhandleda en doktorand. Det hypotetiska fallet för samhandledning som tas upp är mellan olika discipliner, organisationer och länder, och fokuserar på hur skillnader i uppfattningen om rollen som en doktorand kan komma till ytan. Vidare belyses vikten av att reflektera över projektets karaktär, oavsett om det är en öppen uppgift eller ett specificerat projekt. Detta medför också att man behöver fundera över i vilken utsträckning handledarna kopplar ägande till projektidén, resultatet och processen. Slutligen lyfts betydelsen av handledarens roll i att stödja doktoranden att bli en självständig forskare fram. Som en slutsats framhålls vikten av att potentiella samhandledare tydliggör och diskuterar sina ståndpunkter och förväntningar avseende ovanstående frågor innan de ger sig in i samhandledningen, detta för att förebygga eller minska eventuella spänningar i ett senare skede

Making Sense/zines : Reflecting on positionality

We have to be conscious about our own situatedness in the ecologies for and with which we design, but also invite for critical reviewing it. In order to do so, to become conscious and to critically review, I believe something needs to trigger and intervene. This paper is a personal account of sense-making and tool shaping, to support critical reflecting on my own positionality. I introduce my two tools: Graphical Peeling and Sensing/Zining, which rely both on ‘layouting’ to provide space for reflection. I am not a graphical designer, rather this way of working seems to help unbalance my very personal understandings, assumptions and experiences and provides a space where I can go in dialogue with myself and my experiences. By bringing together experiences, designs made and notes from research and reading, I am working through the material in different ways. I go deeper into the context with each layer I am adding, rethinking the situations that occurred and providing an opportunity to stop, think and be critical. Through this paper I do not necessarily aim for others to use those tools specifically, but rather emphasise the importance to allow for personal, creative, designerly journeys of sense-making, and decolonisation.

Dynamics of Respectful Design in Co-Creative and Co-Reflective Encounters with Indigenous Communities

This research focuses on designing with indigenous communities. The use of design raises concerns in this context. Because of the aim to ‘improve’ lives and the emphasis on innovation, design approaches have the probability to colonise. As designers, we have to find ways to deal with such concerns. Approaches that do this within the context of indigenous communities are Sheehan’s respectful design and Tunstall’s culture-based innovation. Both approaches acknowledge that the community should benefit from projects. In this, the role of the designer becomes to spark the resourcefulness of the community members to find such benefit. However, neither approach states in pragmatic terms how such a space can be reached. Therefore, this research aims to: explore the dynamics of a respectful design space in co-creative and co-reflective encounters with indigenous communities; and to provide recommendations to reach such a space. The explorations were performed by introducing co-creative design methods during a case study with three indigenous communities. Some co-creative processes led to respectful design spaces, others did not. All processes were analytically studied by combining annotated portfolios and content analysis in timelines. The aim was to find patterns of dynamics essential for respectful design. The dynamics that arose were: 1) ownership through the type of design participation, 2) indicators of ownership, 3) the type of novel expressions made and 4) the type of material culture introduced. This led to contributions of this research being, firstly, a framework of a respectful design space and recommendations of how to reach such a space. Secondly, the concept of constellations of design initiatives, to understand respectful design in situ. Thirdly, the importance of inclusion of the community’s own material culture to facilitate dialogical spaces, and, finally, the analytical approach used to find the dynamics

Design, power and colonisation : decolonial and antioppressive explorations on three approaches for Designfor Sustainability

Our contemporary world is organized in a modern/colonial structure. As people,professions and practices engage in cross-country Design for Sustainability (DfS), projectshave the potential of sustaining or changing modern/colonial power structures. In suchproject relations, good intentions in working for sustainability do not directly result inliberation from modern/colonial power structures. In this paper we introduce threeapproaches in DfS that deal with power relations. Using a Freirean (1970) decolonialperspective, we analyse these approaches to see how they can inform DfS towards beingdecolonial and anti-oppressive. We conclude that steering DfS to become decolonial orcolonizing is a relational issue based on the interplay between the designers’ position inthe modern/colonial structure, the design approach chosen, the place and the peopleinvolved in DfS. Hence, a continuous critical reflexive practice is needed in order to preventDfS from becoming yet another colonial tool

Design, power and colonisation : decolonial and antioppressive explorations on three approaches for Designfor Sustainability

Our contemporary world is organized in a modern/colonial structure. As people,professions and practices engage in cross-country Design for Sustainability (DfS), projectshave the potential of sustaining or changing modern/colonial power structures. In suchproject relations, good intentions in working for sustainability do not directly result inliberation from modern/colonial power structures. In this paper we introduce threeapproaches in DfS that deal with power relations. Using a Freirean (1970) decolonialperspective, we analyse these approaches to see how they can inform DfS towards beingdecolonial and anti-oppressive. We conclude that steering DfS to become decolonial orcolonizing is a relational issue based on the interplay between the designers’ position inthe modern/colonial structure, the design approach chosen, the place and the peopleinvolved in DfS. Hence, a continuous critical reflexive practice is needed in order to preventDfS from becoming yet another colonial tool

Exploring Respectful Design Directions for Indigenous Communities

Projects focusing on preserving cultural heritage are most usually instigated by a researcher. Yet, the question arises 'whether such projects are beneficial for the studied communities?' This paper describes the first part of a co-reflective, design research case study exploring through design the dynamics of the disappearance of culture heritage. By guidelines for respectful design (synthesized from literature) we sought to find an indigenous community to work with and a design direction beneficial for them. Our initial visits to three indigenous communities in Malaysia, where we developed and introduced empathic design probes, led to the Penan community becoming particularly interested in the project. A design direction arose, which aimed to explore technological design as a means to spark intergenerational conversations on being a Penan

Bridging the double-gap in circularity: addressing the intention-behaviour disparity in fashion

The contemporary fashion industry is a broken system in need of reform, moving away from a dated linear model and adopting principles reflective of modern societal challenges. A fundamental engagement gap with consumers and industry has been identified, which continues to challenge the adoption of circular innovation. This paper focuses on the role design can play in the move towards a closed-loop system through product-life extension strategies. A multiple-stakeholder perspective was adopted during data collection, with a range of qualitative methods utilised through the engagement with both fashion consumers and high-street fashion brands. Conclusions support the need to consider design as a key tool for change, with methods such as co-creation and participatory design facilitating greater awareness levels in consumers. A holistic approach to responsible action and an increase in product value can facilitate a move towards a circular model for fashion