Penny Hagen

Reflections on Designing, Learning and Social Practice

I’d like to share three related ways in which learning and design intersect in my current practice. Specifically, how a more specific learning science lens can help, but also potentially challenge, some of our conventional models of thinking about design.

  • As a ‘participatory design coach’ and ‘codesign lead’ I support (largely) public service teams to work differently together with others in the system, and those communities impacted by inequity and sustained disadvantage, to address the complex social and economic challenges many of our communities face. The goal is to together build our understanding of the systems conditions, beliefs and behaviours that hold the status quo in place, and to work collaboratively to build our capability and capacity (across government, business and community) to try and shift these. Drawing on design-led social innovation frameworks this happens through listening, collective sense-making, mutual learning and reframing, trying, testing and prototyping different possible directions and ways of working. Inherent within this are learning loops and building the capacity of teams and organisations to build a learning culture.

    Everything I do really can be explained as developing a ‘learning orientation’ within individuals and teams with the idea that such a stance (over fixed ideas about what the problems and solutions are) better equips us to understand the system and respond and adapt in ways that better recognise the history and complexity of why things are the way they are, and what it will take to enable change that leads to outcomes that matter for families and young people.

  • Increasingly the work that I have been involved in to support innovation and change has utilised the design process primarily as a means to facilitate learning and build capability and capacity for change - not just produce prototypes of new ‘innovations’. This is particularly so when the process is facilitated in a way that whānau (family) or youth lead, which means that families and young people are empowered and supported to lead the design process themselves. There is increasing evidence to show that the qualities of the design process make it a compelling process through which to learn about something and to build critical life skills (for young people and adults). For example students at a school in Auckland increased their wellbeing literacy and knowledge about wellbeing through a self-directed design process. Students explored notions of wellbeing through their own perspective, that of their peers, and through formal models of wellbeing following a design process that resulted in them building their own prototypes and innovations to express their ideas for supporting better wellbeing. Student feedback suggested that this was an engaging way to learn about wellbeing because the process created a safe environment to play and explore different ideas, and to express their learning in forms that were meaningful to them. At the same time the design process - as an active process of action and reflection also helped to build critical thinking skills, confidence and connections between students, contributing to other learning and wellbeing outcomes. This was true not just of the students but also of teaching staff and external community partners and service providers that participated - the system was readied to better understand and respond to the needs of young people through participating in the design process - not just as a result of what was produced at the end. This potential for building of social connections, executive functioning skills and confidence - all critical to enabling changes in the lives of whānau experiencing sustained disadvantage have also been demonstrated in other initiatives. 

    Design, and especially co-design is often touted as a fix to complex social challenges. However we are seeing the value comes not from the conventional reading of the role of design to produce something ‘new’ - rather this is the by-product, the learning, connections, capability and increased literacy and readiness to act differently around the issue is the real product or value of design. Design as process for learning, building collective action and capacity building is an important space for more research.

  • The teams that I am working with have a remit to try and support place-based transformation. This requires them to understand and seek to respond to what is happening at a local level on the ground for practitioners and families right now, as well having a view to addressing the ways in which the system conditions and broader policy settings are contributing to holding the status quo of poor outcomes we see on the ground in place. Increasingly adopted within this complexity space is the notion of ‘strategic learning’ often understood as part of a developmental evaluation approach. Inherent in this is an understanding that in order to understand the system and how we might best support change —we need to intervene into the system, try and test things out, and that by doing this. Prototyping small changes or testing out new approaches, we won’t be identifying the ‘answers’ but rather are participating in a process of testing and adapting our strategies as we learn more about the system, the opportunities and barriers for change, and potential ways to respond. This requires us again to shift our expectation of design as a problem-solving tool, to being a framework for collaboration, testing and learning. Prototypes or designs produced are not the solution to the problem, but only through testing and trying things out in rigorous ways and learning from this can we build an informed understanding of what is going on in the system and make data-informed decisions and what approaches might make the most sense - whilst at the same time modelling and encouraging the news kinds of skills, behaviours and capacities the system will need to adapt in order for us to shift from status quo to something different. This entire orientation to social innovation and change requires that teams and organisations both value and have a readiness for learning.

  • Much of my work involves working with government teams and practitioners to build their capability and capacity for co-design and social innovation. In practice, this means: helping to build or advocate for the skills, mandate, motivation, confidence and conditions to support more participatory approaches to policy and service development; encouraging the use of approaches such as prototyping to experiment with policy and policy directions to enhance decision-making; and expanding the ways in which evidence is conceived of and applied in policy making such that it also includes lived experience, active testing and learning with communities and indigenous knowledge systems. There can be resistance to introducing these new practices, at a range of levels and we have spent a lot of time thinking about the best ways to platform this capability building so that it is meaningful, actionable and immediately connected to people’s work practice and spheres of influence. A critical part of the capability building framework we have developed to support this recognising the role of the organisation as a ‘learning organisation’. We describe our efforts around building co-design capability as being about ‘learning to work together differently.’ The value of design in these settings is in part that it represents an active, explicit and disciplined learning process. We act, we reflect, we take our next action - often beginning with taking stock, listening exploring and reframing - challenging the initial ‘problem definition’ and creating room for more innovative responses. 

    Building people’s understanding and confidence to apply the design process helps people to develop their reflective muscles - which are often undeveloped, a ‘going slow to go fast’ type of approach. Even more enhanced when this is integrated with evaluative practice. Building a ‘learning orientation’ - by which we mean a willingness to test and try things, be flexible, share learning and change direction in response to feedback - has in large part been our measure of success for any capability building programme. However participating in the workshops in Melbourne have helped me to think more deeply about what does it mean to apply learning science and a “learning” lens to this even more intentionally, especially when we experience the understandable resistance, fear and vulnerability in those being asked to act differently. We know that to adopt a designerly way of working means some unlearning, as well as building on existing capacities. But thinking about our fellow practitioners as learners (as well as partners and participants), be they frontline staff, policymakers, ministers or whānau, helps us bring empathy to the learners about what best prepares them for and supports learning, including what engages them and how learning and reflection need to be structured to be effective, as well as how we embed specific considerations from learning science about what works to support learning including spaced learning, pausing, reflection, recall and cognitive load in the process we scaffold. 

Sonali Ojha

Reflections on Sensorial Design as a Form-making, Future-making Practice

The Design Rounds made visible to me the many subterranean water flows that nourish designer embedded learning spaces. I was reminded that design’s most appealing aspect from a learner’s point of view are how designing allows for the following three emergences.

  • My working life began with first-generation learners in India who found themselves outside of school systems. As I worked with street children, drug users, or rescued from commercial sex work or child labour; I located building agency by meeting emotional needs of self-belief, overcoming shame, guilt, fear, grief and anger as the starting point to affording them identities as successful learners. My initial learning tools comprised making art and sense-making from it. As complex layers of life stories began to reveal themselves, I felt the need to move to 3-dimensional forms of expression and learning so children could visually situate themselves in the emerging entangled threads of their stories and have the opportunity to move the pieces of their lives to explore new possibilities and outcomes. I also wanted something that initiated the emergent quality of how life actually unveils itself; a small piece at a time.

    The language and grammar of architecture, design and performing arts began to suffuse our work. The vocabulary for building places and spaces in the external world offered ways to talk about creating the inner landscape. Material making, future making and playing with speculative scenarios from design embodied the spirit that, “We can always begin again” and supported the critical realisation that recreation in life was possible. It also modelled the idea that “We build the way by walking” and eased the anxiety of the invisible, unknown and uncertain. Over time, engaging with tools from these areas changed the quality of our conversations from being solo or pair based to group-based, being highly interactive and engaged. Improved relational ties and a significantly deepened sense of belonging also came along as natural outcomes.

  • Design methods invariably begin by acknowledging and exploring a person’s lived experience and how they have given sense and meaning to it. Through exploratory tools, the making of artefacts that embody, qualities of the emotional, aesthetic and textural experience, design makes visible narratives that would otherwise remain unheard, unformed or invisible. The making possible of an artefact that embodies a wide range of emotional and other felt qualities moves the experience from it being ephemeral to one that is long-lasting. Cognitively thus, it becomes a part of deep memory and offers easy recall over time.

  • In design, an underlying current that infuses the act of material making is that it is free of judgment and cynicism. The kinetic act arouses the attitude of curiosity, play and forward-thinking. Emotionally, this capacity of design offers a unique outcome in terms of knitting the past into the present and playing with images or scenarios of possible futures.

  • The process of revisiting experiences and narrating can be a rich process of insight generation. However, for me, design’s contribution to learning lies in the next spiral of this process. The invitation to be introspective about an experience through form-making adds a new quality to the knowledge and experience. This process of making something one’s own makes the learning process suffused with meaning for the individual. The design process in this way can become sensorial and engage the whole person in a learning encounter. This process can create deep imprints of memory and thus facilitates easier recall.

    The Design Rounds opened up more opportunities to play with my work. How can design make visible the science of learning for students so that it can build their agency to guide their own learning? How can design quieten the negative self-talk that learners find themselves trapped in?

Tuuli Mattelmäki

Reflections on Open-ended clues in Collaborative Sense-making

When dealing with the new and unfamiliar, people seek familiar handles to grasp and to make sense. For a designer, it is often natural to seek unusual connections, explore thoughts, and solutions and to sense-make through seeking relationships of things that matter. Here are some observations of how this looks in empathic design.

  • Throughout my practice, I have studied and designed tools for fostering empathic connections and facilitating collaboration in and for design. When working on empathic design, it is critical to be aware of one’s own standpoint and experiences and to be humbly aware of the limitations of one’s ability to truly understand another. Empathic design approaches aim to initiate both individual and collective resonance by sensemaking and by relating one’s own experiences, or elements that one is familiar with, in order to understand others and what is meaningful for them. One’s motivation, too, plays a key role in empathic sensemaking.

  • Since the Monash workshop I have found it useful to return to the learning principles introduced. Learning gave me a new lens to reflect on our design research practice. We have built on playfulness, to support creative thinking and easy collaboration, but had not related that to learning. Underlining the learning perspective in empathic design further highlights, on one hand, the need to further advance our competencies in reflective empathy and critical awareness of our own beliefs, and on the other, the fruitful starting point of ‘beginning with the process of going from the inside out.’ To see learning as being in constant conversations with what we already know shifts the starting place. Working from ‘we have it in us already’ asks design how we can build on that knowledge. The dialogues in our collaborative workshops where we co-create knowledge or design ideas together, need to respect the internal dialogues with our existing knowledge and experiences and external dialogues with other participants (Salmi and Mattelmäki, 2019).

  • While studying so-called ‘designerly ways of doing’ in empathic design, we explored ways to facilitate non-designers as design partners in collaborative contexts. In this co-design practice, a challenge comes with various domains of knowledge coming together, and moreover, people with different agendas, professional expertise, expectations, competencies, and motivations. These challenges are also reasons why collaboration is needed.

    As a participant in the Design Rounds I started to be aware of the conversations happening in my mind when seeking issues from my existing pool of knowing, seeking insights and contributions from others’ experiences, references and repertoires. Having this active inner conversation and seeking process, one cannot be 100% attentive. Hence, the listening and synthesizing skills of the facilitator become extremely important. The facilitator does not have to seek knowledge as much as the participants, but to listen, guide and summarize others’ input, and follow the discussion as it advances. Recognise that the knowledge is within the participants and in the between space that is created in the collaboration. (Salmi and Mattelmäki 2019).

  • I see ambiguity as allowing sense-making — through making new interpretations and alternative readings for the materials. The field study process for collaborative design does not proceed by documenting, analysing and reporting and proposing design implications, but rather an invitation to a collaborative learning process where “clues are given, but much remains for the interpreters to guess based on their own experiences, imagination and collective sharing, and depending on the design exploration”(Mattelmäki et al 2011). The given clues are ‘handles’ to individual insights and interpretations, the exchange of these insights, and how they gradually relate and build (or not) on each other to become co-created outcomes. As stated by Halse et al. (2010) “both a learning and innovation potential is deconstructing the familiar in order to estrange the familiar. It is through estrangement that existing knowledge is seen in a new light”.

  • Halse et al. (2010) Rehearsing the future. Danish Design School Press, Copenhagen

    Mattelmäki, T., E. Brandt, and K. Vaajakallio. 2011. “On Designing Open-Ended Interpretations for Collaborative Design Exploration.” CoDesign 7 (2): 79–93.

    Salmi and Mattelmäki (2019) From within and in between – co-designing organizational change. International Journal of Design. Accessed 28 May 2019 https://www.tandfonline.com/doi/ref/10.1080/15710882.2019.1581817?scroll=top

    Vaajakallio & Mattelmäki (2014) Design games in codesign: as a tool, a mindset and a structure. CoDesign journal.